Tuesday, September 29th, 2015 12:00 PM
AKRON, Ohio -- The show isn't all that's going on this week at DanceCleveland. Beyond a performance Sunday, Les Ballet Jazz de Montreal is also moving forward with a full-on residency.
No change of venue or switched dates. Even after being shut down recently by the University of Akron, E.J. Thomas Hall is still hosting Canada's premiere dance troupe, in all its multi-faceted glory.
"News like that can mean tremendous change in more › our schedule," said Louis Robitaille, the group's artistic director. "But in fact everything stayed the same. It should be pretty smooth."
Smooth for us, anyway. Les Ballets Jazz may not have had to reschedule or relocate its performance or classes here, but it still arrives carrying the onus of its great reputation, of being a company known for mounting complex, boundary-straddling presentations.
Not seen here for a decade, the company returns in DanceCleveland's 60th anniversary season having not only to live up to its usual high standards but also to prove that it has kept up with the times and a world of dance that Robitaille said has changed "dramatically, at a speed that is unbelievable."
"Everywhere we go, we are known and appreciated, It's a bit stressful. You want to fulfill the expectations.
"But we also want to go higher and further, and surprise the audience in some respect. We like to mix styles and disciplines, to be really contemporary. It's very tricky, all those challenges."
Of course, Ballets Jazz wouldn't still be around 43 years after its founding if it weren't uncommonly adept at meeting those challenges. Nor would it have been invited back if it didn't already have several varied, intriguing solutions.
On its program Sunday are three examples of how Ballets Jazz has adapted to what Robitaille calls "the rhythm of the now."
With "Rouge," by Rodrigo Pederneiras, the company will joyfully acknowledge its geographic roots in a dance celebrating the land and native people of Montreal. Benjamin Millepied's "Closer," by contrast, is all about two people, the two dancers engaged in a lengthy, tour-de-force duet set to music by Philip Glass.
Last comes "Kosmos," a substantial new work by choreographer Andonis Foniadakis. To drive home the image of a frenetic, fast-paced world, Ballets Jazz will exhaust itself in an ode to the energy and interconnectedness of the big city. "When they finish this ballet, they are completely dead," Robitaille said.
Not completely dead, mind you. Ohio dance lovers have merely to return home after the performance but Ballets Jazz must hit the road once more, for a string of appearances in Los Angeles, Canada, and around Europe, where they'll do it all over again and again.
"We have much work to cover, many programs," Robitaille said. "The earth is our playground."
The Plain Dealer, Zachary Lewis
RELATED COMPANY: Les Ballets Jazz de Montreal
Monday, August 17th, 2015 12:00 PM
A critical player in an effort to make the University of Akron a nationally recognized center for choreography has become another victim of the university's effort to cut costs.
DanceCleveland learned last week that it will have to spend thousands of dollars more than it ever has to use the E.J. Thomas Performing Arts Center Oct. 4 for its season opener in Akron with Les Ballets Jazz de Montreal.
The performance will more › go on as planned, said Executive Director Pam Young, but there could be as much as $22,000 in unanticipated costs for an organization with a $700,000 annual budget.
The increase includes a $17,000 rental package that includes stagehands and some rented lights; $3,000 in Akron-based marketing expenses previously handled by E.J. Thomas staff; and $1,800 for DanceCleveland to hire a production manager. Young also expects additional expenses, including renting a hazer, or fog machine, for one of the dance numbers, hiring a fire marshal and renting a dance floor.
DanceCleveland will also have to pay a new 6 percent secondary fee on all ticket sales for the concert.
Because the higher costs come after DanceCleveland's annual budget was approved by its board, Young is looking to the John S. and James L. Knight Foundation and other donors for emergency funding.
"We see the potential of additional funding coming from the community to help us," Young said.
Local foundations already are heavily committed to DanceCleveland and the UA dance school.
The Akron Community Foundation in June said it would make $10,000 available for the October event.
In addition, Knight has promised $5 million to fund a choreography center at UA, to be run by a board made up of representatives of DanceCleveland, the university, the foundation and a former founding director of the only other university choreography center at Florida State University.
According to statements made at the time of the partnership announcement in May, use of E.J. Thomas is part of the deal, but whether that also is affected by university cutbacks could not be discerned Friday.
University Chief Financial Officer Nathan Mortimer, who has taken over responsibility for the performing arts center after management staff was laid off three weeks ago, could not be reached for comment Friday.
