Monday, April 3rd, 2017 12:00 PM
CLEVELAND, Ohio -- Of the classic story ballets, perhaps the most interpreted and reinterpreted worldwide is Cinderella. Charles Perrault's universally familiar 1697 tale has inspired countless choreographers' productions, including Thierry Malandain's 2013 "Cendrillon," which enthralled viewers Saturday night at Playhouse Square's Ohio Theatre.
The 94-minute ballet in two acts, skillfully performed France's 20-member Malandain Ballet Biarritz, was a uniquely engaging and satisfying end to this year's DanceCleveland season.
Set to a more › recording of Vladimir Ashkenazy conducting the Cleveland Orchestra in a performance of Prokofiev's score for the ballet, Malandain's ballet was mostly faithful to the Cinderella story-line of an abused young girl forced to serve her cruel stepmother and stepsisters, but with embellishments including added elf and sylph characters, and several dream sequences.
Danced in a Euro-French contemporary ballet style a la Jean-Christophe Maillot's Les Ballets de Monte Carlo, the production used a minimalist set design of dozens of womens' black pumps hung in rows on curtains as a backdrop on three sides of the stage.
Act I opened with dancer Patricia Velazquez as Cinderella polishing her father's shoes while fondly remembering her late mother. Petite and powerful, Velaquez combined energy, spirit and a hopefulness in the face of tyranny that proved endearing.
Her daydream was then rudely disrupted by the show-stealing trio of Baptiste Fisson, Arnaud Mahouy, and Frederik Deberdt and as her bald-headed stepmother and stepsisters. Fisson, sporting a pair of forearm crutches, menaced as the stepmother poking and prodding Cinderella while her stepsisters, in full diva mode, taunted her.
Act I also introduced the statuesque and radiant Claire Lonchampt as the "Fairy," a.k.a. Fairy Godmother. Lonchampt's elegant in-line and technique mesmerized. Her character, along with the elves and sylphs, acted as a bridge between the despair of Cinderella's everyday life and the better life she dreamed of having.
Most memorable was a scene in which Velazquez as Cinderella piled on the dresses her stepmother and stepsisters had considered for the King's Ball just as the village's ballet master entered the room, prompting her to pretend to be a coat rack. Juxtaposed with this downtrodden image of Cinderella walking off the stage completely covered in garments were the clownish antics of the stepsisters who hilariously took over the ballet class.
The rest of the well-known story played out in Act II per usual with the Fairy helping Cinderella crash the Ball - this time entering on a Cyr Wheel as a carriage - and the handsome Prince, danced superbly by Daniel Vizcayo.
Adding to the imaginative flavor of the Ball scene: Cinderella's glass slipper was replaced by a black pump, dancers of both sexes were costumed as male guests, and the female guests were represented by rolling, headless mannequins draped with shimmery black gowns.
Highlighting the act were several flowing pas de deuxs performed with grace by Velazquez and Vizcayo, and a transformational happily-ever-after ending in which the bullying stepmother and stepsisters miraculously became good natured.
Steve Sucato, Cleveland.com
RELATED COMPANY: Ballet Biarritz
Wednesday, July 27th, 2016 12:00 PM
Listen to Pam Young on Sound of Applause talking about the 2016-2017 Season! more ›
Friday, April 1st, 2016 12:00 PM
CLEVELAND, Ohio – Everything you know (or think you know) about tap dancing is about to be invalidated.
Whatever stereotype, whatever past experience, whatever old image of tap you're cradling in your mind: Dorrance Dance, the latest offering on the 60th anniversary season of DanceCleveland, is certain to dash it.
Tap, proclaimed company namesake Michelle Dorrance, is not only America's oldest original dance form. It's also, she added, "so misunderstood.
"People have no more › idea. It has such a dynamic range. Anything is possible. Any stylistic form can be a part of tap."
