Festival Ballet Dances into Fall
After a bit of a delay, Festival Ballet Providence announced its schedule for their upcoming 37th season. Of note, they will present one less performance at The Vets but will add a third installment of the popular Up Close On Hope dance series.
Chatterboxtheatre, dance geared toward children, returns with an encore production of Peter and the Wolf. In December, FBP moves into PPAC for their annual holiday presentation of The Nutcracker. They then take the stage at The Vets in March with JuxtaPOSE, featuring resident choreographer Viktor Plotnikov’s groundbreaking and critically acclaimed “Coma”; the program also includes “Etudes,” allowing audience members to, as the title suggests, compare Plotnikov’s contemporary masterpiece alongside a classical masterpiece.
FBP’s season officially opens with the first installment of UCOH. And, as has become the norm, it is an ambitious program totaling nine works including four world premieres, two company premieres, one musical premiere and two new choreographers. With an exciting blend of contemporary dance and classical ballet, these performances allow company members and world renowned choreographers to present their work in an intimate setting with “dance so close you can touch it.”
On a recent Wednesday evening, I attended an UCOH rehearsal just as FBP company member Louisa Chapman was setting her piece “The Elements,” a company premiere. With the earth, air, water and fire as her muse, Chapman creates some stunning visuals. I spoke with her briefly before rehearsal began.
When asked about what inspired her, Chapman recalls how she would go on walks and “observe nature. Watch how the wind catches the leaves, how the water ripples when something is thrown into it. Or watch the fire in a fire pit and how the coals burn and how the fire spreads.”
When asked about the biggest challenges thus far, she admits that the choreography for “Earth” is still in the works complicated by her decision to forgo music in this segment. Rather, she wants “earth sounds, sounds that are human and tangible so the audience can connect with the piece,” coming up with such “sounds” has proven to be difficult. She also details some of the difficulties with “Air.” It features five women and, as Chapman notes, “female dancers want everything to look so beautiful. But I am trying to get them to give-up their weight, to let go and be natural.”
The most striking thing about this young dancer/choreographer is her confidence and the specificity of what she is trying to convey. Though she asks a lot of the dancers, she has a very easy way of explaining herself; one marvels at the remarkable give and take between Chapman and the dancers. And, after several run-throughs, her vision begins taking shape.
“Air” opens with the dancers squatting, arms out by their sides like wings. As the music builds, they soar like birds of prey on the hunt, strong and majestic. Then they become trees with arms lifting and bodies swaying as if being tossed about by gusts of wind. Chapman reminds them “let the wind catch you. This is too much like ballet. I need more movement.” And while she encourages the dancers to be more “natural” and abandon some of their classical training, the choreography still projects a certain grace and beauty.
Then she moves onto “Fire” with two male dancers also starting in a squatting position. As the music builds, their arms and torsos flicker and flutter until they are standing. This piece utilizes big jumps allowing the dancers to “eat up space” much like “the way fire spreads,” explains Chapman. But, much like fire, it burns itself out as the dancing slows and the dancers return to flickering and fluttering until they are motionless.
As the rehearsal draws to a close, Chapman and the dancers begin working on “Water.” In addition to Chapman’s premiere, this UCOH program will also feature world premieres by Plotnikov, frequent FBP contributor Gianni DiMarco and Ty Parmenter, a former FBP dancer who recently rejoined the company. And for those looking to have their classical ballet itch scratched, the “Peasant pas de Deux” from “Giselle” and “Chopiniana” should do the trick.
Finally, FBP Artistic Director Mihailo Djuric is thrilled to announce that Ilya Kozadayev will be making his FBP choreographic debut contributing a company premiere and a world premiere, Djuric has been a big fan of his work for quite some time. From a family of dancers, Kozadayev received his early ballet training in St. Petersburg Russia. He has toured nationally and internationally as a member of many prestigious ballet companies in the US, most recently as a soloist with Houston Ballet. Currently, he serves as Assistant Professor of Ballet at the University of Oklahoma.
For more information about FBP’s complete season, visit: festivalballet.com.
Island Moving Company’s A Thousand Reflections
Fresh off a road trip from Richmond, Va., where they were invited to perform with Amaranth Arts as part of their Great Friends Touring Project, Island Moving Company had one more stop before returning home to Newport.
On Friday, October 10, they presented “A Thousand Reflections” at Rhode Island College’s Sapinsley Hall. This one-evening-only performance sponsored by The Rhode Island College Dance Company featured contemporary and modern dance with a touch of classical ballet.
The program begins with “Taking Watch,” which they performed in Richmond. A very lively and up- tempo piece, it features women wearing brightly colored, free-flowing skirts and tops with bare midriffs, and the men wearing form fitting pants with red suspenders. This energetic number ends with a very nice pas de deux set to silence.