It was Mortimer who revealed to Young on Thursday that her organization will now be a renter and subject to fees, at least for the October dance event.
"It's just very difficult to have this sort of cost thrust on us, with so little time to be able to react and to be able to try to overcome it," Young said. "The hard part is we already have a budget; our fiscal year started July 1. To get hit with unexpected expenses, this is big for us. We're a little organization that does sort of big things."
Sharing costs in past
For a decade, DanceCleveland has been a co-presenter with E.J. Thomas and the University of Akron's dance program for its annual fall concert in Akron.
The UA dance department has provided financial assistance in the past, and will continue to do so.
"We've contributed up to $10,000 every year and we'll do it again," said Neil Sapienza, director of the School of Dance, Theatre and Arts Administration.
Artists' fees to bring Les Ballet Jazz de Montreal from Canada to Akron are $40,000 - $12,000 of which covers the company's residency with UA dance students Sept. 28-Oct. 2, which will be paid for by the dance department. The weeklong residency, which gives the students the opportunity to work with national and international dance artists, is in its ninth year.
By sharing costs in the past, E.J. has gotten major dance companies on its stage, DanceCleveland has benefited from the university's marketing power, and the dance department has gotten world-class residencies it couldn't otherwise have afforded.
Civic Theatre to assist
DanceCleveland and the University of Akron did not yet have a contract secured with E.J. Thomas Hall for this fall before UA dismissed all E.J. staff, part of a massive package of cuts to save the university $40 million. Contracts normally go out after July 1, Young said.
DanceCleveland already had sold 350 seats to subscribers for the fall performance by Les Ballets Jazz de Montreal.
Starting at 10 a.m. Tuesday, tickets for the Oct. 4 dance show may be purchased at the Civic Theatre box office, across from the theater in the Ohio Building at 175 S. Main St., or by calling the Civic box office, 330-253-2488.
For the rest of the story, Please visit: http://www.ohio.com/news/education/new-choreography-center-at-ua-hosts-its-first-two-pilot-residencies-1.616512
Monday, August 17th, 2015 12:00 PM
Beginning stages for the new National Center for Choreography are going forward at the University of Akron, as two choreographers recently completed pilot residencies at Guzzetta Hall.
Carrie Hanson and her Chicago-based company The Seldoms spent the week of July 20 working on developing the dance RockCitizen at UA and New York choreographer John Jasperse spent nearly two weeks in the beginning stages of setting Remains, his fifth commission by the more › Brooklyn Academy of Music.
Jasperse said doing the choreographic residency at UA, which wrapped up Thursday evening, gave him the luxury of 10 days of uninterrupted time as well as ample studio space.
"To have the dancers all day is a difficult thing in general" in New York, he said. "Here [in Akron] was really the first time the dancers came together" to start creating the new work.
At UA, dancemakers have at their disposal seven state-of-the-art rehearsal studios and the black box Sandefur Theatre at Guzzetta Hall. Jasperse also used the time to test ideas, including how to integrate video with the dance by projecting it on the floor, wall or freestanding space in Sandefur Theatre.
"A resource like this is the perfect place to grapple with those questions," he said.
Cuts don't pose problem
DanceCleveland Executive Director Pam Young said UA's recent announcement of $40 million in cutbacks has not jeopardized the new choreography center, which is funded by $5 million over five years by the John S. and James L. Knight Foundation. The center has received its 501(c)3 status as a standalone nonprofit housed at UA.
Board members include DanceCleveland appointees Young and Jennifer Calienes, former founding director of the Maggie Allesee National Center for Choreography at Florida State University; and UA appointees President Scott Scarborough and Vice President for Advancement Lawrence Burns. The Knight Foundation will soon appoint the final board member.
The original plan - before the E.J. Thomas Hall staff was eliminated and future programming plans were limited to student and faculty performances as well as rental events - was to provide visiting choreographers with access to E.J. Thomas to explore technical aspects of their new works.
"What we will do as we move forward is, once we know what the needs are, we will work with [UA CFO] Nathan Mortimer, who is now sort of overseeing E.J., for a while, to make sure all those things can be delivered. We're as committed as we've ever been and we're sort of taking each need individually and making sure we have in place what is needed" for artists at E.J. Thomas, said Burns.
In the pilot residencies, neither choreographer was far enough along in the dance to need access to the E.J. stage, but both worked on some technical brainstorming at Sandefur.
