Tag Archives: Heinz Poll Summer Dance Festival

Akron’s ‘Lose Your Marbles’ Festival Returns with a Decidedly Different Approach


Neos Dance Theatre. Photo by Dale Dong.

By Steve Sucato

After taking a year off in 2018, Akron’s dance-centric Lose Your Marbles festival is back with a smaller, regionally focused event taking place Friday, March 1 at the Akron Civic Theatre.

Founded by Neos Dance Theatre artistic director Robert Wesner with the support of a three-festival, $100,000 John S. and James L. Knight Foundation grant, Lose Your Marbles (a reference to Akron’s history as a marble making center in the late 1800s), first go round in the summer of 2017 was an ambitious undertaking that featured a diverse group regional and national music and dance acts.

With the initial goal of presenting more experimental and avant-garde artists in traditional and alternative performance spaces a la the many “Fridge” festivals seen around the country, Wesner says although the pilot festival was a success in many ways, he and his fellow festival organizers felt more evaluation was needed to develop a sustainable path forward for the event.

“It was decided [for Lose Your Marbles II] to dial back the numbers of different groups and really focus on local artists so we could further develop relationships with existing dance audiences in the area and survey their interest in seeing other types of contemporary artists in future, says Wesner.”

This year’s scaled down festival is part of a strategy to get future festivals to a place where the initial goal of presenting tried and untried local, state and national artists in varying performance spaces around Akron can be realized.  

“The third year is going to be a continuation of what we have done in these first two festivals,” says Wesner. “This is a full on exploration of what Lose Your Marbles is and can be and the audience is in it with us.”  

Returning for Lose Your Marbles II are 2017 festival participants GroundWorks DanceTheater, Inlet Dance Theatre, Neos Dance Theatre and Verb Ballets.  Familiar to area dance goers, three out of the four troupes annually perform at the City of Akron’s Heinz Poll Summer Dance Festival.

GroundWorks DanceTheater. Photo courtesy of Lose Your Marbles.

GroundWorks DanceTheater will open the one-night-only event with company artistic director and former Ohio Ballet star David Shimotakahara’s “LUNA” (2012).  Set to an original score by Oberlin Conservatory of Music grad Peter Swendsen, the work, says Shimotakahara “explores the nature of desire and its deeply held and often conflicting motivations. These polarities developed into a series of physical relationships that reveal many facets in a cycle of experience. That cycle is like the moon, as unknown and primal as it is familiar.”

“LUNA’s” celestial motif will fit in nicely with Akron Civic Theatre’s Moorish castle decor complete with an atmospheric twinkling starlit sky and moving clouds ceiling display.  

Inlet Dance Theatre. Photo courtesy of Lose Your Marbles.

Next, highlighting the humanitarian crisis of over 60 million refugees fleeing war, famine, violence and persecution worldwide, Inlet Dance Theatre’s work “Sojourn” offers up a message of compassion, empathy and grace for those in desperate need. Choreographed by Inlet founder/artistic director Bill Wade in collaboration with the company’s dancers, the work in five-section is danced to music by Max Richter.


Neos Dance Theatre. Photo by Dale Dong.

Wesner’s Neos Dance Theatre then reprises choreographer Joseph Morrissey’s “Near Light” that premiered at last summer’s Heinz Poll Summer Dance Festival. Performed to music by composer Ólafur Arnalds, Wesner describes the ballet as being a dynamic and fairly aggressive work movement-wise with a lot of twists and turns in its partnering sequences.

Verb Ballets. Photo by Bill Naiman.

The roughly two hour program will close with Verb Ballets in choreographer Adam Hougland’s “K281” (2007). Originally created on Cincinnati Ballet, the 14-minute ballet gets its name from Mozart’s Piano Sonata No. 3 in B-flat major, K. 281 that it is danced to.  Staged by Jill Marlow Krutzkamp and original cast member, the ballet for three male-female couples is full of quirky contemporary dance movement. Each couple has their own distinct personality says Marlow; the first has a fun, free relationship, the second’s mood is somber and the third has a peculiar relationship where the woman moves like a rag doll.

Neos Dance Theatre with the support of the John S. and James L. Knight Foundation presents Lose Your Marbles II, 8 p.m., Friday, March 1, Akron Civic Theatre, 182 South Main Street, Akron. Tickets are $23 for reserved seating, $18 general admission, and $5 for students with ID and available online at loseyourmarbles.org and at the door that evening.

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.

