Tag Archives: MOVEMEDIA

From Pre-Columbian Statues to a Purple Velvet Sofa and Great Dancing, ‘Best of’ Program had the Goods


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Grand Rapids Ballet dancers in Annabelle Lopez Ochoa’s “Memorias Del Dorado.” Photo by Chris Clark.

Grand Rapids Ballet – Best of MOVEMEDIA
Peter Martin Wege Theatre
Grand Rapids, MI
March 19, 2016

Reviewed by Steve Sucato

To celebrate the fifth season of Grand Rapids Ballet’s successful MOVEMEDIA dance series – a showcase of new works from contemporary choreographers from around the world – artistic director Patricia Barker put together a best of program that included some of the series’ most popular works.

Opening the jam-packed program was an excerpt from sought-after choreographer Annabelle Lopez Ochoa’s “Memorias Del Dorado” (2014).

A crack of thunder and the sound of a woman’s whispered voice ushered in a scene where nine female dancers stood posed like pre-Columbian statues. A lone male dancer moved about them marveling at their beauty as they came to life in front of him and engaged in unison choreography. Built into that choreography was a leaning move a la Michael Jackson’s “Smooth Criminal” music video where the dancers tilted to the side at an extreme angle while their feet remained stationary.

Injected with movements and poses reminiscent of ancient drawings and sculpture, “Memorias Del Dorado” had a wonderful primitive feel carried into the 21st century by Lopez Ochoa. Solid performances were given by the entire cast including dancer Ednis Gomez and mighty-mite Julia Turner, who in a section with eight males dancers, was tossed about like a piece of found treasure for all to see.

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Grand Rapids Ballet dancer Laura McQueen Schultz in Robyn Mineko Williams’ “One Take.” Photo by Chris Clark.

Next, the company reprised former Hubbard Street Dance Chicago dancer Robin Mineko Williams’ touching “One Take” (2014). The cinematic contemporary dance work like that of an old family movie played back scenes recalling one man’s cherished memories of love and times gone by. Playing on the notion of our lives as being a one take movie, Williams created a world where dancer Nicholas Schutz and Steven Houser as his younger self, drifted between dreamlike vignettes of encounters with an effervescent 1920’s flapper portrayed by Cassidy Isaacson and with his apparent soulmate portrayed by Laura McQueen Schultz.

Full of charm, wit and poignancy, “One Take” is a gem in GRB’s ever-growing repertory that is worth seeing time and again especially its spellbinding closing duet danced brilliantly the two Schultz’s to Claude Debussy’s moving “Clair de Lune.”

A marathon in itself with several false endings, Kirk Peterson’s finale for his 2013 ballet, “Amazed in Burning Dreams,” was a real barnburner. The group ballet for 14-dancers which closed the program’s first act was danced to music by Philip Glass and was awash in fast, precision footwork, sharp turns and a whole lot of energy.

An excerpt from Olivier Wevers’ “The Sofa” (2012) then opened the program’s second act. Danced by Mr. Schultz and Yuka Oba, the wonderfully-crafted duet featured a purple velvet sofa as its focal point.  As if a symbol of the pair’s complicated relationship, the dancers struggled to sit together on it. The two perched, leaned and lay on it and pushed about in a tension-filled tango of sorts. The duet’s genius coming in the carefully cultivated realization that Oba’s character cared more about the sofa than Schultz’s character.

Another duet, Thom Dancy’s “You’ve Gotta Be Kidding Me!” (2013) followed. Set to music by Beethoven, the humorous duet featured the short-in-stature Atilla Mosolygo and the much taller Darrell Haggard in a zany battle of wills.  In it, retired company star Mosolygo, who is now artistic director of GRB’s Junior Company, deliciously portrayed a mischievous soul trying everything to get noticed by Haggard. Mosolygo made faces at, climbed on, atop and hung from Haggard trying to get a rise and reaction from him. Nothing worked, even slap to his behind. Finally Mosolygo’s character fell before Haggard grabbing hold of his legs and audibly sobbing which elicited a sympathetic reaction from him. The clever duet was a joy to watch with both dancers displaying perfect comedic timing and restraint.