Even the way Dorrance talks about tap is different. Where others speak of steps and choreography, Dorrance, by phone from the troupe's New York home, frames tap as a kind of music, referring to her feet as instruments.
Steeped in dance practically from birth, the North Carolina native and former New York "Stomp" cast member said she gravitated to tap and went on to found her own company in 2011 because tap aligns with her innate senses of rhythm and melody. Never mind that tap is unusually hard on the body, especially the feet and ankles, or that longevity hinges on being "obsessed" with "maintenance."
"I think that's why I excelled in it," Dorrance said. "I fell in love with it as a musical dancer. There's so much to explore with our two feet and bodies. There are always ways to innovate."
Evidence of that truth will be front and center at Cleveland Public Theatre, where Dorrance Dance will appear April 7-9 as a first-time co-presentation by DanceCleveland and DanceWorks 2016.
Whether or not the company performs its latest, still-in-the-works creations remains to be seen, Dorrance said. At a minimum, though, she said, the troupe will present two works from its touring rep: "SOUNDspace" and "Myelination."
The former, a long work calling for the full touring company, explores that very notion of tap as music. With help from at least one live musician, the troupe will combine various shoes and surfaces and tinker with the elements of music to create a work as that's both composition and dance.
The other, "Myelination," is both shorter and more theatrical, Dorrance said. Employing the full complement of musicians traveling with the troupe, the piece expands on the tap-as-music idea but also unveils tap's rich emotional and humorous dimensions. One prominent review of "Myelination" said the piece "showcases a bit of everything" and "pushes the boundaries of tap."
What makes tap uniquely American, Dorrance said, is its individual nature. Every performer has his own style, and improvisation plays a central role.
But it isn't just the dancers who exemplify individuality. The audience does, too, at least in Dorrance's case.
"Everybody has their own favorite parts of the show," Dorrance said. "I love it."
Zachary Lewis, The Plain Dealer
RELATED COMPANY: Dorrance Dance
Friday, April 1st, 2016 12:00 PM
In the world of dance, tap has long been treated as the bastard stepchild. Someone looking to not only correct what she feels is an injustice but also redefine the style for future generations is Michelle Dorrance.
The New York City-based tap dancer, performer, choreographer, teacher and director brings her Bessie Award-winning company, Dorrance Dance, through Northeast Ohio for performances as part of DanceWorks '16. DANCECleveland, in collaboration with Cleveland Public more › Theatre, presents Dorrance Dance April 7 through 9 at Gordon Square Theatre.
"Dorrance Dance is basically a tap dance company, but a lot of my dancers do multiform dance," said Dorrance, calling from outside of New York City. "There's a great tap community in Cleveland but we are interested in bringing a much deeper and more dynamic respect for the art form to the entire country.
"It's the first American art form. There's a much larger agenda outside of just choreography and composition. What I love about tap is it's both music and movement at the same time. I think one of the reasons we're really excited is because we get to connect with audiences surrounding our passion for the form."
While tap dance is one of the first styles performers are introduced to as young children, this wasn't always the case. Dorrance said a bias towards tap is tied to derogatory racial stereotypes from a century ago involving African-American and Irish immigrant street performers.
"Eventually, Vaudeville and movies showed tap, but people saw it as just entertainment and not necessarily artful," Dorrance said. "That's another thing we aim to deconstruct."
For most folks, tap dance begins and ends with Sammy Davis Jr. and Gregory Hines. Dorrance offers perspective on their importance to the medium.
"Sammy (was) truly an incredible tap dancer and Gregory (was) a revolutionary," said Dorrance, who was recently named a MacArthur Fellow and was a recipient of the MacArthur Genius Award. "People don't realize Gregory revolutionized the rhythmic sensibility. He was the first one to bring in funk. He was a funk drummer in a band at some point, but he really changed the way we dance. He's the reason why we dance the way we dance now."