Advertisements

Leave a comment

Filed under Airings

Ballet Hispánico’s All-Female Choreographers Program Struck All The Right Chords


3. Catorce Dieciséis (c) Paula Lobo (1000x665)

Ballet Hispánico in Tania Pérez-Salas’ “3. Catorce Dieciséis”. Photo by Paula Lobo.

Ballet Hispánico

Playhouse Square’s Ohio Theatre

Cleveland, OH

November 10-11, 2018

Reviewed by Steve Sucato

Co-presented by DANCECleveland and Cuyahoga Community College, Ballet Hispánico’s triple-bill of works by Hispanic female choreographers struck all the right chords Saturday, November 10 at Playhouse Square’s Ohio Theatre.

The New York-based company, last in Cleveland in 2009, showed its versatility and popular appeal beginning with Colombian-Belgian choreographer Annabelle Lopez Ochoa’s “Sombrerísimo” (2013) performed for the first time by an all-female cast.

Set to a soundscape that included howling winds, creaking doors and dogs barking along with music by Italian folk group Banda Ionica, Ballet Hispánico’s sextet of women made the work, usually performed by an all-male cast, their own. In doing so however, they also made it a noticeably different work.

sonof

René Magritte’s “Son of Man”.

Performed by Ballet Hispánico in nearby Akron at the 2014 Heinz Poll Summer Dance Festival with an all-male cast, the women Saturday night essentially danced the same choreography as the men but gone was the machismo and swagger that defined that original version. That was replaced by an alternate beauty and fierceness that the women brought to the piece.

Sporting bowler hats they flipped and tossed about throughout the work, the women were energized and technically clean in performing Ochoa’s somewhat acrobatic choreography.  Evoking surrealist imagery from Belgian artist René Magritte’s bowler hat paintings, Ochoa also infused a bit of humor into the work. In one scene, all of the women’s hats were piled high onto the head of one of the dancers who comically collapsed under their weight while another struggled mightily to drag her prostrate body off stage.

While “Sombrerísimo” felt like a different work than the original, the all-female version proved a gratifying opener to a program that celebrated women as dancers and choreographers.

Con Brazos Abiertos (c) Paula Lobo (3) (1000x666)

Ballet Hispánico in Michelle Manzanales’ “Con Brazos Abiertos”. Photo by Paula Lobo.

Con Brazos Abiertos (c) Paula Lobo (1000x665)

Ballet Hispánico in Michelle Manzanales’ “Con Brazos Abiertos”. Photo by Paula Lobo.

Next, Michelle Manzanales’ “Con Brazos Abiertos” (2017) also used humor but this time to disguise pain.  The Mexican-American choreographer created an entertaining and poignant work about multi-cultural acceptance that was inspired in-part by New York poet Maria Billini-Padilla’s heartfelt poem Con Brazos Abiertos.

Danced to an eclectic mix of music from Julio Iglesias and a rendition of Radiohead’s “Creep” to recorded film dialogue, the work for over a dozen dancers followed a central female figure danced by Melissa Fernandez who, while a part of both Mexican and American cultures, felt like, or was made to feel like an outsider.

Delivered in alternating dance sections that showcased Mexican folkloric themes and contemporary dancing, all was not as it seemed in many of them. For instance, in a festive section with all the dancers donning sombreros, Manzanales had the dancers angle their heads as to appear if the hats were atop headless bodies.  This perhaps speaking to a feeling of being anonymous or perhaps playing into the stereotypical insult of members of an ethnic group all looking the same. It was a powerful statement. So too was an audio clip from 1980’s Cheech and Chong’s Next Movie of Cheech Marin singing “Mexican Americans love education so they go to night school and take Spanish and get a B”.  A self-deprecating bit of humor many in the audience laughed at, but the reference was also twinged with sadness as was Edward James Olmos recorded dialogue from the 1997 movie Selena saying, “We have to be more Mexican than Mexicans and more American than Americans.”

With “Con Brazos Abiertos,” Manzanales walked that fine line between audience-pleasing entertainment and social commentary brilliantly, delivering on both counts.

The program closed with Mexican choreographer Tania Pérez-Salas’ gem “3. Catorce Dieciséis” (2017).  A reference to “Pi” (the ratio of the circumference of a circle to its diameter), the work, in the program notes, is said to reflect on the “circularity of movement through life.”

3. Catorce Dieciséis (c) Paula Lobo (3) (1000x666)

Ballet Hispánico in Tania Pérez-Salas’ “3. Catorce Dieciséis”. Photo by Paula Lobo.

