A unique and "flexible" Connecticut dance company performed at the Oscars last night in a most unusual way.
The company "reenacted" icons from last year's top movies including "Happy Feet" and "Little Miss Sunshine." The results were incredible!
They would tumble behind a scrim, a sort of stage background that can do amazing things with lights and shadows, and sort of come together and form and grow shapes, into such things as chubby, adorable and completely realistic penguins as well as the van from "Little Miss Sunshine" driving down the highway with a few cast members running in tow.
The company uses a unique choreographic style and "weight-sharing" partnering to build these amazing creations, with their bodies! It is really amazing to watch and again I am kicking myself for not having seen Pilobolus when they traveled to Boston a few months ago.
The company's name means a fungus that grows exponentially fast. For more detailed and interesting facts and information about the company head to the Pilobolus site.
Monday, February 26, 2007
Close Encounter
I know I am wicked behind on my blog (yes, the New Yorker said wicked), but I will probably end up posting four times today.
So ... my close encounter at the Boston Ballet was brief, but amazing!
This past Friday I took another long South End walk to the Boston Ballet on Clarendon Street after a fruitless visit on Thursday when the ticket office was closed for an all day training session. I needed to switch my ticket for "New Visions" from this Thursday March 1 to Sunday March 4 because of extenuating circumstances (I'm heading to New York this Wednesday for undisclosed reasons, just know it involves dancing).
There is one person in line in front of me at the ticket box, keeping me in the building lobby for an extra two minutes. Luckily, during the two minutes, none other than Jorma Elo runs into the building right past me, flashing me a smile.
Yes, that is the entire encounter, but it is not everyday that resident choreographer to the Boston Ballet Jorma Elo, runs on the street into the Boston Ballet building, before your eyes, and pauses to take notice of your presence.
I must have looked like a star-struck ballet nerd as I stood there, mere inches away from choreographing genius. It was as if Jorma and I were meant to meet, even though we didn't. I mean I saw him at the Dance Spotlight mere days before, and then we "bump" into each other.
Destiny.
Jorma, dressed in straight leg fitted jeans, a t-shirt and his eyeglasses, rushed past me in a calm, gazelle-like manner, typical of anyone in the dance world. His quite demeanor and power of presence really resonated in the seconds when he passed by me, but that is the awe of a dancer I have always loved.
All 5' and 1/2" of my height doesn't equate elegance, stature, prominence, but for some reason my parents, peers and co-workers at Coach at Copley are always catching me standing in a dance pose.
There is a walk, a fashion style, and a stance typical to dancers although the exact movement is completely different for each person. But if someone is a dancer, you'll know it whether they take care to keep perfect posture while walking or while waiting will be standing in First or Third position, ballet.
Ahhh to be a dancer. I just love it.
So ... my close encounter at the Boston Ballet was brief, but amazing!
This past Friday I took another long South End walk to the Boston Ballet on Clarendon Street after a fruitless visit on Thursday when the ticket office was closed for an all day training session. I needed to switch my ticket for "New Visions" from this Thursday March 1 to Sunday March 4 because of extenuating circumstances (I'm heading to New York this Wednesday for undisclosed reasons, just know it involves dancing).
There is one person in line in front of me at the ticket box, keeping me in the building lobby for an extra two minutes. Luckily, during the two minutes, none other than Jorma Elo runs into the building right past me, flashing me a smile.
Yes, that is the entire encounter, but it is not everyday that resident choreographer to the Boston Ballet Jorma Elo, runs on the street into the Boston Ballet building, before your eyes, and pauses to take notice of your presence.
I must have looked like a star-struck ballet nerd as I stood there, mere inches away from choreographing genius. It was as if Jorma and I were meant to meet, even though we didn't. I mean I saw him at the Dance Spotlight mere days before, and then we "bump" into each other.
Destiny.
Jorma, dressed in straight leg fitted jeans, a t-shirt and his eyeglasses, rushed past me in a calm, gazelle-like manner, typical of anyone in the dance world. His quite demeanor and power of presence really resonated in the seconds when he passed by me, but that is the awe of a dancer I have always loved.
All 5' and 1/2" of my height doesn't equate elegance, stature, prominence, but for some reason my parents, peers and co-workers at Coach at Copley are always catching me standing in a dance pose.
There is a walk, a fashion style, and a stance typical to dancers although the exact movement is completely different for each person. But if someone is a dancer, you'll know it whether they take care to keep perfect posture while walking or while waiting will be standing in First or Third position, ballet.
Ahhh to be a dancer. I just love it.
Thursday, February 22, 2007
Regret ... and a few inspirational quotes
I am cursing myself for not bringing my digital camera because many other attendees were clicking away and getting great candid photos as well as dance shots.