Lauren Difede and Shane Farrell follow with IMC Associate Artistic Director Spencer Gavin Hering’s “Levitation.” With R&B singer Lee Dorsey providing the vocals and the constant refrain of “get together” sung throughout the song, Difede and Farrell certainly keep it together in a fun and cute piece with each dancer mirroring the other’s movements. It ends with Difede attempting to piggyback Farrell off stage with Farrell quickly aborting and carrying his partner to the wings with her hand gently resting on his head.
Just before intermission, the female dancers strap on their pointe shoes for the evening’s only classical offering in Hering’s “Breathing Space.” Here, Motif’s 2013 Dancer of the Year, Brooke DiFrancesco, shines. For her, the transition from contemporary dance to classical dance seems the most seamless of all the dancers. With long, clean elegant lines and pointed feet, she is a pleasure to watch. Difede and Glen Lewis also stand out with a simple but nicely executed pas de deux; I only wish it had been longer.
IMC Artistic Director Miki Ohlsen’s “Continua Metamorfosi” opens the second half of the program. Another energetic piece, Difrancesco and Farrell impress with some nice partnering. Azamat Asangul uulu also stands out with some nice jumps and turns; he was one dancer I wish I saw more of throughout the evening.
Then Difede returns for a solo piece, “Dante’s Beatrice,” a very mystical and mysterious number with a gypsy-like feel. Wearing a long black gown, she expertly uses a hand fan, opening and closing it to shield her face, almost as if hiding from the audience and we are merely voyeurs. Based on one of the guides from Dante’s “Divine Comedy” whose name implies beatific love, Defede nicely captures her character’s “Beatific vision.” The evening concludes with “Land of a Thousand Reflections.” This was also performed in Richmond and was choreographed by Amaranth Arts Artistic Director Scott Putnam. Featuring the entire company, this piece certainly emerges as the program’s most interesting, though a bit long.
With the dancers wearing metallic-like colored costumes, “Reflections” has a futuristic look and feel with bit of a Middle-Eastern flare. The dance itself seems to be a quest for something with a sense of longing and desperation. With long strands of reflective paper hanging to the floor, the dancers intermittently stop to check their reflections. At times, the music slows and the movements become strained and exaggerated. Then the music picks up and the dancers erupt into frantic, almost orgy-like movements.
Overall, it was a very satisfying evening of dance enhanced by Lighting Designer Alan Pickart’s beautiful lighting and color schemes always projecting the appropriate sense of mood and emotions.
Next up for IMC is their annual production of “Newport Nutcracker at Roseclifff,” their original adaption of this holiday classic performed throughout various rooms in Newport’s historic mansion. For additional information, visit islandmovingco.org.
Dancing Into Fall
With summer drawing to a close, a common theme echoed by many is that it was too short and it was too cool. Yet, even with fall fast approaching, area dance companies are ready to turn up the heat.
Following a very busy summer with its summer dance intensive and various performances throughout the summer, Festival Ballet Providence is still putting the finishing touches on its 2014/2015 performance schedule. And, as this article was set to go to press, they were reluctant to divulge any details until they are able to finalize all they have planned for their 37th season.
As Providence’s resident professional ballet company, one can expect, according to their website, “audience favorites to timeless traditions to never-before-seen new works.” In keeping with past years, they will present several full-scale productions at The Vets along with their annual production of The Nutcracker at PPAC. Dance fans can also expect more from their critically acclaimed Up Close On Hope dance series, featuring many world and RI premieres, and the wildly popular chatterboxtheatre, a dance series for children.
For more information about FBP and its upcoming season visit: festivalballet.com.
Meanwhile, in the northern part of the state, RI’s oldest ballet company, The State Ballet of RI, is busy preparing for its remarkable 55th season! SBRI executive director Ana Marsden Fox proudly states that with “Herci Marsden at the helm, SBRI maintains its artistic integrity while adding to the beautiful quality of life New England has to offer.”
SBRI’s season opens October 11 with a special performance on the steps of the Statehouse at the Gloria Gemma Breast Cancer Research Foundation Flames of Hope Weekend. Ms. Marsden Fox notes that “new works are underway for this deeply emotional event and SBRI could not be more honored to join the Foundation for a fourth year as a partner in spreading breast cancer awareness.” In December, they move indoors to RIC’s Roberts Hall for their annual holiday production of a snowy Coppelia.
Ms. Marsden Fox is also proud to announce that SBRI will continue with its popular Project Ballet Coffee Hour, From Studio to Stage, with two presentations planned for this fall: October 18 and November 15. She observes that “audience members have the unique opportunity to find out how a ballet is created, with topics ranging from the training of a dancer to the inspiration of a choreographer.” Each Coffee Hour will feature music, lectures, visual performances and a chance meet and greet the dancers. These events are free and offer complimentary refreshments.
For more information about SBRI and its upcoming season visit stateballet.com.