The lone new work on the program, “Joe & Ida,” came from choreographer Penny Saunders who previously created “base ∞” for MOVEMEDIA 2015. As with many of Saunders’ works “Joe & Ida” was danced to an eclectic soundtrack including music from composers Thomas Ades and Michael Nyman as well as former The Moldy Peaches singer/songwriter Kimya Dawson.

Six dancers (3 men, 3 women) essentially portrayed one romantic pairing in a series of engaging trios and duets that expressed a range of emotion. Saunders’ inventive contemporary movement sat well on the dancers including new arrival Matthew Wenckowski who impressed along with dancers Isaac Aoki and Caroline Wiley.

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Grand Rapids Ballet’s Steven Houser, Cassidy Isaacson and Mark Dave Naquin in Brian Enos’ “Nae Regrets.” Photo by Chris Clark.

Best of MOVEMEDIA concluded with Brian Enos’ “Nae Regrets” (2013). A Scottish-flavored travelogue set to updated traditional Scottish songs arranged by Martyn Bennett, the work was a series of vignettes that, like Williams’ “One Take,” reflected on one man’s (a kilt-wearing Thomas Seiff) exploits. Playful and spirited, the work had many delightful moments including Isaacson, like a leprechaun in hip-hugger pants, teasing a group of drunken men, and the statuesque Morgan Frasier acting as a siren luring men into misbehaving.

Not only a creative incubator for choreographers and a well-spring of new challenges for GRB’s dancers, MOVEMEDIA and the repertory generated from it, has helped build a reputation at home and nationally that Grand Rapids Ballet is now a place where exciting new works are taking place. For a regional company with bigger aspirations there can be no better calling card.

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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With ‘MOVEMEDIA’ Grand Rapids Ballet pushes boundaries and audience expectations


Grand Rapids Ballet dancers in Sagi Gross' "One Charming Night."

Grand Rapids Ballet dancers in Sagi Gross’ “One Charming Night.”

Grand Rapids Ballet
MOVEMEDIA Program One
Peter Martin Wege Theatre
Grand Rapids, MI
March 13, 2015

Reviewed by Steve Sucato

For the first installment of Grand Rapids Ballet’s annual MOVEMEDIA series for the 2014-2015 dance season at their Peter Martin Wege Theatre, GRB artistic director Patricia Barker chose a mix of choreographers new to the contemporary dance series with one familiar to it and Grand Rapids Ballet audiences.

The boldest of the lot in terms of stretching both the dancers’ and audiences’ comfort level was newcomer Gross. The Israeli/Dutch choreographer and artistic director of Amsterdam-based Gross Dance Company had two works on the program beginning with the U.S. premiere of “One Charming Night” (2012). The work’s title taken from a passage in Henry Purcell’s opera The Fairy-Queen that reads: “One charming night gives more delight, than a hundred lucky days,” ironically was not about delight, but rather the emotionally charged feelings of those on either side of a military conflict.

Set to music by Purcell, Oum Kulthoum and Max Richter, the work began with eight dancers in street clothes moving as a unit briskly walking about the stage. The choreography was a mix of stylized pedestrian movement and gestures. It had its dancers jutting their heads forward like chickens, posturing like apes and hopping backwards all to a vibrant tune by late Egyptian singer Kulthoum.  Gross’ choreography was at once similar in movement quality to other contemporary Israeli choreographer’s works, but also managing to be unique in its organization and delivery.  Projected behind the dancers like a moon in the night sky, was a small circular projection of the infrared shelling of a military target that grew larger and more defined as the work progressed.

Soon dancer Cassidy Isaacson was singled out from the group.  She stood center stage looking nervous as the others circled her like predators.  Isaacson’s gaze followed them occasionally snapping her head round to keep track of all of them.  Gross’ simple yet highly effective choreography along with Isaacson’s demeanor and facial expressions created a palpable sense of danger. Isaacson was then joined by dancer Yuka Oba, both under the scrutiny of the others.  The quietly powerful and engaging work then shifted gears turning its attention outward at the audience with Oba now circling the stage intensely glaring out into the audience with an expression of indignation as electronic music a la England’s The Prodigy hastened her pace.

GRB’s dancers were capable and marvelous in Gross’ work which resonated a kind of understated brilliance that echoed long after the curtain fell on its final images of the circular projection grown to immense size showing the flashes of explosions accompanied by sounds of gunfire and chaos, the  dancers with their backs to the audience clustered staring at it. And as the cacophony of sound began to fade, Oba once again took to circling the stage piercing the audience with an accusing gaze.

