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Advance Program Notes Far but Close, and Other Repertoire Dance Theatre of Harlem Wednesday, May 7, 2014, 8 Pm

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Advance Program Notes Far but Close, and Other Repertoire Dance Theatre of Harlem Wednesday, May 7, 2014, 8 Pm Advance Program Notes Far but Close, and other repertoire Dance Theatre of Harlem Wednesday, May 7, 2014, 8 pm These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. Dance Theatre of Harlem FOUNDERS Arthur Mitchell Karel Shook ARTISTIC DIRECTOR Virginia Johnson EXECUTIVE DIRECTOR Laveen Naidu BALLET MASTER Keith Saunders GENERAL MANAGER Elizabeth England DANCE ARTISTS Lindsey Croop Alexandra Jacob Stephanie Rae Williams Francis Lawrence Chyrstyn Fentroy Nayara Lopes Darius Barnes Dylan Santos Jenelle Figgins Ashley Murphy Fredrick Davis Anthony Savoy Emiko Flanagan Gabrielle Salvatto Da’ Von Doane Samuel Wilson Ashley Jackson Ingrid Silva Dustin James ARTISTIC DIRECTOR EMERITUS Arthur Mitchell Dance Theatre of Harlem is supported in part by public and private funds from: The Andrew W. Mellon Foundation; The Thompson Family Foundation, Inc.; The Ford Foundation; The Carl & Lilly Pforzheimer Foundation, Inc.; The Shubert Foundation; NYC Department of Cultural Affairs in Partnership with the City Council; New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; and National Endowment for the Arts. Program Notes GLORIA (World Premiere: October 20, 2012) Choreography: Robert Garland Music: Francis Poulenc Costumes design and execution: Pamela Allen-Cummings Lighting: Roma Flowers Gloria in excelsis Deo The Company Laudamus te Stephanie Rae Williams, Anthony Savoy, Ingrid Silva, and Samuel Wilson Domine Deus, Rex caelestis Da’Von Doane and Jenelle Figgins Chyrstyn Fentroy, Lindsey Croop, Ashley Jackson, Alexandra Jacob, Frederick Davis, Dylan Santos, Francis Lawrence, and Darius Barnes Domine Fili unigenite Chyrstyn Fentroy, Lindsey Croop, Ashley Jackson, Alexandra Jacob, Frederick Davis, Dylan Santos, Francis Lawrence, and Darius Barnes Domine Deus, Agnus Dei Ashley Murphy and Da’Von Doane Stephanie Rae Williams, Anthony Savoy, Ingrid Silva, and Samuel Wilson Qui sedes The Company Harlem has rich cultural legacy that includes music (jazz and hip-hop) and literature (the Harlem Renaissance’s Zora Neale Hurston, Langston Hughes, and Countee Cullen, to name a few). Not as well known, but equally vibrant, is its spiritual legacy. Gloria stands as a tribute to that history and legacy that still abides in the community of Harlem. The choreographer dedicates this work to the Abyssinian Baptist Church in Harlem, and its current pastor, Calvin Otis Butts III. Gloria was developed in part at Vineyard Arts Project, Edgartown, Mass.; Ashley Melone, founder and artistic director. Pause Program Notes, continued WHEN LOVE (World Premiere: October 20, 2012) Choreography: Helen Pickett Music: Philip Glass Costume: Charles Heightchew Original artwork for fabric: Gary Kleinschmidt Lighting: Mark Stanley Assistant to the choreographer: Kellye A. Saunders Emiko Flanagan Dustin James “Insistent time maps our days. But, when we are in love we surrender to unbridled time. What we share together during this span seems ‘out of time.’ And then, too suddenly, time shifts into focus again. An imprint of what we shared lingers, and traces of remembrances float into view. Yes, we crawl, walk, run, and love in time. But in these brief, wondrous periods we experience timeless love, and we dance our being.” — Helen Pickett Music: “Knee 5” from Einstein on the Beach The choreographer wishes to thank Thomas F. DeFrantz. When Love was created as part of Harlem Dance Works 2.0, an initiative made possible through a Rockefeller Foundation 2010 NYC Cultural Innovation Grant. Intermission FAR BUT CLOSE (World Premiere: November 16, 2012) Choreography: John Alleyne Text: Daniel Beaty Music: Daniel Bernard Roumain Costumes: Emilio Sosa Lighting: Gerald King Assistant to the choreographer: Kellye A. Saunders Ashley Murphy Stephanie Rae Williams Da’Von Doane Dustin James In this unique collaboration, spoken word movement and music tell an urban love story about the power of love to heal deep emotional wounds. Set to a commissioned score, in Far But Close, a young woman is wary of the smooth advances of a young man she meets on the subway platform. They, and their alter egos, soon connect, but only by allowing herself to let go of old pain is the young woman able to find the happiness offered to her. Far but Close was commissioned by Dance Theatre of Harlem as part of a New England Foundation for the Arts Grant and Harlem Dance Works 2.0, an initiative made possible through a Rockefeller Foundation 2010 NYC Cultural Innovation Grant. All music was performed and recorded by Daniel Bernard Roumain. Far but Close was developed in part at the Vineyard Arts Project in Edgartown, Mass.; Ashley Melone, founder and artistic director. Intermission Program Notes, continued RETURN (World Premiere: September 21, 1999) Choreography: Robert Garland Music: James Brown, Alfred Ellis, Aretha Franklin, and Carolyn Franklin Costume design and