For something a little different and highly entertaining, Island Moving Company’s Newport Nutcracker at Rosecliff is well worth the trip across the bridge. This original and innovative production of E.T.A. Hoffman’s holiday classic takes place in Rosecliff Mansion. Audience members move from room to room, as if they are guests at a Christmas party, and watch the dancers as the story unfolds. From the opening scenes on the marble staircase in the mansion’s foyer to the grand pas de deux in the grand ballroom, this is a truly magical ballet not to be missed. Also, be sure to look for local celebrities in various walk-on roles. Tickets are limited and these performances usually sell out, so reserve your tickets early.
In some very exciting news, IMC opens their season September 12 and 13 in Richmond, Va., performing with Amaranth Arts. At the end of the month, they will return to RI for an invitation-only performance of Brom Bones Tale, based on The Legend of Sleepy Hollow. In October, they share the stage with the Rhode Island College Dance Company for a special collaborative evening of dance. IMC’s fall/winter season concludes with The Nutcracker.
For more information about IMC and its upcoming season visit islandmovingco.org.
Other fall/winter dance offerings of note: Heritage Ballet, The Nutcracker, December 19-21, Stadium Theatre in Woonsocket. Yet another production of this holiday classic. heritageballet.com Fusionworks Dance Company, Fall Concert Series sponsored by the Rhode Island College Dance Company, October 24. Featuring original contemporary and modern works choreographed by artistic director Deb Meunier, company dancers and guest artists. fusionworksdance.org Providence Ballet Theatre, ‘Twas the Night Before Christmas. No date has been set yet for this original and charming holiday production created by artistic director Eva Marie Pacheco. providenceballet.org Rhode Island’s Ballet Theatre, Holiday Show, December 21 at Newport’s Casino Theatre, dancers from RIBT’s pre-professional dance company will perform a variety of holiday selections. riballet.org FringePVD Brings Work on the Fringe Into the Fold
The Edinburgh Festival Fringe Society was founded in 1958 to accommodate the influx of artists and performers who tended to appear around the edges of the traditional Edinburgh Festival, unannounced and unplanned. Instead of discouraging these performers from dropping in, they were incorporated into the event in the slightly anarchic spirit of the performers themselves. The Fringe was purposefully formalized, but unorganized with “no artistic director and … shaped by the very initiative and vision of performers willing to showcase their work here.” Many American cities have embraced the Fringe ethos and now curate annual Fringe Festivals of their own, encouraging artists to present their work, unvetted, but loosely organized to maximize exposure and impact. Providence now joins the fray and announces its very own Fringe Festival as The Wilbury Theatre Group announces the 1st annual FringePVD, to be held July 24 through July 26, 2014. The only such festival in the New England area, FringePVD will bring together more than 50 individual theater, music, dance, multimedia and performing artists for four nights of over 30 performances in participating venues throughout the capital city.
Festival organizer, Josh Short, who is quick to distance himself from any sort of leadership role in FringePVD, nonetheless is the one who got the ball rolling after initial conversations with Trinity Rep’s Mike Gennaro. Short states that the concept started slowly, with no fanfare, just the idea to seek out the type of performance being done outside of the traditional “company” structure that is so prominent in the state. “There is so much talent around,” says Short, “and with no infrastructure (i.e., ‘working for other people’) some of them get lost and have to move to Chicago or other larger cities to get noticed. We started speaking at first to independent artists who fall between the cracks and perform in city warehouses and apartments, instead of rented theaters.” Over beers, Short slowly began to build interest in the idea of a weekend of gloriously unconnected performances in various locations throughout Providence. Eventually “for fear of not getting enough participants,” an open call went out and over 30 submissions came through. Asked if there were any rejected submissions, Short claims that there were none, only that any already established or published work would simply not fit the ethos of the event. “Otherwise,” says Short, “the only way we would reject any requests for performance would have been if the dates were already too full.”
Similar to Wilbury’s New Works program, the idea of FringePVD is not just to put on a show, but to allow artists to showcase and workshop new pieces to solicit feedback and improve their creations. With the encouragement and backing of several Providence theater stalwarts such as Trinity’s Gennaro and Curt Columbus as well as Steven Pennell of the Urban Arts and Cultural Program at the URI Feinstein Campus downtown, Short was able to secure some of the resources necessary to produce such an ambitious undertaking. Also instrumental were Lynne McCormack, Director of Art, Culture and Tourism for Providence, and a Pell Grant from the Tourism Council. This money, stresses Short, is to cover the overhead of securing the venues and associated publicity costs, not to make any sort of profit. The small fees charged at each performance will go directly to the artists involved and not to the venues or organizers.
A reluctant curator, Short hopes that he can now step back and watch the event grow organically, in the same way that other such festivals have mushroomed across the country. He does not want people to see this as a Wilbury event, but as an artist-sponsored happening that grows in scope to become an official non-profit agency outside of any one particular company or group. Theater companies may want to try out a new piece or an individual may have a new work that they cannot produce in any other way. Local artists have a chance to be recognized, Providence’s diverse audience can be engaged in a much more direct way than traditional venues allow and both sides may “engage fully in the global dialogue and global community surrounding this kind of work.”