Grand Rapids Ballet dancers Ednis Gomez and Yuka Oba in Sagi Gross’ “Strings.”

Whereas Gross’ “One Charming Night” dealt with emotions caused by global events, the world-premiere of Texas-based choreographer Gina Patterson’s “To the River” explored images of personal introspection. The somewhat surreal contemporary ballet for eight men and seven women set to music by singer-songwriter Peter Bradley Adams poured forth fleeting scenes of interpersonal relationships. Some of the ballet’s dancers fluctuated between being characters in the scenes and being scenery elements for them. In one section involving a pas de deux between Oba and dancer Isaac Aoki, the other dancers formed a hill of boulders upon which Oba stood staring out into an imaginary river contemplating her life.

Patterson’s choreography for the dancers was for the most part graceful and pretty within an atmosphere that oozed melancholy.  Another scene playing into that mood was that of Isaacson in a struggle with dancer Ednis Gomez.  As Gomez tried to corral Isaacson to him she pulled away and repeatedly dropped to the floor as they walked side-by-side he lifting her to have her fall again.

The ballet culminated in a ghostly final scene danced to Adams and Caitlin Canty’s haunting song “To the River” in which Aoki stood atop a hill of dancers gazing outward to a sad Oba as several female dancers lifted by their male partners into backward layouts spun in a circle like the pieces of a slow moving  mobile.

For the premiere of Gross’ second work on the program “Strings,” the choreographer said prior to its performance that he had as its inspiration the idea of a ballerina being electrocuted.  The duet danced by Oba and Gomez played into that imagery with Oba en pointe being held in place by Gomez and violently shaking one leg as she raised it and quickly lowered it back to its start point.  In between repeating that movement, she sharply snapped her head to one side and back and shot one arm into the air and down in a similarly sharp fashion.  Oba’s deadpan facial expression and arms and hands extended down in front of her mimicking her taut legs made her look robotic.  Gomez then got into the act shaking one hand violently as if also being electrocuted.  The pair then moved off their stationary start point and began producing rigid contemporary movement that had one or both of them crab walking, swooshing like a speed skater and bending into stretching exercises all to the music of Franz Schubert.  The brief and quirky duet ended with the emotionless Oba returning to her opening pose and coming down from pointe and abruptly marching off stage which sent chuckles through the audience.

The program closed with the world premiere of Andrew Bartee’s “People are disappointing thank you” set to music by Alva Noto, Peter Hansen and Nils Frahm.  In front of three flat panels, thirteen dancers all in white moved like malfunctioning “fembots” from the Austin Powers film series to a soundscape of noise dotted with dropouts as if listening to it through a moving fan.

Bartee’s choreography for the piece ran through various dancer groupings and was sharp and angular, sprinkled with repeating phrases such as a step, shimmy and stare. And like the bright lines and geometric shapes that began to crawl along the back panels populating them like a computer screensaver, the work became mesmerizing.

In the end, MOVEMEDIA Program One proved a most interesting and diverse program danced splendidly by GRB’s dancers; one that pushed the growth of the company and audience expectations of it.

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Grand Rapids Ballet’s ‘MOVEMEDIA I’ to feature new contemporary dance works by Sagi Gross, Gina Patterson and Andrew Bartee


Photo courtesy of Grand Rapids Ballet.

Photo courtesy of Grand Rapids Ballet.

By Steve Sucato

For the fourth year running, Grand Rapids Ballet’s cutting-edge repertory series MOVEMEDIA returns to GRB’s own Peter Martin Wege Theatre. The first of two programs in the series, MOVEMEDIA I runs March 13-15 and will feature four works that stem from their choreographer’s personal experiences but also speak to universal themes of conflict, disappointment and reflection.

The MOVEMEDIA series created by GRB artistic director Patricia Barker seeks to open the company’s audiences to the contemporary dance of today by offering select choreographers from around the globe the opportunity to create new work or expand/rework existing ones.  Past choreographers in the series have included Annabelle Lopez Ochoa, Olivier Wevers and Robyn Mineko Williams.