So the comments I was talking about before:
"Dancers are fantastic creatures" -Jorma Elo, Resident Choreographer for the Boston Ballet
When Mikko Nissenen was asked about the differences between modern and ballet, "except that modern dancers dance barefoot," by a middle-aged audience member his answer was simple and rang true to my dancer ears:
"There are only two types of dance: good and bad."
So the comments I was talking about before:
"Dancers are fantastic creatures" -Jorma Elo, Resident Choreographer for the Boston Ballet
When Mikko Nissenen was asked about the differences between modern and ballet, "except that modern dancers dance barefoot," by a middle-aged audience member his answer was simple and rang true to my dancer ears:
"There are only two types of dance: good and bad."
Dance Spotlight - a night with the Boston Ballet Artistic Director and Resident Choreographer
The Howard Gotlieb Archival Research Center at Boston University brought an evening of dance, inspiration and discussion about the world of dance for free.
Last night at 6:30 p.m. I left my dance rehearsal early to the disappointment of my choreographer and headed to the Tsai Performance Arts Center on the BU East T stop (my mistake from a previous post, I incorrectly wrote BU Central T stop).
The "show" was essentially Jorma Elo (pronounced Yorma) conducting a rehearsal for sections from the world premiere "Brake the Eyes" which will be showcased in "New Visions" in two weeks. This was followed by a question and answer with the associate director for PR at the Boston Ballet Sheryl Flatow and Elo and Mikko Nissinen, the Artistic Director for the Boston Ballet.
One of the most interesting things I found out is that Nissinen and Elo met when they were 10 and 11 years old (respectively) on their way to a ballet school in Finland, and they are lifelong friends that get to work together and collaborate at one of the world's most renowned ballet companies.
The dancers were in practice clothing, relaxed and attentive, sometimes even joking with Elo.
It was a bit unnerving and I felt almost starstrck as Larissa Ponomarenko, a principal dancer for the Boston Ballet, practiced a bit of choreography that was far from what I expected from the frail-looking blonde.
She used her small body to portray powerful and "heavy" movement as Elo called it.
The pas de deux's were interesting and unique, and the dancers moved with ease, never flinching or making a mistake. It seemed to be what dance should be.
During the discussion, both Nissenen and Elo, Finland natives, made comments that stayed with me, and probably will for the rest of my life.
Elo seems to be a simple yet driven man who realized that he loved choreography more than dance, even after being a professional dancer for a long time. He expressed enthusiasm about working with dancers and feeling inspired by them.
Elo has world premiered several pieces with the Boston Ballet including "Plan to B" which he described as his struggle between choosing two remain a dancer or becoming a full-time choreographer. He choreographed the piece at a time when he still was a dancer, and it really reflected a certain point in his life.
Elo's choreography is focused and personal. He always has a clear point and all his movement goes together, and is its own style.
My night out was well-worth the $3.40 round-trip T ride from BU's campus, because being in an environment to hear professionals discussing what they do, how they do it and why they do it is fantastic.
Because dance is something very hard to explain, even to other dancers.
Last night at 6:30 p.m. I left my dance rehearsal early to the disappointment of my choreographer and headed to the Tsai Performance Arts Center on the BU East T stop (my mistake from a previous post, I incorrectly wrote BU Central T stop).
The "show" was essentially Jorma Elo (pronounced Yorma) conducting a rehearsal for sections from the world premiere "Brake the Eyes" which will be showcased in "New Visions" in two weeks. This was followed by a question and answer with the associate director for PR at the Boston Ballet Sheryl Flatow and Elo and Mikko Nissinen, the Artistic Director for the Boston Ballet.
One of the most interesting things I found out is that Nissinen and Elo met when they were 10 and 11 years old (respectively) on their way to a ballet school in Finland, and they are lifelong friends that get to work together and collaborate at one of the world's most renowned ballet companies.
The dancers were in practice clothing, relaxed and attentive, sometimes even joking with Elo.
It was a bit unnerving and I felt almost starstrck as Larissa Ponomarenko, a principal dancer for the Boston Ballet, practiced a bit of choreography that was far from what I expected from the frail-looking blonde.
She used her small body to portray powerful and "heavy" movement as Elo called it.
The pas de deux's were interesting and unique, and the dancers moved with ease, never flinching or making a mistake. It seemed to be what dance should be.
During the discussion, both Nissenen and Elo, Finland natives, made comments that stayed with me, and probably will for the rest of my life.
Elo seems to be a simple yet driven man who realized that he loved choreography more than dance, even after being a professional dancer for a long time. He expressed enthusiasm about working with dancers and feeling inspired by them.
Elo has world premiered several pieces with the Boston Ballet including "Plan to B" which he described as his struggle between choosing two remain a dancer or becoming a full-time choreographer. He choreographed the piece at a time when he still was a dancer, and it really reflected a certain point in his life.