Set to music by Vivaldi and other Baroque composers, “3. Catorce Dieciséis” opened on five men and two women in white dancing stylized contemporary dance movement to harpsichord music. With dark atmospheric lighting and an approach akin to a dance piece one might see by Dutch giants Nederlands Dans Theater, the work had a sophistication and quality to it quite unlike the others on the program.

The visually stunning work also contained more than a few surprises in it like a section where two women in long black dresses (one in front of the other) began a unison dance in which a hidden dancer behind each of them reached around women to instantly tear off their black dresses revealing a red one underneath. The gasp-worthy effect was one highlight in a work chock full of memorable moments including an angelic scene of a trio of women that appeared heaven sent.

Throughout, Pérez-Salas’ technically rich choreography big on line, had the dancers moving through a variety of turns, jumps and floor work that brought beauty and mystery to the piece that bordered on genius.

Next on DANCECleveland’s 63rd season is Beijing Dance Theater, Saturday, February 2 and Sunday, February 3 at Playhouse Square’s Ohio Theatre. For information and tickets visit dancecleveland.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.

Leave a comment

Filed under Dance Reviews 2018

New Look Groundworks Dancetheater Launches 20th Anniversary Season With Two New Dance Works On Opposite Ends Of The Stylistic Spectrum


171122Groundworks0621

GroundWorks DanceTheater’s Gemma Freitas Bender and Tyler Ring. Photo courtesy of GroundWorks DanceTheater.

By Steve Sucato

With the retirement of longtime company members Felise Bagley and Damien Highfield plus the departure of dancer Taylor Johnson and the addition of three new dancers, Cleveland-based contemporary dance troupe GroundWorks DanceTheater is essentially a brand new company.  And after their upcoming Summer Series performances at Cain Park, July 20-22 and at Glendale Cemetery in Akron, August 3 & 4 as part of Heinz Poll Summer Dance Festival, star dancer Gemma Freitas Bender will also be departing the company leaving only Tyler Ring as the lone returning dancer from last season.

For followers of the 5-member tiny troupe with the big reputation for quality work, many of the faces may be new entering the company’s 20th Anniversary season, but the guiding force behind it founder and resident choreographer David Shimotakahara remains the same.

“I’m loving this new group,” says Shimotakahara. “Their spirit and energy is right on. They are very generous, curious and it feels right.”

New to the company this season are Columbus-native Alexis Britford who trained at the University of North Carolina School of the Arts’ high school classical ballet program and at Wright State University before dancing professionally with Dayton Contemporary Dance Company,  Robert Rubama, a recent graduate of George Mason University who hails from Virginia Beach, Virginia and is the founder of his own project-based dance troupe Terre Dance Collective, and Birmingham, Alabama-native Annie Morgan a recent graduate of Pittsburgh’s Point Park University.  While at Point Park, Morgan was the recipient of the Loti Falk Scholarship and was highlighted by Pittsburgh City Paper as one of eight local standout performances in 2017 for her mesmerizing performance in Adam Hougland’s “Cold Virtues”.

GWDancers

(L-R) GroundWorks dancers Robert Rubama, Gemma Freitas Bender, Annie Morgan, Alexis Britford and Tyler Ring. Photo by Beth Rutkowski.

The new look troupe will perform two new works as part of their 2018 Summer Series program at Cain Park and in Akron.

Half of that program will be comprised of a reprise of Shimotakahara and GroundWorks’ latest collaboration with ChamberFest Cleveland featured in ChamberFest’s June 30 concert at the Maltz Performing Arts Center entitled Dawn of a Revolution.  The two groups previously collaborated in 2015 on Tan Dun’s Ghost Opera (see video below). The theme of Dawn of a Revolution says Shimotakahara was organizing a program around the progression of ideas in the chamber music canon throughout time. ChamberFest’s Frank and Diana Cohen assembled several touchstone musical moments in that canon and connected them via solo piano sections from György Ligeti’s “Musica Ricercata” that was used in director Stanley Kubrick’s final film the 1999 erotic drama, ”Eyes Wide Shut”.

“It intrigued me that the spine of the work would be these solo piano moments,” says Shimotakahara.

In “al-one,” which is a play on words meaning “all” and “one” at the same time, Shimotakahara created movement for all five of GroundWorks’ dancers to seven of the eleven compositions included in the piece. Those stylistically diverse compositions include works by Beethoven, Ravel, Argentine composer Alberto Ginastera, and Arvo Pärt’s melancholy work “Spiegel im Speigel”.