Details of work
On Wednesday, Maggie Cloud, Burr Johnson and Stuart Singer worked painstakingly with Jasperse on a short sequence of the dance where they created an interplay of leaning, pushing and shifting weight among the three, with Cloud serving as what Jasperse called a fulcrum.
Dancer Claire Westby had worked with the dancers during the first week of the Akron residency and Heather Lang, now dancing on Broadway in An American in Paris, will join in the later stages of the dancemaking.
Choreographer Jasperse, 51, who established John Jasperse Company in 1989 and later renamed it John Jasperse Projects, received the 2014 Doris Duke Award and two Bessie Awards for dance and performance.
What inspired his new work?
"It's very much about stuff that gets left over," as well as the connectivity that each of us has with others, he said of Remains. "What are all the ways in which my action ripples out from my experience?"
Hanson, whose dance probes the counterculture of the 1960s, made research trips to the Rock and Roll Hall of Fame education department as well as the Kent State University May 4 memorial during her company's Akron stay.
"Even though it's [the residency] at the University of Akron, the entire field of research and opportunity to impact these artists comes from all across Northeast Ohio," Young said.
Read the rest of the story at: http://www.ohio.com/news/education/new-choreography-center-at-ua-hosts-its-first-two-pilot-residencies-1.616512
Kerry Clawson, The Akron Beacon Journal
Wednesday, August 5th, 2015 12:00 PM
"These exquisite dancers set the standard for contemporary ballet."
– Stephanie Sirabian, Backtrack
"BJM pushes boundaries - emotional, physical and the limits of the art form."
– Andrea Nemetz, The Chronicle Herald
Les Ballets Jazz de Montreal Performs October 4
Matinee at E.J. Thomas Hall in Akron
BJM's "Addictive Entertainment" Part of DANCECleveland's 60th Anniversary Season
CLEVELAND (August 5, 2015) – Hailed by The Globe and Mail as "addictive entertainment," Les more › Ballets Jazz de Montreal (BJM) performs as part of DANCECleveland's 60th anniversary season on Sunday October 4 at 3 p.m. at E.J. Thomas Hall in Akron. The performance will be co-presented by DANCECleveland and The University of Akron's Dance Program.
Tickets, starting at $27, will go on sale in late August and can be purchased at www.DANCECleveland.org.
Since its founding in 1972 BJM has been praised for its energetic spirit of exploration and for its sexy and accessible performances. In tune with the times, the company works with some of the world's most exciting choreographers, showing a stunning fusion of contemporary style and polished technique.
Under the direction of Artistic Director Louis Robitaille, BJM is committed to expressing each dancer's individual personality, giving the company a distinctive style that speaks to both seasoned dance lovers and those who are new to the art form.
Known as the "feel-good company", BJM intertwines modern and contemporary styles with jazz and hip-hop, resulting in a unique and energizing meeting between choreographer and dancer. The company's classically trained artists boast a broad skill set showcasing the immense physicality and theatricality that has become their hallmark.
The repertoire for the E.J. Thomas Hall performance features the following works:
Set to composer Philip Glass's Mad Rush, the sublime pas de duex Closer (2006), by choreographer Benjamin Millepied, is a voluptuous and vibrant dance, imbued with an intense yet simple sensuality and deft fluidity, transporting audiences into the couple's passionate relationship.
Based on original music by the brothers Grand, with a nod to traditional Amerindian music (throat singing, the sound of waves, the rustling wind, the cry of wild geese, rumbling thunder), Rouge (2014) by Rodrigo Pederneiras is an ode to resilience, a discreet tribute to Native peoples and their musical and cultural legacy.
For Kosmos (2015), choreographer Andonis Foniadakis draws inspiration from the frantic pace of everyday urban life – the movements of crowds and the hustle and bustle of the city. The piece searches for a counterbalance, turning frenetic movement into dance that brings people together in a joyous liberation, characterized by pure, festive energy and celebration for humanity.
Prior to the performance, the company will conduct a week-long residency at The University of Akron, teaching classes and sharing open rehearsals. This is the ninth year that DANCECleveland and The University of Akron have worked in partnership on this residency program.