execution: Pamela Allen-Cummings Lighting: Roma Flowers Mother Popcorn Jenelle Figgins Ingrid Silva, Alexandra Jacob, Chyrstyn Fentroy, Lindsey Croop, and Nayara Lopes Darius Barnes Samuel Wilson, Fredrick Davis, Francis Lawrence, Dylan Santos, and Dustin James Baby, Baby, Baby Lindsey Croop and Fredrick Davis Chyrstyn Fentroy, Francis Lawrence, Alexandra Jacob, and Dustin James I Got The Feelin’ Samuel Wilson, Jenelle Figgins, and Dustin James Nayara Lopes, Dylan Santos, and Ingrid Silva Call Me Chyrstyn Fentroy and Francis Lawrence The Company Superbad Darius Barnes The Company Return was choreographed for Dance Theatre of Harlem’s 30th anniversary. Choreographer Robert Garland calls the ballet’s style “post-modern urban neoclassicism—an attempt to fuse an urban physical sensibility and a neoclassical one.” Staged for 12 dancers to songs performed by James Brown and Aretha Franklin, Return is “...a witty fusion of ballet technique and street gait whose irony toward rhythm-and- blues had the audience in stitches.” (The New York Times) Mother Popcorn and Superbad performed by James Brown, courtesy of Dynatone Publishing Company by arrangement with Warner Special Products. Baby, Baby, Baby and Call Me performed by Aretha Franklin, courtesy of Pronto Music and Fourteenth Hour Music, Inc. by arrangement with Warner Special Products. I Got the Feelin’ performed by James Brown by arrangement with Fort Knox Music, Inc. Return was commissioned by Arthur Mitchell and Dance Theatre of Harlem. About Dance Theatre of Harlem Dance Theatre of Harlem is a leading dance institution of unparalleled global acclaim that uses the art form of classical ballet to change people’s lives. Dance Theatre of Harlem was founded in 1969 by Arthur Mitchell and the late Karel Shook. Mitchell, the first African American dancer to become a principle dancer with a major U.S. ballet company (New York City Ballet) turned his despair at the assassination of Martin Luther King Jr. into hope by establishing a school, and later a company, to bring new opportunity to the lives of the young people in the Harlem neighborhood in which he grew up. He believed in the power of training in a classical art form to bring discipline and focus to a challenged community. Dance Theatre of Harlem’s unprecedented success is built on creating innovative and bold new forms of artistic expression. Through varied artistic interactions, Dance Theatre of Harlem has inspired countless people in New York City, across the country, and around the world. Now 44 years old, Dance Theatre of Harlem remains committed to the excellence that has sustained it over the years. At the same time, it is dedicated to reaching new audiences with a powerful message of self-reliance, artistic relevance, and individual responsibility—all hallmarks of an organization that has played a key role in the national cultural dialogue. The relaunch of the Dance Theatre of Harlem Company last year returns a level of vibrancy to the organization. Known for its thrilling performances, the company also offers extensive community engagement and arts exposure opportunities to audiences in New York, across the country, and internationally. The new Dance Theatre of Harlem Company consists of 18 racially diverse dance artists who perform an eclectic and demanding repertoire at the highest level. Artist Biographies VIRGINIA JOHNSON (artistic director) A founding member of Dance Theatre of Harlem, Virginia Johnson was one of its principal ballerinas over a career that spanned nearly 30 years. After retiring in 1997, Johnson went on to found Pointe Magazine and was editor-in chief for 10 years. A native of Washington, D.C., Johnson began her training with Therrell Smith. She studied with Mary Day at the Washington School of Ballet, graduated from the Academy of the Washington School of Ballet, and went on to be a University Scholar in the School of the Arts at New York University before joining Dance Theatre of Harlem. Johnson is universally recognized as one of the great ballerinas of her generation and is perhaps best known for her performances in the ballets Giselle, A Streetcar Named Desire, and Fall River Legend. She has received such honors as a Young Achiever Award from the National Council of Women, Outstanding Young Woman of America, the Dance Magazine Award, a Pen and Brush Achievement Award, the Washington Performing Arts Society’s 2008- 2009 Pola Nirenska Lifetime Achievement Award, and the 2009 Martha Hill Fund Mid-Career Award. Artist Biographies, continued Laveen Naidu (executive director) Born in Durban, South Africa, Naidu graduated from the University of Cape Town, South Africa, and performed with the Cape Arts Performing Board Ballet Company. In 1991, Naidu joined the Dance Theatre of Harlem Company and over the years held several executive positions, including director of the organization’s education and outreach program, Dancing Through Barriers®, and the Dance Theatre of Harlem School. In 1998, in collaboration with Arthur Mitchell, Naidu choreographed his first ballet for the Dance Theatre of Harlem Company,South African Suite.
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