In recreating his 2009 work “One Charming Night,” Israeli/Dutch choreographer Sagi Gross, artistic director/choreographer of Amsterdam-based Gross Dance Company, says he developed a shorter 20-minute version of the work using nine dancers but that contains more dances. The first of two of his works on the program, “One Charming Night” explores Gross’ conflicted feelings over military actions in the Middle East as well as what he feels are “generalizations in overheated debates in the media” about that region.

Set to music by Henry Purcell, Oum Kulthoum and Max Richter, the work utilizes Gross’ own brand of articulated contemporary dance movement that blends a mix of dance styles with twitchy gestures and exaggerated pedestrian movement. The work also makes use of video projections created by Gross including a green moon that during the piece distorts and morphs into an exploding tank shell from a night shoot of a military ground offensive. That image ties into the work’s ironic title taken from the lyrics in Purcell’s opera “The Fairy-Queen” which reads “One charming night gives more delight, than a hundred lucky days.”

Choreographer Sagi Gross working with GRB dancer Connie Flachs. Photo courtesy of Grand Rapids Ballet.

Choreographer Sagi Gross working in-studio with GRB dancer Connie Flachs. Photo courtesy of Grand Rapids Ballet.

Gross, who began choreographing at age fifteen, says his path to becoming a choreographer began as far back as age three when listening to classical music with his mother and seeing moving images and colors in his head. The avant-garde choreographer in addition to creating works for his own company has worked with Israel’s Bat-Dor Dance and Dede Dance Companies and The Netherlands Opera House.

For the world-premiere of his second work on the MOVEMEDIA I program, “Strings,” Gross turned to an unfinished 2012 work that featured dancers from the English National Ballet.

“I had a vision of a ballerina getting electrified (electrocuted),”says Gross.

The 8-minute pas de deux set to music by Franz Schubert will be danced by GRB’s Yuka Oba and Ednis Gomez and plays with images of a ballerina in pointe shoes whose shaky movements go beyond what is expected.

Says Barker of Gross’ two works: “They are going to be bold and audiences will be both challenged and entertained.”

Joining Gross on the program will be award-winning choreographer Gina Patterson. The Texas-based choreographer has created over 80 original works in her career for companies such as Atlanta Ballet, Cincinnati Ballet, Nashville Ballet and Ballet Austin.  Her new work for GRB “To the River,” in collaboration with folk-pop Americana singer-songwriter Peter Bradley Adams is about letting go she says. “We (she and Adams) saw the piece as sort of a solitary expression,” says Patterson. “The river is a place to contemplate life’s questions.”

Choreographer GIna Patterson working in-studio with GRB dancers in studio on "To the River". Photo courtesy of Grand Rapids Ballet.

Choreographer GIna Patterson working in-studio with GRB dancers in studio on “To the River”. Photo courtesy of Grand Rapids Ballet.

The 15-minute work for eight men and six women continues Patterson’s affinity for creating dance works connected to and inspired by nature. “To the River” gets its name from a haunting 2013 tune written and sung by Adams and Caitlin Canty that is used as a jumping off point for the rest of the original music used and visual imagery contained within the work. A series of duets, quartets and overlapping of stories flow like a river throughout the piece, appearing and disappearing into silvery darkness.

Rounding out MOVEMEDIA I’s offerings will be Ballet BC (British Columbia) dancer/choreographer Andrew Bartee’s new work for GRB, “People are disappointing thank you.”  The 17-minute ballet for thirteen dancers in tennis shoes set to music by Peter Hansen, Alva Noto and Nils Frahm is about being “disappointed with people at all different levels,” says Bartee.

Grand Rapids audiences may remember the 24-year-old Washington-native’s ballet “Arms That Work” that GRB performed in 2013’s MOVEMEDIA.

Says Bartee, named one of Dance Magazine’s “25 to Watch” in 2015, “I love coming here (GRB), it is such an exciting environment in the studio and everyone works so hard and will literally try anything.”

It’s a sentiment echoed by all of the program’s choreographers and one that is sure to pay dividends to the program’s audiences.

Grand Rapids Ballet presents MOVEMEDIA I, 7:30 p.m. Friday, March 13, Saturday, March 14 and 2 p.m. Sunday, March 15. Peter Martin Wege Theatre, 341 Ellsworth Ave SW, Grand Rapids, Michigan. $12-25. (616) 454-4771 or grballet.com.

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