Performances will be spread across AS220’s 95 Empire Black Box Theater, Aurora Providence, The Movement Exchange, URI Providence Campus and The Wilbury Theatre Group’s performance space at the Southside Cultural Center, along with other non-traditional performance spaces and parade routes throughout the city. Performers range from Lenny Schwartz’s Daydream Theatre to local music by Srsy and beyond. “FringePVD brings arts organizations throughout the city together to provide artists the opportunity to present their work in a way that supports each of them, as well as the continued growth of Providence as a recognized leader in the arts,” says Short. “In addition, it supports our mission to provide our audiences access to the cutting-edge works at the forefront of American theater.”
FringePVD, Providence’S Fringe Festival, opens July 23 and runs across various locations throughout Providence until July 27. Visit fringepvd.org for schedules and to learn more about the artists involved.
Ocean State Struts Their Stuff “Ocean State Theatre Company brings quality drama”
Jefferson Boulevard in Warwick is not exactly a cultural hub, consisting mostly of corporate properties and airport lodging. But the Ocean State Theatre Company, whose new state-of-the art facility is a converted garage, is bringing quality drama to the area. Their latest production is The All Night Strut, a musical celebration of the ’30s and ’40s, featuring songs from musical greats like Cab Calloway, Duke Ellington, Fats Waller and the Gershwin brothers.
Swing music, (also known as “big band”) became popular in the 1930s and provided Americans a way to dance through the Great Depression. Using only music, The All Night Strut touches upon swing-era themes like the Depression (“Brother, Can You Spare a Dime?”), World War II (“GI Jive,” “Praise the Lord and Pass the Ammunition”) and women on the home front (“Rosie the Riveter”). The play first opened outside of Cleveland, Ohio, in 1975 and eventually went on to run for 18 months in Boston.
Director Brian Swasey’s smooth choreography allows the performers to move through the rapid-fire sequence of song and dance numbers naturally. The costumes, designed by Brian Horton, are accurate representations of the time period; the men sport sharp, colorful zoot suits and woman don polka-dot dresses that whirl right along with their movements.
The four-person cast, made up of Dawoyne A. Hill, Christina Rodi, Robby May and Courtney Nolan Smith, woos the audience as cats and dames strutting their stuff. Billed as “Woman” and “Man” 1 and 2, the players are more performers than characters, as the show contains no dialogue or storyline. Dawoyne A. Hill, whose non-stop energy drove the performance, was the highlight. The cast must also be given a lot of credit for their unflagging endurance; for the full two acts, they sing and dance without stopping for so much as a breath, but never show any signs of slowing down.
The music was central to the performance, and music director Paul Bueno clearly worked hard to polish the show’s 29 songs. The performers’ voices were always excellent, and many of the songs featured impressive four-part harmonies. Robby May’s booming baritone covered the low end, Courtney Nolan Smith hit the high notes with ease, and Christina Rodi’s amazing vocal embellishments wowed the audience. The a capella intro to “Operator” slowed down the pace with gentle barbershop harmonies. The playful call and response of “A Fine Romance” recalled the songs of Fred Astaire and Ginger Rodgers. And the show’s finale, “Lullaby of Broadway,” celebrates the hustle and bustle of big city living. The accompaniment was a jazz trio consisting of musical director Paul Buono on piano, Brian Grochowski on stand up bass, and Dan Hann on drums. The All Night Strut has a remarkably comprehensive catalog and will hopefully introduce a new generation to classics like “It Don’t Mean a Thing (If it Ain’t Got That Swing)” and “Minnie the Moocher.” The set was sparse but effective, including only four microphones and two tables (complete with whisky and gin) on each side of the stage. The band was located on the stage, which was enclosed by elegant lighting structures and anchored by a large piano background.
If you’re not big on a lot of singing and dancing, The All Night Strut may not be right for you; 90 minutes of uninterrupted pizzazz can be pretty overwhelming. But for those who want to travel back to the flashy heyday of the Swing Era, The All Night Strut is a great way to break out of the winter doldrums.
The All Night Strut will be presented at the Ocean State Theatre, located at 1245 Jefferson Boulevard, Warwick thru March 16.
Art Seen: Michelle Spina — Dancer, Teacher, Spiritualist
“Selecting a dance instructor is a little bit like finding your own magic fairy”
Being a dad is a real adventure with a learning curve that surpasses much else that I’ve done in life. I’m suspicious of anyone who says otherwise. When my little boy told me he wanted to dance, I mobilized my energy and started asking around and visiting and interviewing different studios; there are lots of dance studio-school-classes around, and I’m sure many are really good and serious about what they do. I’m a tough sell and my son is even more so for a then 6-year-old.
