The musical Chicago ran in Atlanta at the Cobb Energy Performing Arts Centre from October 4th to the 7th. I attended the opening performance. Many others had the same idea, because the house was nearly filled to capacity. Smart people!
If I had seen this show when it was first premiered, I would have been singing the praises of the innovative choreography and staging. Now, at times, it felt like a museum piece. That may be because the ideas that made it unique have been “borrowed” many times over in the intervening years.
Chicago is a dance lover’s musical. For those of you who have never seen it, Chicago is the story of two aspiring showgirls who are in Cook County Jail under suspicion of murder in Prohibition-era Windy City, told through a series of vaudeville-style vignettes. The orchestra was onstage, serving as a crucial part of the action. Typical of Roaring Twenties Chicago, the characters are self-promoting and corrupt, but many of them have an endearing side as well. And they can dance. And sing. Yes, they can!
The original show was a musical version of a 1926 play, with choreography by Bob Fosse and Ann Reinking, opening on Broadway in 1975. Choreographed in Fosse’s unmistakable movement style, the dance is witty, provocative, and clever. The dancers made the movement extremely clear–Fosse and Reinking’s intent was very apparent to the audience in each segment. They danced with abundant energy and personality. There were many references to other productions of the time, such as the Ziegfeld-style feather fans that followed Mitt Romney look-alike Billy Flynn (played by Tony Yazbeck) in several scenes.
The two leading ladies, Terra C. MacLeod (Velma Kelly) and Tracy Shayne (Roxie Hart) did a superb job of matching their dancing and singing styles to their characters’ personalities, still standing out individually when they danced at the same time.
The highlight of the show was Matron “Mama” Morton, played by Kecia Lewis-Evans. She had a presence that was beyond powerful, with the ability to switch between personas depending on the character exchanges, a voice bigger than the theatre, and range to match. She even danced a little, while belting out that amazing sound. She captivated me. I wouldn’t call what she did “acting;” it was so integral to her presentation that I never saw her as creating a character. She just was, and she reeled me right in.
The chorus women characters was more defined than the men’s characters. All the characters in the show seemed to be focused on one thing: being noticed. I suppose that is a desire we all have; we all want to feel we have made a contribution and we hope that it will be big enough that we will be remembered. The intensity of their desire for visibility permeated the dance and made it bigger than life. The audience loved it and jumped to its collective feet at the end to give the cast a lengthy standing ovation.
This show was a funny, whimsical, satirical, poignant commentary on life. It felt like a look at a photograph of a time gone by (maybe I got that from the picture frame set that surrounded the stage). Yet it also felt like a photograph of a story that could happen today, with the addition of some great, upbeat music and dance numbers. I was glad I devoted my evening to it.
“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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