Tag Archives: GroundWorks DanceTheater

The Debut of Canada’s RUBBERBANDance Group Brings with it a Unique Blend of Hip Hop and Contemporary Dance Styles


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RUBBERBANDance Group in “Vic’s Mix”. Photo by Bill Hebert.

By Steve Sucato

One of the early pioneers of the seamless blending of hip hop dance styles and those of contemporary dance, Victor Quijada’s Montreal-based RUBBERBANDance Group has, the past decade or so, been creating the future of dance while waiting for the dance world to slowly catch up to that future.

Presented by DANCECleveland and Tri-C Performing Arts, the critically acclaimed company will make its Ohio debut on Saturday, November 9 at Playhouse Square’s Mimi Ohio Theatre for one performance only.

Born and raised in Los Angeles to Mexican parents (his father a foundry worker and his mother a factory worker), Quijada found his way to dance at age 8 through b-boying circles and hip-hop clubs. Formal training in other dance styles followed with Quijada becoming a member of LA’s Rudy Perez Performance Ensemble. His career as a professional dancer took off in the late 1990’s when he joined Twyla Tharp’s dance company THARP! and continued in stints with Eliot Feld’s Ballets Tech and Les Grands Ballets Canadiens de Montréal. His choreographic career came with the founding RUBBERBAND in 2002.

In a 2013 article for The Scotsman, Quijada said he is the product of “the culture I grew up in, the respect and wonder I have for art, the professional career I had in those high caliber classical and contemporary dance companies, and the interface between those places… If one of those things had been missing, it wouldn’t have led me here.”

Along with starting RUBBERBAND as an experiment in the movement blending of what he calls “the two poles that inhabit him,” Quijada conceived a technique for dancers he calls the RUBBERBAND Method that “combines the energy of hip hop, the refinement of classical ballet, and the angular quality of contemporary dance.”

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RUBBERBANDance Group in “Vic’s Mix”. Photo by Bill Hebert.

That signature technique will be seen in full force in the company’s presentation of Vic’s Mix (2016), a retrospective and remix show that Quijada says he revises and remounts every 5-years and samples some of what he feels is his best bits of choreography from some 40 creations he has made for RUBBERBAND and other dance companies. Saturday’s 75-minute Vic’s Mix program will spans works from 2002-2013.

“It’s a look back on things that are still relevant to me and a chance for me to re-appropriate my own works that I have made for other companies,” said Quijada on the phone from Montreal.

Set to a soundtrack by various composers including original music from longtime company collaborator Jasper Gahunia, Vic’s Mix is delivered in 2 acts. Act 1 covers excerpts from Quijada’s early creations from 2002-2005 performed in sneakers. It will give audiences a taste of Quijada’s evolution as a choreographer and his use of the RUBBERBAND Method. Included in the act will be “The Traviattle” (2003) set to Giuseppe Verdi’s “Libiamo ne’ lieti calici” from the opera La traviata, a piece Quijada originally choreographed as part of his evening-length work Metabolism that has become an audience favorite.

Act 2 revisits excerpts from works made between 2008-2013 including “Second Coming,” a piece Quijada made for Scottish Dance Theatre in (2012). The aptly named work followed Quijada’s very first commission outside of RUBBERBAND, 2003’s “Self Observation Without Judgement” for Scottish Dance Theatre that earned the United Kingdom’s Peter Darrell Choreographic Award. Also a part of act 2 will be an excerpt from 2008’s Punto Ciego, inspired by the nonlinear approaches of author Milan Kundera and filmmaker Quentin Tarantino.

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RUBBERBANDance Group in “Vic’s Mix”. Photo by Bill Hebert.

Vic’s Mix will be performed by RUBBERBAND’s 8-member company who are all steeped in the RUBBERBAND Method after intense training.

“Time here with RUBBERBAND kind of passes like dog years,” says Quijada. “The amount of change and growth in one year for a dancer is enough for 7-years.”

And while Saturday’s program will be RUBBERBAND’s area debut, Quijada’s work has been seen here before with Hubbard Street Dance Chicago’s performance of his “Physikal Linguistiks” in 2010 presented by DANCECleveland.  And the RUBBERBAND Method’s influences were seen recently in former company member James Gregg’s work “éveillé” (2018) for GroundWorks DanceTheater.