After visits to 12 different places, I chose several studios and tried them out for a period of time; I listened and watched and watched and listened until the selection narrowed, some of the reasons were scheduling, offerings, style of teaching, the environment and finally — the most important — the individual teacher. When I was young, anyone who was cool or thought they were, was good on a dance floor. I was no stranger to dancing; I danced in dance competitions and did well. Later I entered the world of art and found myself often using and collaborating with dancers as preferred subject matter in painting and photography. I loved dancers and all that they did. As a professor in art, I had classes in photography meet with dance classes and have creative photo shoots resulting in magic. I was hoping for something that inspiring for my son, and I found it in Michelle Spina, owner-teacher-dancer and near angel, and my choice to lift my son into the wonderful world of dance at Extensions School of Dance in Bristol, Rhode Island.
Selecting a dance instructor is a little bit like finding your own magic fairy. They must be enchanting and always look better than you feel and give off plenty of positive energy like a star. Their philosophy on life should be the makings of the best of civilization, and a pure sense of dedication and love for what they do should be present in every word and smile. Okay, I’ll admit that from the very first conversations with Madam Spina, I was delighted. She was open, lively, humorous and warm with that delightful magic that dancers always seem to posses when they speak, smile and move. She was the person I was looking for to take my little boy and expose him to his earliest dance experience.
Michelle Spina, artistic director, owns, operates and teaches at Extensions School of Dance on 490 Metacom Ave in Bristol, RI. She has been dancing for 43 years, and studied with Helen O’Neill, Lorna Deane Rozon and Herci Marsden, and took master classes with Steven Boyd, Frank Hatchett, Linda Giancaspro, and a host of others. Her Aunt Lorna owned Position 1 in Portsmouth and her sister owns All Star in Middletown. At 45 years old she has been married 23 years to Jay Spina has four children. She says of dance:
“There is a feeling … a feeling of freedom … of leaving the earth’s grasp for just a bit … The feeling in your gut, the excitement as your legs stretch long and slice through the air. Limbs escape their confines and the teacher is driven to share this feeling.”
My son greatly enjoys his teacher, her attitude and her positivity.
“One thing that I have learned about people from teaching is that if you can find that one little thing to genuinely compliment about a person, that person will go out of their way to prove you right.”
Michelle Spina loves sharing her ideas, and of choreography Michelle believes,
“Everyone can put steps together and make a dance, but to truly be a dancer is a much more complicated mixture. Technique, discipline, athleticism and a willingness to express emotion deeply are a few things that take dancers years to etch into themselves.”
As a hands-on dad, I press my eager face against the one-way studio glass to monitor all that my little boy experiences and learns, from his work-outs to his routines. I’m delighted by the results and all that I see there.
For more information contact call or visit: Michelle Spina, Extensions School of Dance on 490 Metacom Ave in Bristol, RI 02809, 401.253.5902, Extensions-RI.com Holiday Dance Gets Audiences Into The Spirit
With Christmas right around the corner, local dance companies come bearing a variety of holiday offerings to help get you into the Christmas spirit.
From December 20 through 22, Festival Ballet Providence moves into PPAC for their annual production of The Nutcracker. Composed by Tchaikovsky in 1891, it is the most performed ballet in the world, making its American debut in 1944 with San Francisco Ballet. Since then, it has become a holiday staple with its charming storyline and recognizable music bringing joy to young and old alike.
With stunning choreography, majestic sets, colorful costumes and sparkling Swarovski crystal snowflakes, this marks FBP artistic director Mihailo Djuric’s 16th Nutcracker; the company is currently in the midst of their 36th season. Djuric refers to this performance as FBP’s “annual gift to the city of Providence.”
It is even more special – and memorable – for the 100 plus children selected from area dance schools who share the stage with the company’s professional dancers. In addition, two students from FBP’s Adaptive Dance Program, Sean Muldoon and Alyzabeth Bertrand, will appear in the Act I party scene. This groundbreaking program introduces children with Down Syndrome to dance.
Amazing RI native Jennifer Ricci, now in her 23rd season, will once again reprise her most famous role, Arabian. Each year audiences are mesmerized by her seductive stare, ethereal grace and flexibility. Featuring two casts, Vilia Putrius and Mindaugas Bauzys and Ruth Witney Brown and Alan Alberto will share the lead roles of Sugar Plum Fairy and Her Cavalier. The two couples will also split Snow Queen and Snow King duties during alternating performances.
FBP Center for Dance Education students Jane Schiavone and Lan Pricolo have both earned the honor of portraying Clara, the most coveted role of any young ballerina.
And, be sure not to miss RI’s most famous non-human performer, Archie the Nutcracker Dog as he dashes across the stage during the Prelude. Friday’s opening night performance will represent the 115th time he dons his red Santa suit covered with bells.
For tickets to FBP’s The Nutcracker visit: www.ppacri.org or call 401-421-ARTS.
Now in their 54th season, The State Ballet of Rhode Island will present their traditional holiday production of Coppelia December 20 through 21 at Rhode Island College’s Roberts Hall.
This ballet tells the heartwarming story of Swanhilda, a girl who pretends to be a doll in order to win back the affection of her boyfriend Franz. Set to the energetic music of Leo Delibes, this fun and playful ballet nicely captures the gaiety of European folk dance with a very lively and colorful Czardas and Mazurka.