Elo's choreography is focused and personal. He always has a clear point and all his movement goes together, and is its own style.
My night out was well-worth the $3.40 round-trip T ride from BU's campus, because being in an environment to hear professionals discussing what they do, how they do it and why they do it is fantastic.
Because dance is something very hard to explain, even to other dancers.
Aurora Borealis interview coming up ... in a few
So I stalked my favorite dancer from the "Aurora Borealis: A festival of light and dance" BU production last weekend and have made contact with her.
Her name is Amanda Rey and she is one of those dancers that you literally just can't take your eyes off. And she's just a student. She danced in the pieces "Still Life" and "Clash" and really stood out from the rest of the dancers to me.
I'm waiting for her to get back to me so I can do a full-on interview and find out her dance life story ... and then repeat it.
Her name is Amanda Rey and she is one of those dancers that you literally just can't take your eyes off. And she's just a student. She danced in the pieces "Still Life" and "Clash" and really stood out from the rest of the dancers to me.
I'm waiting for her to get back to me so I can do a full-on interview and find out her dance life story ... and then repeat it.
Wednesday, February 21, 2007
Costume makes the clown ... or ballerina
An exciting photo exhibit by Carin Ingalsbe is on view now at Boston Ballet.
The Boston Ballet Web site describes the photo gallery as:
The "ballet costume project," a photographic journey in which Ingalsbe explores the beauty of costumes past their prime. She has worked previously with New York City Ballet and Paris Opera Ballet, and now her series of Boston Ballet costumes is on view at the Company's home at 19 Clarendon Street.
Also, the photos are available for purchase with part of the proceeds benefiting the Boston Ballet.
I don't know how expensive they run, but tomorrow when I head to the Boston Ballet to exchange a Thursday March 1 "New Visions" ticket for a Sunday March 4 "New Visions" ticket I will be sure to check out this photo gallery, and maybe any reasonably priced postcard-sized prints.
The Boston Ballet Web site describes the photo gallery as:
The "ballet costume project," a photographic journey in which Ingalsbe explores the beauty of costumes past their prime. She has worked previously with New York City Ballet and Paris Opera Ballet, and now her series of Boston Ballet costumes is on view at the Company's home at 19 Clarendon Street.
Also, the photos are available for purchase with part of the proceeds benefiting the Boston Ballet.
I don't know how expensive they run, but tomorrow when I head to the Boston Ballet to exchange a Thursday March 1 "New Visions" ticket for a Sunday March 4 "New Visions" ticket I will be sure to check out this photo gallery, and maybe any reasonably priced postcard-sized prints.
Dance spotlight - this free event has me rearranging a few things
The Boston Ballet's "Dance Spotlight" is a random series of events around Boston and tonight is the first one that I am going (to try) to attend.
Tonight, Wednesday February 21 at 7 pm at the BU Tsai Performance Center (yup it's the same place I went to see Complexions), the entire cast of the Boston Ballet will be performing excerpts from resident choreographer Jorma Elo's world premiere of "Brake the Eyes."
But I have my own dance rehearsal for a 20-minute modern/ballet piece I am in with the Northeastern University Dance Company called "Passing" on the stages of death. It's pretty exciting stuff.
But my rehearsal is from 6-7 pm and I'm thinking I might have to disappoint the choreographer and leave early so I can attend this awesome, and better yet FREE, event tonight.
Tickets are free, yet required so call 617.353.3697
I already called last night and left a voice mail with my name and phone number as requested by the prompts and hopefully my ticket will be waiting for me. But maybe I should call again just to make sure.
The Tsai Performance Center is located at 685 Commonwealth Avenue on BU's campus, right off of the BU Central T stop.
See you there ... I HOPE!
Tonight, Wednesday February 21 at 7 pm at the BU Tsai Performance Center (yup it's the same place I went to see Complexions), the entire cast of the Boston Ballet will be performing excerpts from resident choreographer Jorma Elo's world premiere of "Brake the Eyes."
But I have my own dance rehearsal for a 20-minute modern/ballet piece I am in with the Northeastern University Dance Company called "Passing" on the stages of death. It's pretty exciting stuff.
But my rehearsal is from 6-7 pm and I'm thinking I might have to disappoint the choreographer and leave early so I can attend this awesome, and better yet FREE, event tonight.
Tickets are free, yet required so call 617.353.3697
I already called last night and left a voice mail with my name and phone number as requested by the prompts and hopefully my ticket will be waiting for me. But maybe I should call again just to make sure.
The Tsai Performance Center is located at 685 Commonwealth Avenue on BU's campus, right off of the BU Central T stop.
See you there ... I HOPE!