With Vic’s Mix Quijada says audiences will experience those things that drove the creation of his works in the first place: “human interactions, intimacy and connection, comedy and the feelings of highs and lows.”

RUBBERBANDance Group performs Vic’s Mix, 7:30 p.m., Saturday, November 9; Playhouse Square’s Mimi Ohio Theatre, 1511 Euclid Ave., Downtown, Cleveland. Tickets are $25-50. For tickets and information visit playhousesquare.org or call (216) 241-6000.

Steve Sucato is a former dancer turned arts writer/critic. He is Chairman Emeritus of the Dance Critics Association and Associate Editor of ExploreDance.com.

 

 

 

 

 

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BalletX Marked the Spot for Great Dance at ADF in CLE


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BalletX in Lil Buck’s “Express”. Photo courtesy of BalletX.

BalletX
Playhouse Square’s Ohio Theatre
Cleveland, Ohio
July 27, 2019

Reviewed by Steve Sucato

Philadelphia’s BalletX opened DANCECleveland’s 2019-2020 season this past Saturday as part of year three of the annual American Dance Festival in Cleveland. The contemporary ballet company founded in 2005 by former Pennsylvania Ballet dancers Christine Cox and Matthew Neenan, made its Cleveland debut at Playhouse Square’s Ohio Theatre in a program featuring three diverse works that by its end, brought the audience to its feet in appreciation.

Known as a breeding ground for new works by contemporary choreographic voices from around the globe, much has happened with BalletX since its last visit to Northeast Ohio back in 2013. Neenan has moved on from company leadership to concentrate fully on his burgeoning choreographic career and BalletX in 2018 opened its new Center for World Premiere Choreography, moving into a new 5,000 square foot studio and administrative home in Philadelphia.

What hadn’t changed since 2013, was the ability of the company and its 10 dancers (including former GroundWorks Dance Theater dancer Blake Krapels) from knocking an audience’s socks off with world class dancing in world class dance works.

The program opened with choreographer Nicolo Fonte’s latest ballet for the company “Steep Drop, Euphoric” (2019) set to music by Ezio Bosso and Ólafur Arnalds. The 25-minute piece began with the jolting screech of string instruments to usher in the first of many traveling dancer tableaus that would be integral to the look of the ballet beginning with dancer Chloe Perkes being lifted to stand atop the shoulders of several other dancers.

Fonte’s choreographic style for the ballet had BalletX’s full complement of dancers flowing from one smoothly formed tableau of dancers being lifted or melting into one another’s arms a la the works of choreographers Lar Lubovich and Doug Varone.  The lush movement was characterized by the dancers swaying and sinking into close-quartered interactions with each other, arms often suspended in air briefly. Fonte alternated the  pace of the ballet with quick bursts of movement by individual dancers mixed in with slower group dance phrases.

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BalletX in Nicolo Fonte’s “Steep Drop, Euphoric”. Photo courtesy of BalletX.

At one end of the rear of the stage, a long piece of what looked to be Marley dance floor (the slip-resistant surface the dancers perform on) hung from the rafters and was unrolled to the stage floor, suggesting a road to the heavens. The image jived with Fonte’s thoughts on the ballet contained in the program notes that read: “Perhaps the only places left unexplored are the canyons of your interior geography, the dark alleys of your consciousness – one of which might lead you to your road to bliss.”

That interior geography and potential road to bliss appeared to belong to Perkes’ character who throughout the ballet stepped in and out of dancing with the others to stand on the Marley road and gaze back at her fellow performers as if reflecting on her life.

In a later section of the ballet, dancers Andrea Yorita and Zachary Kapeluck launched into the first of two successive pas de deuxs. Yorita, a diminutive powerhouse, burst about the stage with spritely energy showing off her beautiful extension, turning ability, and footwork.  A second pas de deux immediately followed with dancers Skyler Lubin and Stanley Glover continuing the barrage of beautiful choreography that culminated in the dancers forming a quartet spiced with partnered lifts.  After a heartfelt solo danced by Perkes in spotlight moving along the Marley road, the ballet ended as it began with her standing atop several dancers’ shoulders reaching out. This time not toward the Marley road leading out on to the stage, but the one leading upward.