In a break from past performances, Act III will actually include the wedding between Swanhilda and Franz. For the past 30 years or so, SBRI chose to begin Act III with the wedding already a done deal. But, according to executive director Ana Marsden Fox, in recognition of the winter solstice that will be occurring during the performance “a wedding there will be. To top it off, you may even see a snowflake or two, really getting the audience into that holiday wintery spirit.”
Coppelia will also use two casts. Peg Chobanian and Mark Marsden will dance the lead roles opening night. Kim Najjar and guest artist Eivar Martinez will have the honors for the Saturday matinee. Martinez, a native of Venezuela, currently resides in Providence and brings with him an impressive dance resume, known especially for his gravity defying leaps.
For tickets to SBRI’s Coppelia visit: www.stateballet.com.
For those looking to get an early start on the holiday performances, consider Providence Ballet Theatre’s ‘Twas the Night Before Christmas December 13 at Rhode Island College’s The Nazarian Center for the Performing Arts. Set to Samuel Clement Moore’s classic poem, this is a fun and edgy ballet with colorful costumes, dreamlike choreography, moving sets and falling snow, all which make for a magical holiday event. Previous performances have sold-out, so plan accordingly.
Founded in 2008 by Eva Maria Pacheco, a very familiar and accomplished name within RI dance circles, the not-for-profit PBT continues to grow and leave its mark on the local dance community. In the spring of 2014, Ms. Pacheco will partner with winners of RISD’s prestigious Robert Turner Theatrical and Performance Dance Project to present the premier of her new ballet The Magic Box.
For tickets to PBT’s ‘Twas the Night Before Christmas visit: www.providenceballet.org.
Up Close On Hope’s First Installment from Festival Ballet Providence
With the holidays and countless productions of The Nutcracker around the corner, you can still catch the first installment of Festival Ballet Providence’s popular Up Close On Hope, an original series combining contemporary and classical dance in the company’s intimate Black Box Theatre. The program includes two world premieres and four company premieres.
The performance begins with excerpts from Balanchine’s masterpiece Agon. This groundbreaking ballet highlights the collaborative efforts between choreographer and composer with Balanchine and composer Igor Stravinsky working together as the piece developed. Embracing NY modernism, with legs turned-in and feet flexed, this ballet, as does most of Balanchine’s work, challenges a dancer’s technical and cardiovascular threshold. During the first pas de trois, Ian Matysiak, now a true company veteran, continues to impress; Balanchine’s style seems well suited for him. Projecting the strength required of Balanchine’s choreography, Matysiak also has a softness that rounds out and finishes the movements.
In the second pas de trios, Emily Loscocco captivates with long, elegant lines and beautiful arabesques. Ilya Burov and Harungaga Yamakawa exhibit great athleticism and control during a series jumps and pirouettes.
Former company member Mark Harrootian stirs things up next with The Daily Grind, the first of two world premieres. Set to the lively music of Antonio Vivaldi, it depicts the monotony of everyday life.
With dancers wearing matching shirts and ties, it begins like one of those flash mob dance videos on YouTube where people waiting for a bus or train suddenly break out in dance. Later in the piece, Elizabeth Mochizuki and Vincent Brewer cleverly incorporate a sweater into a creative and fluid pas de deux.
Inspired by gypsy dancing in Yugoslavian taverns, George Birkadze’s Tzigani, another world premiere, follows. Mixing contemporary dance with tangos and character dance, this piece has a mysterious and seductive quality executed to perfection with Jennifer Ricci’s expressive yet indifferent stare and flickering hand – dismissing potential suitors – and Loscocco’s tempting smile.
The pas de deux from Petipa’s Le Corsaire closes out the first half. Ruth Whitney and Alan Alberto deliver some exquisite partnering, highlighted by several breathtaking overhead lifts. Whitney continues to look more and more comfortable at FBP with a near flawless solo variation and some remarkable fouette turns during coda.
The second half opens with Pieta. Based on Michelangelo’s famous sculpture of Mary cradling the dead body of Jesus, Vilia Putrius and Mindaugas Bauzys are absolutely stunning, delivering a powerful and emotional performance. Dressed all in white, they move like two ghostly apparitions with Putrius’ long white gown flowing behind her. The simplicity of the choreography gives this piece weight, while each movement and pose provides astonishing visual imagery.
Next, Birkadze injects some much needed levity with the company premiere of Heaven Can Wait. Set to the music of Ray Charles, this energetic number depicts the playful and competitive nature of three boys simply showing off. Burov, Matysiak and Alex Lantz are great fun with gravity defying leaps and countless turns punctuated by Burov’s dizzying grande pirouettes.
New FBP choreographer Joseph Morrissey presents the company premiere of In Passing. Utilizing two couples, Whitney and Alberto, Loscocco and Yamakawa, it portrays how two couples maintain a comfortable distance from each other while occasionally crossing paths – “in passing.” With winding arms and intricate head and arm movements, the dancers maintain a wonderful synchronicity and musicality.
