Nearly 100 years ago, the Denishawn dance company presented its first performance, beginning a tradition of nurturing dance and choreographic talent that made the company one of the most influential in the history of modern dance. Today, the Atlanta Ballet is following in Denishawn’s footsteps with its New Choreographic Voices series.
The Atlanta Ballet offered an opportunity to talk with New Choreographic Voices choreographer Tara Lee and dancer John Welker, Thursday, April 19, at the inaugural Pointe of View lecture at the beautiful (and Gold LEEDS certified) Atlanta Ballet Michael C. Carlos Centre in Atlanta. The talk was moderated by Kennesaw State University Director of Dance Ivan Pulinkala, the moving force behind the association between the Ballet and the University, who spoke about the commitment demonstrated by the ballet to the growth of its performing artists.
Tara Lee, a 16-year member of the Atlanta Ballet Company, is one of three new choreographers featured on the upcoming New Choreographic Voices performance May 18 – 20 at the Woodruff Arts Center. Ms. Lee described Pavo, her upcoming world premiere, with such enthusiasm that I came away determined to see it. And we are in for an additional treat, as the work will also feature a live performance of a new musical score by Georgia State professor Nickitas Demos, who worked closely with the choreographer and dancers. The choreography, Ms. Lee explained, began with an exploration of cycles, and ultimately became about breaking out of a cycle. Her central image for the choreography is the peacock, which represents a link to the divine in Eastern cultures, chooses his mate for life, and exhibits “mad dancing before a rainstorm.” The peacock can eat poisonous snakes, so the work also investigates overcoming poisonous or negative tendencies within each of us. It became clear that there will be intriguing layers of imagery and meaning to this new work.
John Welker, who will perform in Pavo, is a 17-year veteran of the company. He spoke about the interaction between choreographer and dancers in creating the piece, and how such collaborations empower the dancer and support the choreographer. He says you can watch the artists grow when they wrap their minds around aspects of movement other than the daily quest for technical perfection. Mr. Welker is no newcomer to crashing through barriers; he is the visionary behind Wabi Sabi, under the Atlanta Ballet umbrella. Like New Choreographic Voices, Wabi Sabi is also a venue for experimentation, providing opportunities for emerging Atlanta choreographers to work with accomplished dancers. The environment becomes a partner in the outdoor presentations that shorten the distance between artist and audience.
When asked what the Atlanta community can do to support these new dance dimensions, there were two recommendations: Bring a friend or colleague who hasn’t seen dance before (with the reasonable ticket prices, it will be easy to do). Then, when you see something you like, put it out there: blog it, Facebook it, Tweet it, send an email to your friends, and let the company know so they can bring you more of the things you want to see. Join me at the Woodruff Arts Center in May. New Choreographic Voices promises to be a captivating experience.
“20/20:Visionary”: Looking Back, Looking Forward
Last weekend (March 18-20) the Atlanta Ballet gifted the city with “20/20: Visionary,” three pieces, including a world premiere, presented at the Cobb Energy Center.
The world premiere, “Playground,” by British choreographer Douglas Lee, belied its name by being a shadowy piece danced between upright, rolling chalkboard set pieces. Prepared for a lighthearted, joyful expression of childhood, I was surprised that the work instead exposed the darker side of childhood memories. There were some light moments, such as the towering billboard inscribed with multiple lines reading, “Jackie must remember the steps” – clearly a humorous aside about Jackie Nash, one of the most capable company members and perhaps the quickest study in rehearsal. There were some easily-seen choreographic devices–a lot of theme and variation, even more pushing around of set pieces–but there were a few exceptional moments as well, including intricate, slow-motion manipulation of a dancer’s body by another dancer.
The opening work, “Boiling Point,” by Darrell Grand Moultrie, was playfully performed at breakneck speed. Dancers are often told to “make it look easy,” and the company took that concept to heart. Highlighted against the men in black costumes, the women wore bits of metallic fabric, providing splashes of intense color and exposing powerful bodies with long muscles. The piece began with the stage space open almost to its fullest, and the dancers running across like a rushing river. They rolled, twisted, turned, and slid like water itself. The choreography juxtaposed synchronicity with counterpoint, traditional with innovation. There was a gargouillade, rarely seen even in classical ballets. The lines of the bodies were critical to the piece, and often layers deep. The flow was almost nonstop, with only an occasional flick of a wrist or toss of a head to provide momentary stasis. The standout was Christian Clark, who sometimes nearly managed to integrate himself into the group but then something distinctive and powerful in his dancing drew the eye to him again.