Next the company switched its stylistic gears in Charles “Lil Buck” Riley’s “Express” (2018), danced to jazz music by The Late Show with Stephen Colbert bandleader Jon Batiste.  Lil Buck, a dancer, actor and model from Memphis, Tennessee, burst onto the dance scene in a big way in the past few years in large part due to his “Memphis jookin” hip hop dance version of Michel Fokine’s ballet classic “The Dying Swan” that went viral.

For the 16-minute “Express,” the choreographer fused his mostly improvised jookin movement language with ballet and jazz movement to create a hybrid style that fit nicely on BalletX’s dancers.  Costumed in streetwear and sneakers for the men, pointe shoes for the women (at least to begin with), the work was overall a fun, flirty, and jazzy play on male/female relationship banter.

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Stanley Glover in Lil Buck’s “Express”. Photo courtesy of BalletX.

The work’s finest moment came in a solo by featured dancer Glover to Batiste’s melancholy dirge “Saint James Infirmary Blues.” The silky smooth Glover moved with the freedom of Lil Buck himself in the jookin-flavored solo.

By work’s end the women had swapped their point shoes for red Nike sneakers, and the entire cast of 10, especially dancer Cali Quan, let their funk flag fly in a frenetically fabulous finale to the Jon Batiste and Stay Human song “Express Yourself (Say Yes)” capped by Batiste asking the question, “What is Jazz?”

The program ended most satisfyingly with a reprise of Neenan’s signature ballet for the company, “The Last Glass”(2010) that the company performed in Akron in 2013.

Inspired by what Neenan referred to as “wild street-parade,” the 25-minute ballet all 10 dancers was set to suite of 8 tunes by American indie-rock band Beirut, and whose emotional lyrics Neenan took to heart in his choreography.

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BalletX in Matthew Neenan’s “The Last Glass”. Photo courtesy of BalletX.

I wrote of the ballet in 2013:  As if splashing through puddles of emotion that covered the stage, the dancers kicked up anger, joy and sadness, which then clung to them, giving their characters an underlying motivation and exposing their imperfections.

Masterfully-crafted in its dancer formations, group movements on and off the stage, and its transitions between dance phrases, Neenan wrapped a clever tapestry of contemporary ballet movement and beauty around several very relatable human stories contained within the ballet.  None so emotionally penetrating than that of characters portrayed by Perkes and Krapels in which Perkes seemed to be recalling the joys and heartache of being with Krapels, a lover she lost.  The haunting image of a heartbroken Perkes walking slowly across the stage, head in hand as the carnival of humanity carried on all around her, was one that could be universally felt.

It is perhaps fitting BalletX and DANCECleveland chose to repeat Neenan’s “The Last Glass,” as the ballet warrants repeated viewings to take in its full glory. One can only marvel at Neenan’s ability to conjure up such an exquisite creation.

Steve Sucato is a former dancer turned arts writer/critic. He is Chairman Emeritus of the Dance Critics Association and Associate Editor of ExploreDance.com.

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Of Sideshows, Photo Memories and Atoms: GroundWorks Dance Theater’s ‘Summer Series’ Promises a Carnival of Visual Delights


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GroundWorks’ artistic director David Shimotakahara (rear) rehearsing with dancers Spencer Dennis (left) and Annie Morgan. Photo courtesy of GroundWorks Dance Theater.

By Steve Sucato

Childhood memories of Looney Tunes cartoons and circus sideshows provided the creative spark for GroundWorks DanceTheater artistic director/choreographer David Shimotakahara’s latest dance work, “Sud Buster’s Dream”. The animated work will make its premiere as part of GroundWorks’ season opening Summer Series program this weekend, July 19-21 at Cain Park’s Alma Theater in Cleveland Heights.

The 30-minute contemporary dance work is set to an early American jazz score, a type of music Shimotakahara says he has always been drawn to since hearing it as the backdrop to the cartoons he watched as a child.

“I was always thinking it would be fun to do a work with cartoon movement zaniness; like where the dog gets stretched into a hot dog, a giraffe’s neck gets twirled up like a pretzel stick or where feet dance without a body,” says Shimotakahara.

Using those images and that style of music as a starting point, Shimotakahara says he was also inspired by images from iconic sideshow acts such as sword swallowers, The Seal Boy, The Bearded Lady and The Siamese Twins as further influences for movement invention in the work.  

“Those popular acts represented what people felt was odd and unusual,” says Shimotakahara. “Then, and now, we see oddities in ‘the other’ and fear being cast as such.” 