Tuesday, February 20, 2007
Episode 6 ... Staci makes a career change that could make her or break her
Staci admits to wanting to ultimately be a professional singer, not a professional dancer despite the fact that dancing has been going so well for her and she constantly has auditions and dance opportunities.
So she turns down a week filled with non-stop dance auditions to record some music for a demo which she begins to shop around.Long story short, they ask her to make a music video to be completed in merely 5 days. Nearly impossible.
But with the help of her "dance gang" i.e. Celestina with makeup, Jersey finding a video shoot location, Kenny's video editing skills and Blake's overall guidance, she makes it happen.The arduous task of putting a music video was seen throughout this episode, and one thing that made me happy was all the dancing, despite the fact that Staci is trying to propel her career from a steady job as a dancer to a professional singer.
Luckily for her she is good-looking, fit, has a semi-decent voice and is a fantastic dancer.Sounds to me like she has the makings to be an AMAZING POP STAR, because she meets all the obvious requirements.
You just have to watch and see if any labels pick-up Staci's demo ... and if she does become the next singing sensation.
But more dancing will grace the television screen next Monday at 10:30 pm for an all new episode of "Dancelife."
So she turns down a week filled with non-stop dance auditions to record some music for a demo which she begins to shop around.Long story short, they ask her to make a music video to be completed in merely 5 days. Nearly impossible.
But with the help of her "dance gang" i.e. Celestina with makeup, Jersey finding a video shoot location, Kenny's video editing skills and Blake's overall guidance, she makes it happen.The arduous task of putting a music video was seen throughout this episode, and one thing that made me happy was all the dancing, despite the fact that Staci is trying to propel her career from a steady job as a dancer to a professional singer.
Luckily for her she is good-looking, fit, has a semi-decent voice and is a fantastic dancer.Sounds to me like she has the makings to be an AMAZING POP STAR, because she meets all the obvious requirements.
You just have to watch and see if any labels pick-up Staci's demo ... and if she does become the next singing sensation.
But more dancing will grace the television screen next Monday at 10:30 pm for an all new episode of "Dancelife."
Saturday, February 17, 2007
Aurora Borealis: BU students take dance to a new openminded level
While perusing the Boston.com Web site for any good dance shows this weekend, I came across "Aurora Borealis: A Festival of Light and Dance" at the Calderwood Pavilion at the Boston Center for the Arts (BCA) on Tremont Street.
Tickets are still on sale for the show which is running until tomorrow for only $10, no student rush, no hassle.
The show itself was really something else. I'm not sure what I was expecting but the first piece of Act I threw me for a loop and I had the sense of being at a member-recruitment meeting for a cult. Artistic directors Judith Chaffee and Micki Taylor-Pinney have theatre and dance backgrounds and teach at Boston University. Students as well as professors and instructors choreographed various pieces using sounds and lighting to change the performance and give it a much more theatrical effect.
This weekends showcase of "Aurora Borealis" is the fifth annual festival of this show in which the pieces change each year.
One thing is for certain, the Whitney Theatre at the Pavilion was GORGEOUS. If only Northeastern University had the type of funding for a state of the art theatre that is both intimate, beautiful designed, and a great place to dance.
The show is about an hour and half long, and I would say makes the cut for costing $10.
I'm really going to need to go into more detail about each of the pieces ... but for now I'm running off to work. So I'll post a detailed, and hopefully witty blog sometime this weekend diving into all the details that I loved, or hated, about "Aurora Borealis."
And don't forget today at 2 pm at the Roslindale Yoga center there is bellydancing with snakes and the Boston Ballet's "A Midsummer Night's Dream" is still running at the Citi Wang Center until February 18.
If only I wasn't working.
Tickets are still on sale for the show which is running until tomorrow for only $10, no student rush, no hassle.
The show itself was really something else. I'm not sure what I was expecting but the first piece of Act I threw me for a loop and I had the sense of being at a member-recruitment meeting for a cult. Artistic directors Judith Chaffee and Micki Taylor-Pinney have theatre and dance backgrounds and teach at Boston University. Students as well as professors and instructors choreographed various pieces using sounds and lighting to change the performance and give it a much more theatrical effect.
This weekends showcase of "Aurora Borealis" is the fifth annual festival of this show in which the pieces change each year.
One thing is for certain, the Whitney Theatre at the Pavilion was GORGEOUS. If only Northeastern University had the type of funding for a state of the art theatre that is both intimate, beautiful designed, and a great place to dance.
The show is about an hour and half long, and I would say makes the cut for costing $10.
I'm really going to need to go into more detail about each of the pieces ... but for now I'm running off to work. So I'll post a detailed, and hopefully witty blog sometime this weekend diving into all the details that I loved, or hated, about "Aurora Borealis."