“Home in 7,” a work by Amy Siewert, closed the concert. A portrait of Atlanta, the ballet was a rich tapestry woven from music, spoken word, and movement. Performed in 7 segments to a libretto written and performed by Marc Bamuthi Joseph and an intriguing, haunting string score composed and performed by Daniel Bernard Roumain, the dance, too, was a poem, shimmering like summer moonlight on the Chattahoochee. John Welker opened the ballet with tiny explosions of movement “Secrets.” Perhaps the most enchanting segment was “Home of the Braves:” 5 men using baseball imagery, holding their formation as they slid precisely between pitches and catches. “Red Clay” evoked August nights, intolerance, and redemption—Atlanta history, a story familiar to many. I first saw this ballet in 2011, and it has grown in depth as the dancers have matured technically and emotionally. Atlanta loves its ballet company, and never more than when it showcases its home city.
John McFall is ending his tenure with the company at the end of this season. For newcomers to Atlanta Ballet offerings, this will have been a dynamic performance. For long-time supporters, it will have been an opportunity to reflect on his legacy. There are a couple more opportunities to see the company under his watch, and then he will pass the torch to Gennadi Nedvigin, the company’s fourth artistic director. Stay tuned!
Atlanta Ballet’s “Nutcracker” Enchants
This year, the Atlanta Ballet marks the 20th anniversary of Artistic Director John McFall’s “The Nutcracker.” Attendance is a familiar holiday season tradition for many area families, who line up to see the changes and improvements that occur each year. While the story of the young girl who receives a Nutcracker-who-comes-to-life is familiar to thousands of ballet fans, there are many versions. The Atlanta Ballet’s production is richly designed and elegantly danced.
Originally a failure in St. Petersburg, Russia, in 1892, “The Nutcracker” is now a holiday staple in the United States. Nobody dances it any better than the Atlanta Ballet, and nobody loves it more than a matinee house full of children! Whether they are watching their peers on-stage; hearing the Georgia Youth Choir singing in the Snow scene from the boxes; absorbing the live music from the Atlanta Ballet Orchestra in the pit; laughing with joy at Mother Matrushka’s children, emerging from under her skirts; screaming with glee at the capering Chinese Dragon; or reaching far above their heads to capture a snowflake, the children are enraptured for the two-plus hours the ballet is on the stage—and the adults are mesmerized right beside them.
There are some elements of this version of the ballet that are not my favorites, but the dancers didn’t make that list. Casting is impeccable, and, for me, part of the excitement of revisiting the old standby is seeing the dancers mature, improve, and demonstrate new abilities. The other part is watching the children captivated by the allure of the Fabulous Fox Theatre, the live music, the dancers, and the dancing—and being enthralled myself.
My list of this year’s positives goes like this:
John McFall has to contend with decreasing audience attention spans as we move further into the age of technology, and he tweaks Act I each year to make it more exciting. It is fast-paced. You may want to see the ballet more than once to catch everything! The foreshadowing during Act I was clear and well-conceived, and had the audience eagerly anticipating the return of the dancers to the stage after intermission.
Kurtis Blow and the Hip Hop Nutcracker
A holiday mash-up for the entire family, The Hip Hop Nutcracker, a contemporary work set to Tchaikovsky’s timeless music, embarks on an international tour on the strength of last December’s sold-out performances of the world premiere at New Jersey Performing Arts Center (NJPAC) and United Palace of Cultural Arts (UPCA) in New York City. The Hip Hop Nutcracker will make a stop at Atlanta’s Fox Theatre Saturday, Nov. 28 at 2 p.m.
The Hip Hop Nutcracker is directed and choreographed by Jennifer Weber, artistic director of the all-female hip-hop crew Decadancetheatre in Brooklyn. It is adapted to today’s New York by Mike Fitelson, executive director of UPCA – the work’s original producer – and includes hip-hop interludes remixed and reimagined by DJ Boo and violinist Filip Pogády.
For its stop at Atlanta’s Fox Theatre on Saturday, Nov. 28, The Hip Hop Nutcracker features special guest MC Kurtis Blow, one of the founders and creators of recorded rap music.
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