For more information on BJM visit:
www.bjmdanse.ca and https://www.youtube.com/watch?v=KqsMgHnHFjs
For more information on The University of Akron and E.J. Thomas Hall, visit:
www.ejthomashall.com and www.uakron.edu
ELECTRONIC PHOTOS AVAILABLE FROM PAM BARR AT 216-932-5060 or firstname.lastname@example.org
DANCECleveland, a Cleveland, Ohio based non-profit, is one of a handful of presenters nationally that is dedicated solely to the presentation of modern and contemporary dance. The centerpiece of the organization's programming is its annual performance series. The performances are surrounded by an array of educational outreach events including artist-run master classes, residency programs, student matinees, pre-performance lectures and post-performance Q&A sessions, designed both to break artistic boundaries and provide community access to the dance aesthetic and dance luminaries that DANCECleveland brings to Northeast Ohio.
Funding for this performance is provided by Akron Community Foundation,
The Margaret Clark Morgan Foundation and Sterling Jewelers.
# # #
Tuesday, August 4th, 2015 12:00 PM
We went to see Parsons Dance perform at Cain Park on Sat 7/25, the National Day of Dance celebration. We missed the onstage show that local dancers - and dancing elephants! - put on but we were in plenty of time for the curtain speech in which Pam Young of DanceCleveland brought out David Parsons himself who spoke warmly to the audience.
"We're so happy to be here on the more › kick-off of the 60th anniversary season of DanceCleveland," he said.
"Parsons Dance is one of your favorite dance companies on those surveys you fill out," added Young. Indeed, Evans Amphitheater was nearly full.
The first dance on the program was Whirlaway. The music by Allen Toussaint, costumes by Keiko Voltaire and choreography by Parsons gave the piece a definite New Orleans ambience. We'd never realized how good Parsons Dance is at jazz dance. Their walks and struts would shine in a Mardi Gras parade.
After a pause, the concert continued with Hymn, a dance for two men choreographed by Trey McIntyre. Ian Spring and Omar Roman De Jesus, probably two of the best dancers in this company full of exceptional movers, acquitted themselves well to the syncopated score. Like McIntyre's other work, Hymn is balletic but in a quick and witty way that makes surprising use of rhythm.
Cleveland and Akron dance audiences may remember when DanceCleveland and others brought Trey McIntyre Project to E.J. Thomas Hall in 2012. TMP was both like and unlike Parsons Dance. Moment to moment, the dancing in both companies is very, very good. McIntyre's choreography, however, often resonated with another aspect of the performance - the words of a song, a larger meaning. Parsons' compositions - a criticism, unfortunately - often seem like highlight reels, one great moment after another with no larger meaning.
So, if Parsons is going to perform repertoire by other choreographers, McIntyre is an excellent choice, not least because McIntyre has, since 2014, turned his attention to other art forms.
The next dance on the program, Train, evoked for us the hot and gritty feel of a summer street festival in the Bronx of the 1980s, complete with powerful West African-sounding percussion and solo dances that "break out" from the rhythm established by the ensemble. Here's a highlight reel, but because it so successfully captures an ambience, this dance adds up to more than the sum of its parts. Googling later we learned that choreographer Robert Battle, now the artistic director of Alvin Ailey American Dance Theater, used to dance for Parsons.
In the next dance, Kind of Blue, Parsons has choreographed a dance for two couples to music from the famous Miles Davis album of the same name. Many at Cain Park apparently enjoyed this dance but for us, the dance and the music didn't go together.
Not everyone in Eisenhower's America listened to Kind of Blue but to many of us who did, it seemed that Davis had tapped a flow to another universe - a beauty and calm that were unexpected, wholly other from everything else in 1959 - and we returned to it again and again, as if to an oasis in a desert. So for persons of a certain age, choreographing to Kind of Blue is not a task to undertake lightly, perhaps not a task that a pop choreographer should undertake at all. The pretty dancing we saw on the stage on Saturday, including the twist during the musical refrains, struck us as a facile response to music which deserves to draw from a deeper choreographic well.
Parson's choreographed Nascimento to the highly danceable music of Brazilian singer/songwriter Milton Nascimento. It's impossible not to like. Just to give you an idea, here's video of a much earlier performance of Nascimento with Parsons himself dancing in the beginning. Whatever criticisms we may have of some of his choreography, he was an awesome dancer. Toward the end of Nascimento, red lighting, faster music, and more percussion brought in a couple of codas, and the concert ended with the audience on their feet cheering. There was a lot to like. Our criticisms are quibbles.
[Written by Elsa Johnson and Victor Lucas]
RELATED COMPANY: Parsons Dance