And don't forget today at 2 pm at the Roslindale Yoga center there is bellydancing with snakes and the Boston Ballet's "A Midsummer Night's Dream" is still running at the Citi Wang Center until February 18.
If only I wasn't working.
Monday, February 12, 2007
Dancelife continues ... but where's the dancing?
All right I am all for Jersey having a great first date with Kenny's roommate Nick, and could not be more interested in whether or not Kenny and his Pussycat Doll-girlfriend Ashley will survive their long distance relationship, but the dance element in this week's "Dancelife" was completely lacking.
The only scenes featuring dance were at the beginning during a master class at Millennium studio and Kenny's "venting" solo, obviously pre-choreographed, but amazingly choreographed at that.
Basically these dance kids are having a slow week in LA with a Gap-commercial watching party for Blake and Staci, and a cookout/pool party at Kenny's apartment building (which by the way strikes me as odd that none of the neighbors cared about the noise or beer pong in the middle of the day).
I think that just one more scene of intense dancing would have added a lot to the show. After all it is called "Dancelife" not "Love lives of dancers."
I did get up and try to learn the routine during the master class and picked up a few steps, but learning a dance in a mirror image is not that easy. At all.
Until next week, which centers around Staci's deadline to make a video for her music (apparently singing is her ultimate goal, not dance) I can only go to the MTV "Dancelife" site to learn some choreography from Kenny to satisfy my dance addiction.
Now it's time to rest these tired bones and get ready for some dancing of my own tomorrow: teaching a jazz class, running my dance piece rehearsal and attending another dance piece rehearsal.
The only scenes featuring dance were at the beginning during a master class at Millennium studio and Kenny's "venting" solo, obviously pre-choreographed, but amazingly choreographed at that.
Basically these dance kids are having a slow week in LA with a Gap-commercial watching party for Blake and Staci, and a cookout/pool party at Kenny's apartment building (which by the way strikes me as odd that none of the neighbors cared about the noise or beer pong in the middle of the day).
I think that just one more scene of intense dancing would have added a lot to the show. After all it is called "Dancelife" not "Love lives of dancers."
I did get up and try to learn the routine during the master class and picked up a few steps, but learning a dance in a mirror image is not that easy. At all.
Until next week, which centers around Staci's deadline to make a video for her music (apparently singing is her ultimate goal, not dance) I can only go to the MTV "Dancelife" site to learn some choreography from Kenny to satisfy my dance addiction.
Now it's time to rest these tired bones and get ready for some dancing of my own tomorrow: teaching a jazz class, running my dance piece rehearsal and attending another dance piece rehearsal.
Flamenco dreams dashed this past Saturday
After a full day of work this past Saturday February 10, 2007, I headed to Emerson's Cutler Majestic Theatre in search for student rush tickets.
After walking a good 25 minutes from the Copley mall down Boylston street, my dreams of seeing the Flamenco Festival 2007 were strewn across the sidewalk like day-old Boston Globe's in a Mission Hill apartment.
There were no student rush tickets reserved, the least inexpensive tickets were $40 (out of my budget right now as I anxiously wait to get paid this week from my humble job as a sales associate for the Coach store) and I couldn't get two tickets together (a friend tagged along).
After talking up the art of flamenco, the severity, passion, reminiscence of tango and love and artistry, my date was more pumped to see the Compania Rafaela Carrasco performing Una Mirada al Flamenco (translation: A Look of Flamenco).
But see it we did not.
I was pretty disappointed and took my anger out on the no doubt work-study cashier at the ticket box who merely passed on the bad news that because the show was nearly sold out, no student rush tickets had been set aside.
Which is a real shame because I have taken flamenco lessons. Granted I was about 7 years old, but with castanets in hand, black theatre (character) shoes strapped tight and gypsy fringe scarf wrapped around my waist I learned and absorbed as much as I could through an after school program that run a mere month.
The Flamenco Festival was celebrating its 8th year, and Una Mirada al Flamenco made its Boston premiere last Friday.
The Cutler Majestic Theatre Web site description of the Flamenco show is as follows:
"From Seville, Rafaela Carrasco keeps one foot in the old world as she dances toward the new. She is an elegant, refined, yet gutsy dancer whose innovative choreography expresses what flamenco means in the 21st century. Una Mirada al Flamenco (A Look at Flamenco) features five male and female dancers profoundly reworking traditional flamenco, while a delicate cello, lyrical piano and expressive guitar and singing maintain the intensity of emotion."
Which I missed.
With each time I reread the description, my heart sinks a little more.
I guess there's always next year.
After walking a good 25 minutes from the Copley mall down Boylston street, my dreams of seeing the Flamenco Festival 2007 were strewn across the sidewalk like day-old Boston Globe's in a Mission Hill apartment.