Tea Time, resident choreographer Viktor Plotnikov’s latest contribution, takes a hilarious, nonsensical poke at “high society.” Six dancers, wearing long purple gowns, assemble for afternoon tea. What follows is laugh out loud choreography with Plotnikov brilliantly employing some common stereotypes of the catty, chattering class. Kara Gentile is priceless as the maid with her squat-like walk holding her gown out in front of her as she navigates her way through the women as they gesticulate wildly and flutter about like cackling hens. Next they march about with heads bobbing in a rooster-like fashion. Then, in a remarkably ingenious touch, they simulate horseback riding while holding imaginary tea cups. This is one piece you have to see to truly appreciate.
The program closes with Boyko Dossev’s Love Song, another company premiere. Dossev, from Boston Ballet, is a frequent UCOH contributor. FBP artistic director explains he chose to the end the evening with this piece because “it all begins and ends with love.”
Pairing Whitney and Alberto yet again, this charming pas de deux is set to the whimsical music of Jacques Brel. It employs, as much of Dossev’s choreography does, some creative partnering. At one point, Whitney runs up Alberto’s side into a shoulder sit. Later, he does a handstand, gently collapsing onto her lap. Overall, this is a very sweet number with the couple nicely conveying a passionate yearning for each other.
For tickets of more information, visit: www.festivalballet.com or call 401-353-1129.
See the World Come to Providence with Together We Dance 3
“The world comes to Providence” on Thursday, October 3 when Festival Ballet Providence presents Together We Dance 3. For one night only, dancers from some of the world’s leading ballet companies will share the stage with FBP. This remarkable evening of dance features performers from five different companies representing more than 10 countries.
Now in its 3rd incarnation, this gala, which serves as one of FBP’s major fundraisers, also marks the start of their 36th season. Making this year’s performance even more special, Artistic Director Mihailo Djuric celebrates the homecoming of RI natives Greta Hodgkinson and Emily Bromberg.
Ms. Hodgkinson, born in Providence, received her initial training at FBP before moving to Canada to further her studies at Canada’s National Ballet School. In 1990, she joined The National Ballet of Canada where she has been performing as a principal dancer since 1996. “We are so proud of Greta because she is from Rhode Island, of course, but also because she took her first ballet steps at our school,” Djuric proudly declares.
As a guest artist, Ms. Hodgkinson has performed with The Kirov Ballet, Teatro alla Scala, The Australian Ballet, Stuttgart Ballet, Munich Ballet, Teatro Comunale di Firenze, Opening Gala of the Royal Opera House, The State Kremlin Palace, Gala des Étoiles and galas in the USA, Canada, Russia and Europe.
In 2000, she was nominated for the prestigious Prix Benois de la Danse for her role as Odette/Odile in Swan Lake. In 2000 and 2001, Dance Europe voted her Best
Performance by a Female Dancer for her interpretation of Odette/Odile in Swan Lake and for “Summer” in Vivaldi’s The Four Seasons.
For Together We Dance 3, Ms. Hodgkinson will be joined by her husband, Etienne Lavigne, a soloist with National Ballet Canada, where the pair will perform the “Summer” pas de deux from The Four Seasons. In a recent article, Dance Magazine proclaimed, “[“Summer”] has become one of Greta Hodgkinson’s signature pieces … She is a first rate ballerina who can only be described as fearless, and her daring makes this pas de deux dangerous and stirring.”
Ms. Hodgkinson will also dance a world premiere, Disarmed, set to the music of Philip Glass. “Greta has reached the point in her career that dancers from around the world strive to achieve,” states Djuric. “She is a breathtaking dancer, through and through. She is going to be spectacular.”
When speaking of Miami City Ballet’s Emily Bromberg, Djuric exudes a fatherly pride. “I am very excited to see my old student, Emily, perform again. I have known her since she was 9 years old when I was teaching in New Hampshire,” he said. She later joined Djuric at FBP where she was a company dancer from 2002 to 2006. “She has really grown into such a wonderful, mature ballerina. After she left for Miami, I remember reading in The New York Times that [dance critic] Alastair McCaulay’s eye had dwelt on her. When I read that, I smiled because I thought the same thing the first moment I saw her in class at 9 years old.”
Ms. Bromberg will be joined by fellow Miami City Ballet dancer Shimon Ito. He wowed audiences in FBP’s 2012 production of Swan Lake with his rendition of the Jester, which the San Francisco Bay Guardian described as “scene stealing.” Bromberg and Ito will perform Viscera (the 2nd movement).
And, in continuing what has become a very generous interstate friendship, Boston Ballet Artistic Director Mikko Nissinen graciously lends the talents of principal dancers Ashley Ellis and Nelson Madrigal. The recently promoted Ms. Ellis will partner with longtime BB veteran Madrigal in the Act III “Black Swan pas de deux” from Swan Lake.