In a recent rehearsal of the work I sat in on, second –year company dancer Annie Morgan moved through a solo that twisted her fingers, arms and legs up in knots, almost immobilizing her.  Shimotakahara says with that imagery he was thinking back to escape artists like Harry Houdini wriggling and twisting to free themselves from ropes, chains or a straitjacket in their acts. Morgan had a less challenging task to untwist herself.

The work features a large stage curtain set piece from which its five dancers emerge from to perform various dances. The set piece lends a “show within a show” motif to the bizarrely entertaining work. Titled after one of the period songs used in it by Tiny Parham and his Musicians, Shimotakahara also draws parallels to The Roaring Twenties period of the last century and to the changes in culture, the opportunities available to the populous and the great disparity of wealth, to what is going on in the country today. “There were definitely winners and losers,” says Shimotakahara.

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GroundWorks’ Annie Morgan. Photo courtesy of GroundWorks Dance Theater.

Also premiering on the 17th annual Summer Series program at Cain Park will be award-winning Chicago choreographer Robyn Mineko Williams’ latest commissioned work for the company, “We Three”.  The 17-minute piece is performed to a suite of songs by Canadian music group Timber Timbre including their 2011 hit “Lonesome Hunter”.  Says Mineko Williams by phone from Michigan, “I like creating worlds that feel timeless. Each section [of the work] makes sense in the order it is presented, but maybe that’s not the real story’s order.”

Continuing a recurring pattern present in her recent works of assembling a series of non-linear memories that are played out in vignettes by the dancers, Mineko Williams compares “We Three’s” viewing experience to leafing through a photo album where each of the photos you look at comes to life for a few seconds. The viewer then decides what story or relationship to attach to those in the photos.  “I don’t know what the relationship is between the characters in work,” says the former dance with Hubbard Street Dance Chicago dancer. “But in my imagination they all existed in these photos together. There is a lot of reflection going on with the characters in the work. It could be reflections on relationships with the other characters in the work or a reflection of themselves. ”

From the relationship of human beings to the relationship of the relative combining capacity of an atom, a reprise of GroundWorks artistic associate Amy Miller’s “Valence” (2009) rounds out the works on the program.

Created to an original sound score by composer Peter Swendsen, Dean of the Conservatory at Oberlin College and Conservatory, the 20-minute “Valence” began as an exploration of how dance could become music and music could become dance,” says Miller. “The overall visual concept work uses circular running patterns not unlike the electrons in every atom setting up collisions of these orbits that manifest in the form of dancer duets, trios and group sections.  Each dancer ends up having a different ‘valence’ or capacity to connect with every other dancer.  I think the piece also reminds us of the power of connection to create great things in an often chaotic world.”

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GroundWorks’ artistic director David Shimotakahara (rear) rehearsing with new dancers Spencer Dennis (left) and Michael Arellano. Photo courtesy of GroundWorks Dance Theater.

New to GroundWorks this season are dancers Michael Arellano, a recent graduate of Western Michigan University, and Phoenix, Arizona-native Spencer Dennis. The pair replace departing dancers Robert Rubama and Tyler Ring. Arellano and Dennis together with returning dancers Morgan, Alexis Britford and Nicole Hennington make up perhaps GroundWorks’ youngest company to date.

After this weekend’s performances at Cain Park, the Summer Series program will be repeated in free performances at Akron’s Goodyear Metro Park on August 2 & 3 as part of The Heinz Poll Summer Dance Festival.

GroundWorks Dance Theater presents its Summer Series, 7 p.m., Friday, July 19 & Saturday, July 20 and 2 p.m., Sunday, July 21. Alma Theater, Cain Park, 14591 Superior Road, Cleveland Heights, Ohio.  Tickets are $25/advance, $28/day of show. For tickets and information visit: https://www.cainpark.com/281/GroundWorks-Dancetheater or call (216) 371-3000.

GroundWorks Dance Theater presents its Summer Series in Akron, 8:45 p.m., Friday, August 2 & Saturday, August 3 at Goodyear Metro Park, 2077 Newton St, Akron, Ohio. FREE admission. For more information visit http://akrondancefestival.org/.

Steve Sucato is a former dancer turned arts writer/critic. He is Chairman Emeritus of the Dance Critics Association and Associate Editor of ExploreDance.com.

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