There were no student rush tickets reserved, the least inexpensive tickets were $40 (out of my budget right now as I anxiously wait to get paid this week from my humble job as a sales associate for the Coach store) and I couldn't get two tickets together (a friend tagged along).
After talking up the art of flamenco, the severity, passion, reminiscence of tango and love and artistry, my date was more pumped to see the Compania Rafaela Carrasco performing Una Mirada al Flamenco (translation: A Look of Flamenco).
But see it we did not.
I was pretty disappointed and took my anger out on the no doubt work-study cashier at the ticket box who merely passed on the bad news that because the show was nearly sold out, no student rush tickets had been set aside.
Which is a real shame because I have taken flamenco lessons. Granted I was about 7 years old, but with castanets in hand, black theatre (character) shoes strapped tight and gypsy fringe scarf wrapped around my waist I learned and absorbed as much as I could through an after school program that run a mere month.
The Flamenco Festival was celebrating its 8th year, and Una Mirada al Flamenco made its Boston premiere last Friday.
The Cutler Majestic Theatre Web site description of the Flamenco show is as follows:
"From Seville, Rafaela Carrasco keeps one foot in the old world as she dances toward the new. She is an elegant, refined, yet gutsy dancer whose innovative choreography expresses what flamenco means in the 21st century. Una Mirada al Flamenco (A Look at Flamenco) features five male and female dancers profoundly reworking traditional flamenco, while a delicate cello, lyrical piano and expressive guitar and singing maintain the intensity of emotion."
Which I missed.
With each time I reread the description, my heart sinks a little more.
I guess there's always next year.
Sunday, February 11, 2007
"Midsummer" dreams come true
The Boston Ballet's full-length production of "A Midsummer Night's Dream" choreographed entirely by Balanchine was an experience rather than a mere show.
The costumes, set and music transformed the Victorian Citi Wang Theatre into a fairy woodland complete with incredible fouette (a certain type of ballet turn) sequences and comedic relief from Puck.
As previously described on the Web site, Act I was completely narrative and with 25 children from the Boston Ballet school playing woodland creatures (i.e. fairies and such) the play took on a new form and it was very easy to follow along, young and old.
The dancing was beautiful, the set majestic as Titania's part of the woods was surrounded by massive, literally enormous pink flowers which makes sense since fairies are traditionally considered tiny.
I couldn't help but draw similarities between my costume as Fairy #2 when I was 15 in a high school straight drama production of the classic comedy and Boston Ballet's artistic director's choice.
But back to the dancing. Puck's movement was sharp, emphatic and very funny and frenzied which gave the audience a reason to laugh at every turn. What you don't expect when you go to the ballet is to laugh, especially a narrative ballet which is usually based on heartache or some utterly tragic story. But laugh we all did.
Throughout Act II, I began to get a little distracted and bored with the Pas de Deux (partner movement). It was sort of a wedding celebration when both mortals and fairies are celebrating in their own way. But the repetition was a little too obvious and I began to feel like the 10-year-old girl behind me who asked why they were doing the same things over and over again.
But I am a grown 20-year-old woman and feel that maybe I shouldn't have let myself get bored. After I all, if I was onstage performing movements that happened to repeat, I would want the audience to notice slight differences or the reason for the repetition, which there usually always is.
So with my new "Midsummer Night's Dream" green t-shirt adorned with pink butterflies in a Boston Ballet shopping bag, I headed out of the theatre and down to the Boylston T stop where I ran into some friends, dance friends, who had just been to see the show as well. We all agreed that watching any sort of dance performance puts us in the mood to kick off our shoes and dance.
And now i wish I had done pointe and realize that I can never go back and do it again as my ankles aren't strong enough ... because a career on pointe only lasts so long and for most ends at a very early age.
"A Midsummer Night's Dream" will be playing through February 18 so if you have the chance to see it I highly recommend student rush or rush tickets (an hour and half before the show).
Hence away ...
The costumes, set and music transformed the Victorian Citi Wang Theatre into a fairy woodland complete with incredible fouette (a certain type of ballet turn) sequences and comedic relief from Puck.
As previously described on the Web site, Act I was completely narrative and with 25 children from the Boston Ballet school playing woodland creatures (i.e. fairies and such) the play took on a new form and it was very easy to follow along, young and old.
The dancing was beautiful, the set majestic as Titania's part of the woods was surrounded by massive, literally enormous pink flowers which makes sense since fairies are traditionally considered tiny.
I couldn't help but draw similarities between my costume as Fairy #2 when I was 15 in a high school straight drama production of the classic comedy and Boston Ballet's artistic director's choice.
But back to the dancing. Puck's movement was sharp, emphatic and very funny and frenzied which gave the audience a reason to laugh at every turn. What you don't expect when you go to the ballet is to laugh, especially a narrative ballet which is usually based on heartache or some utterly tragic story. But laugh we all did.