Representing the Netherlands’ Het Nationale Ballet, Megan Zimny Kaftira and Remi Wörtmeyer will perform two of ballet’s most famous pas de deux: the grand pas de deux from Don Quixote and the balcony pas de deux from Romeo and Juliet. Ms. Kafitira, recently promoted to soloist, is a rising star with Het National Ballet. Meanwhile, Dance Europe lists Remi 15th among the world’s leading 100 dancers.
From FBP, the husband and wife duo of Vilia Putrius and Mindaugas Bauzys will dance the pas de deux from Pieta and Balanchine’s Tchaikovsky Pas de Deux. FBP resident choreographer George Birkadze presents Heaven Can Wait, an energetic pas de trois featuring three male dancers. And, new Up Close On Hope contributor Joseph Morrissey premieres In Passing.
For a 3rd straight year, students from FBP’s Adaptive Dance program will also perform. Modeled after Boston Ballet’s critically acclaimed program, it allows children with Down syndrome to experience the joy and expression of dance. “The spirit and emotion of these young, talented performers shine on stage,” observes FBP School Director Mary Ann Mayer. “… they just love performing and they just soak up the spotlight and it is so heartwarming to see.”
Together We Dance will be presented at The Vets, One Avenue of the Arts, Providence, RI, on Thursday, October 3. For tickets visit: www.vmari.com.
2013 Theater and Film Award Winners
1. 2013 Dance Production of the Year
Shana Fox “Dance of the Firefly” The State Ballet of RI
2. 2013 Principal Dancer of the Year
Mark Marsden, The State Ballet of RI
3. 2013 Comedy Troupe / Audience Participation
Bring Your Own Improv
4. 2013 Youth Performer of the Year
Megan Mahoney, Into the Woods, Academy Players
5. 2013 College Male Performance
Andrew Burnap, Company, URI
6. 2013 College Female Performance
Lindsy Bissonnette, Company, URI
7. 2013 College Production
Company, URI
8. 2013 College Direction
Paula McGlasson, Company, URI
9. 2013 Male Performance
Jason Quinn, One Flew over the Cuckoo’s Nest, 2nd Story Theatre 10. 2013 Female Performance
Paula Faber, Lost in Yonkers, 2nd Story Theatre
11. 2013 Direction
Rachel Walshe, Anne Boelyn, Gamm Theatre
12. 2013 New Work
The House in Providence, Epic & Mixed Magic Theatre
13. 2013 Summer Stock Production
As You Like It, The RI Shakespeare Theatre
14. 2013 Male Lead
Shawn Fennel, Tempest, Contemporary Theater
15. 2013 Male in a Musical
Greg Geer, Sweeny Todd, The Community Players
16. 2013 Male in a Musical
Mark Carter, A Christmas Carol, Artists’ Exchange
17. 2013 Female Lead
Meghan Rose Donnelly, Our Town, Artists’ Exchange
18. 2013 Female in a Musical
Alyssa Gorgone, Legally Blonde, The Community Players 19. 2013 Supporting Male
John Joseph Gomes, I Hate Hamlet, The Community Players
20. 2013 Supporting Female
Stacey Geer, Legally Blonde, The Community Players
21. 2013 Direction
Kevin Broccoli, Dinner with Friends, Barker Playhouse
22. 2013 Musical of the Year
Jesus Christ Superstar, Swamp Meadow Community Theatre
23. 2013 Production of the Year
The Brothers Marx, Daydream Theatre Company
24. 2013 Burlesque / Vaudeville
Miss Wenesday
25. 2013 Best Local Film
Murder University, Scorpio Film Releasing
26. 2013 Best Actor
Michael Thurber, Dr. Frankenstein’s Wax Museum of the Hungry Dead
27. 2013 Best Actress
Jamie Lyn Bagley, Dr. Frankenstein’s Wax Museum of the Hungry Dead 28. 2013 Cinematography
Jill Poisson, Dr. Frankenstein’s Wax Museum of the Hungry Dead
29. 2013 Experimental Film
Love Fools, Eyeris Productions
30. 2013 Documentary
Vanishing Orchards: Apple Growing in RI, Rocco Michaluk
31. 2013 Narrative Feature
Dr. Frankenstein’s Wax Museum of the Hungry Dead, Scorpio Film Releasing
32. 2013 Narrative Short
Love Fools, Eyeris Productions
33. 2013 Best Score
Timothy Fife & Timothy Lang-Grannan, Dr. Frankenstein’s Dr. Frankenstein’s Wax Museum of the Hungry Dead
34. 2013 Best Original Music
Love and Laundry Soap
35. 2013 Best Editing
Jill Poisson, Still Life
36. 2013 Action Sequence
Dr. Frankenstein’s Wax Museum of the Hungry Dead 37. 2013 Director of the Year
Richard Griffin, Dr. Frankenstein’s Wax Museum of the Hungry Dead
38. 2013 Motif Theater and Film Awards
39. 2013 Production of the Year
Rent, Ocean State Theatre Co.