Shimotakahara says his choreography for “al-one,” began with ideas related to the moment of inspiration and creation for an artist.  “That spark, is a revolutionary thing in my thinking,” he says; “A moment of change when something shifts in one’s perceptions and in the possibility of what can be.”  Expanding on that idea, the 50-minute abstract dance work then delves into the processes of creation from trial and error to how information and ideas are passed along to inspire new creative ideas.

Attending the June 30 premiere of the work, I found Shimotakahara’s choreography to be dialed back and more reserved than usual. It was as if Shimotakahara was purposefully giving over the spotlight to ChamberFest’s musicians and the music.  His back and forth choreography for the dancers, which had an ease and simple beauty to it, was delivered in small chunks and in various dancer configurations from solos to all five dancers performing as a group.

Audiences at Cain Park and in Akron will see and hear a different group of ChamberFest musicians perform the work live than had premiered it. One of those musicians will be dancer Freitas Bender’s husband William Bender who was recently appointed assistant principal violist with the Philharmonia Orchestra in London led by music director Esa-Pekka Salonen.

Says the soon-to-be-departing Freitas Bender, a Buffalo-native:  “It has been a wonderful blessing coming to Cleveland to be with my husband, and finding my way into Groundworks. David [Shimotakahara] provides his dancers with such a consistent work environment and a plethora of opportunities to work with well-known choreographers. I feel I have been enriched by the experience and will really miss the people and the community.”

35732304_2235989676633893_8020389600331563008_o

GroundWorks’s dancers with Banning Bouldin (center). Photo by Beth Rutkowski.

The other half of GroundWorks Summer Series program will be Nashville-Based choreographer Banning Bouldin’s commissioned work for the company, “Chronos”.

A 2002 graduate of Juilliard, Bouldin formerly danced with Lar Lubovitch Dance Company, Sweden’s Cullberg Ballet, Aszure Barton and Artists and Portland’s Rumpus Room Dance.  As a choreographer, she has created works for Nashville Ballet, Visceral Dance Chicago, Seattle’s Whim W’Him and her own contemporary dance company, New Dialect.

Stylistically on the other end of the dance spectrum to Shimotakahara’s “al-one,” Bouldin’s “Chronos” will follow somewhat in the choreographic footsteps of her previous catalog of highly physical dance-theater works.  Although she calls “Chronos” the most “concert dance” piece she has made in a long time, it will also challenge GroundWorks’ dancers’ physicality.

Inspired by the sudden death of a close family member as well as perhaps her own recent health issues, Bouldin says she has been thinking a lot lately about time and how we relate to it.

“We recognize the most meaningful moments in our lives through hindsight,” says Bouldin. “The pressure of keeping up with the clock can also cause us to miss meaningful moments as they are passing.”

Set to a varied soundscape including selections from Andrew Bird’s nature field recordings, “Echo Locations” and music by German composer Nils Frahm, the 25-minute work says Bouldin evolved into a non-narrative piece using a dance vocabulary illustrative of those themes of time and loss.

Of Banning working with GroundWorks Shimotakahara says: “It was quite astonishing to see somebody be able to articulate their ideas and the physicality of those ideas so clearly. It was also great for the new company to work in such an intensive way creating a positive bonding experience.”

GroundWorks DanceTheater performs its 2018 Summer Series dance program, 7 p.m., Friday, July 20 & Saturday, July 21 and 2 p.m., Sunday, July 22. Cain Park’s Alma Theater, 14591 Superior Rd., Cleveland Heights, Ohio. $25 Advance, $28 Day of show. groundworksdance.org/tickets, cainpark.com or (216) 371-3000. Post- Show Receptions: Free Beer Friday – Following Friday’s performance, free beer, wine and soft drinks will be offered. Dessert Reception Saturday – Following Saturday’s performance, a dessert reception featuring sweet treats will be offered. Ice Cream Sunday – Following Sunday’s performance, Mitchell’s Ice Cream will be offered.

The program repeats as part of the Heinz Poll Summer Dance Festival at dusk (8:45 p.m.), Friday, August 3 and Saturday, August 4. Glendale Cemetery, 150 Glendale Ave, Akron, Ohio.  Admission is Free. More information at groundworksdance.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.

 

 

 

 

 

 

 

 

 

 

Leave a comment

Filed under Airings