Throughout Act II, I began to get a little distracted and bored with the Pas de Deux (partner movement). It was sort of a wedding celebration when both mortals and fairies are celebrating in their own way. But the repetition was a little too obvious and I began to feel like the 10-year-old girl behind me who asked why they were doing the same things over and over again.
But I am a grown 20-year-old woman and feel that maybe I shouldn't have let myself get bored. After I all, if I was onstage performing movements that happened to repeat, I would want the audience to notice slight differences or the reason for the repetition, which there usually always is.
So with my new "Midsummer Night's Dream" green t-shirt adorned with pink butterflies in a Boston Ballet shopping bag, I headed out of the theatre and down to the Boylston T stop where I ran into some friends, dance friends, who had just been to see the show as well. We all agreed that watching any sort of dance performance puts us in the mood to kick off our shoes and dance.
And now i wish I had done pointe and realize that I can never go back and do it again as my ankles aren't strong enough ... because a career on pointe only lasts so long and for most ends at a very early age.
"A Midsummer Night's Dream" will be playing through February 18 so if you have the chance to see it I highly recommend student rush or rush tickets (an hour and half before the show).
Hence away ...
Wednesday, February 7, 2007
I'm dreaming of a "Midsummer Night" right in the middle of February
Boston Ballet's Fall 2006-Spring 2007 season will jump back into full gear this Thursday night, on opening night, of A Midsummer Night's Dream.
Described on the Boston Ballet Web site as a ballet "based on Shakespeare's comic masterpiece, George Balanchine's ballet is an enchanting ode to the supernatural power of love. This company premiere is a perfect treat for your valentine or family."
Well I hope it is all those things and more, as I will begin taking advantage of my Boston Ballet Student Subscription this Thursday at 7 pm when I will sit in my $75 seat which I paid a mere $20 for way back in September. (Ah the benefits of thinking ahead, going to the Boston Ballet studio on Clarendon Street in the South End to show my student id, and reaping the benefits of being a part of academia.)
I was actually in a straight theater production of A Midsummer Night's Dream and can NOT wait to see this ballet version.
This production will be the first completely original full-length ballet created by Balanchine, a genius at worst.
Balanchine supplemented scores from the composer's music, in a nutshell, to build a dual-act show where the first act follows the narrative of the story, and created a second act without an apparent narrative.
Whatever Balanchine did with the music is between him and the composer. All I know is I am extremely ready for a night of pure talent, poise and precision which the Boston Ballet is sure to deliver during every performance.
These people are professionals after all.
Described on the Boston Ballet Web site as a ballet "based on Shakespeare's comic masterpiece, George Balanchine's ballet is an enchanting ode to the supernatural power of love. This company premiere is a perfect treat for your valentine or family."
Well I hope it is all those things and more, as I will begin taking advantage of my Boston Ballet Student Subscription this Thursday at 7 pm when I will sit in my $75 seat which I paid a mere $20 for way back in September. (Ah the benefits of thinking ahead, going to the Boston Ballet studio on Clarendon Street in the South End to show my student id, and reaping the benefits of being a part of academia.)
I was actually in a straight theater production of A Midsummer Night's Dream and can NOT wait to see this ballet version.
This production will be the first completely original full-length ballet created by Balanchine, a genius at worst.
Balanchine supplemented scores from the composer's music, in a nutshell, to build a dual-act show where the first act follows the narrative of the story, and created a second act without an apparent narrative.
Whatever Balanchine did with the music is between him and the composer. All I know is I am extremely ready for a night of pure talent, poise and precision which the Boston Ballet is sure to deliver during every performance.
These people are professionals after all.
Tuesday, February 6, 2007
My very own dance life
(Photo courtesy of Ricky Popolizio)
Here I am last June, stopping to enjoy a mid-Commonwealth avenue dance pose statue in someones front garden.
After all of this research on dancing and watching "Dancelife" each week, I wonder if things would've gone differently had I aggressively pursued dance after leaving Brooklyn and moving to Westchester County with my parents to a suburban school, a lifestyle I wasn't used to and a separation from the cultural diversity I had loved so much in the Brooklyn Heights.
Granted I never stopped dancing, I would perform at local school talent shows, and I co-founded the Irvington High School Dance Team with my best friend and took hip hop classes here and there and even joined a children/teen hip hop company for a little while.
But had I made it my priority, could've I have been a dance major at some prestigious, Midwestern school known for its performing arts program, or even a major hit in Broadway productions?
There is a crossroad that every child dancer must face, at a young age at that. To honestly assess your talents and to decide whether dance enough of a passion and desire that you want to be doing it everyday, and you want to make it your career, life and love. Or whether to pursue it as a great athletic hobby that gives you satisfaction, stress release and is a great way to stay in shape.