Dorrance Dance doesn't shy away from presenting a new tap aesthetic, which draws on street, club and experimental dance forms, as well as a variety of music. The visionary's love of tap began as a child. Mentored by Gene Medler, she grew up performing with the North Carolina Youth Tap Ensemble while studying dance at The Ballet School of Chapel Hill.
As far as audience members attending the upcoming Dorrance Dance performance, the choreographer promises they will leave feeling wowed.
"You can look forward to some bad-ass improvisation," Dorrance said. "One thing I value when it comes to choreography is tap-dance improvisation. That's the crux of creation. Every single one of my dancers improvises at least a little bit in the show, and I like to feature some of the more creative improvisational dancers.
"That's something I love. Seeing that improvisation juxtaposed with choreography is also something audiences never get to see. There's also exciting rhythmic composition. I love tap dance as dance, but I also love it as music. We hope audiences leave a show saying, 'Oh my God, it's music.'"
When: 8 p.m. April 7 through 9.
Where: Gordon Square Theatre, located at 6415 Detroit Avenue, Cleveland.
Tickets: $12 to $30.
Info: 216-631-2727, ext. 501 or cptonline.org.
John Benson, The News Herald
Tuesday, March 1st, 2016 12:00 PM
CLEVELAND, Ohio – If dance should be dazzling and entertaining, then the performance last weekend by Malpaso: A Cuban Dance Project was a home run, another success on the 60th anniversary season of DanceCleveland.
If, however, dance should also nourish or impart some meaning, then the evening, the first Cuban act in DanceCleveland history and the launch of a US tour, came up a bit short.
This was the fundamental tension Saturday more › night in the Ohio Theatre at Playhouse Square: relishing Malpaso's physicality and dynamic energy while also feeling strangely unsatisfied, yearning for greater substance.
"Ocaso," the opening work, came closest to covering all bases. Emotionally touching, visually captivating, and intriguing choreographically, the duet by artistic director Osnel Delgado Wambrug was the lone complete package.
Circular patterns predominated. In addition to a broad cycle of unison and solo movements, breaking apart only to end up embracing or back arm-in-arm, Wambrug and dancer Beatriz Garcia Diaz also traced smaller circles in the form of lyrical, looping motions and fluid, interlocking arms, all the while modeling intensity and elegance.
Rarely has a dance couple behaved so realistically. Performing to minimalist string music on a bare stage, the pair embodied the intimate give-and-take that is the essence of every relationship.
Such conclusions are harder to draw from "Por Que Sigues" ("Why You Follow") and "24 Hours and a Dog," the other two pieces on the program. Though much longer, and inviting in their ways, they amounted primarily to dances for the sake of dancing.
That's not such a bad thing, of course. "Why You Follow," a four-scene work by Ronald K. Brown, of Evidence fame, was plenty engaging, if a bit homogeneous, set to rhythmic dance-club music and stocked with wave upon wave of movement recalling African tribal dances. If the title of the work were a question, the answer by Malpaso Saturday would have been simple: because it's fun, and who they are.
"24 Hours and a Dog," a collaborative creation, had the added benefits of live music and a storyline. Thus, even when the work overstayed its welcome, one had the basic gist of a day in the life of a Cuban dancer and the vibrant, brassy wailing of Arturo O'Farrill and his Afro Latin Jazz Ensemble to fall back on.
The structure may have been hard to follow, but the spectacle was a delight. Through an enormous variety of movement alternately literal and abstract, somber and playful, rigid and fluid, the picture emerged of a profession defined by extremes.
In "24 Hours," the limitations of life in Cuba and the tedium of exercise and rehearsal contrasted sharply with the highs of performance and the perks of dance company membership. Often, the dancers seemed mostly to be reveling in their own highly-developed physical abilities and celebrating Malpaso's expanding freedoms as a troupe. As a work of art, "24 Hours" wasn't deep, but as a dance, it was a joy.
Zachary Lewis, The Plain Dealer
RELATED COMPANY: Malpaso: A Cuban Dance Project