I keep re-evaluating my dancing abilities and wondering if maybe things work out differently, and the chance presented itself to me, would I drop everything in my life and pursue a career in dance?
At least I'd still be able to blog.
Granted I never stopped dancing, I would perform at local school talent shows, and I co-founded the Irvington High School Dance Team with my best friend and took hip hop classes here and there and even joined a children/teen hip hop company for a little while.
But had I made it my priority, could've I have been a dance major at some prestigious, Midwestern school known for its performing arts program, or even a major hit in Broadway productions?
There is a crossroad that every child dancer must face, at a young age at that. To honestly assess your talents and to decide whether dance enough of a passion and desire that you want to be doing it everyday, and you want to make it your career, life and love. Or whether to pursue it as a great athletic hobby that gives you satisfaction, stress release and is a great way to stay in shape.
I keep re-evaluating my dancing abilities and wondering if maybe things work out differently, and the chance presented itself to me, would I drop everything in my life and pursue a career in dance?
At least I'd still be able to blog.
Last night's "Dancelife" episode ... I'm yawning a little bit
So last night's episode of "Dancelife", the third of this first season of the new show, left a lot to be desired.
It was a little bit boring and cliche, as Jersey struggled with over extending herself and rehearsing for too many different dance performances throughout the same time period.
Celestina tried to juggle having a boyfriend and focusing and progressing her career.
I mean it's basically a given that in any type of serious attempt to develop and become successful at your job, especially entertainment, the relationships in your life become sacrificed to some extent.
Whether that means completely breaking up with a boyfriend or girlfriend, moving away from friends and family or having to give away your pets, in entertainment, if you don't put your career above all else other things will become a distraction.
Don't get me wrong, I am a huge fan of having a well-rounded life, filled with family, love, friends, a great job you love and hobbies. But it's a brutal fact the entertainment business is a cold place to develop or maintain a romantic relationship.
At the end of the show of course, Celestina and her beau were doing fine, as he tried to convince her that a Lakers games was a romantic date.
As for the dancing, I could've used just a touch more of that element that keeps me coming back to the show every week.
Jersey and Celestina performed with Ashlee Simpson to her hit song "L.O.V.E." at a concert and most of the "Dancelife" cast performed at Carnival, a club night in LA where the dance pieces, varying in style, were well received.
Kenny (Wormwald) who took a backseat role in this episode after a whirlwind of attention in last week's episode, was the star of a Boston Globe article that ran yesterday. The show profiled him as a Stoughton, Bay state (that's Massachusetts for all you out there outside of the area) dance wonder who describes himself as being "a hyper kid," who always loved to dance.
He has danced at the White House, and recently was chosen for a Christina Aguilera video.
After graduating high school, Kenny and his dance friend from Randolph moved to LA to pursue a full dance career and he immediately began landing dance roles such as on the television show "The Drew Carey Show" and in Madonna's "American Life" music video.
The lucky, talented and irresistibly adorable Boston boy with a South Shore accent to match, will be performing with Justin Timberlake tonight at the TD Banknorth Garden with Timberlake's tour.
Dream's don't come true more so than that.
It was a little bit boring and cliche, as Jersey struggled with over extending herself and rehearsing for too many different dance performances throughout the same time period.
Celestina tried to juggle having a boyfriend and focusing and progressing her career.
I mean it's basically a given that in any type of serious attempt to develop and become successful at your job, especially entertainment, the relationships in your life become sacrificed to some extent.
Whether that means completely breaking up with a boyfriend or girlfriend, moving away from friends and family or having to give away your pets, in entertainment, if you don't put your career above all else other things will become a distraction.
Don't get me wrong, I am a huge fan of having a well-rounded life, filled with family, love, friends, a great job you love and hobbies. But it's a brutal fact the entertainment business is a cold place to develop or maintain a romantic relationship.
At the end of the show of course, Celestina and her beau were doing fine, as he tried to convince her that a Lakers games was a romantic date.
As for the dancing, I could've used just a touch more of that element that keeps me coming back to the show every week.
Jersey and Celestina performed with Ashlee Simpson to her hit song "L.O.V.E." at a concert and most of the "Dancelife" cast performed at Carnival, a club night in LA where the dance pieces, varying in style, were well received.
Kenny (Wormwald) who took a backseat role in this episode after a whirlwind of attention in last week's episode, was the star of a Boston Globe article that ran yesterday. The show profiled him as a Stoughton, Bay state (that's Massachusetts for all you out there outside of the area) dance wonder who describes himself as being "a hyper kid," who always loved to dance.
He has danced at the White House, and recently was chosen for a Christina Aguilera video.
After graduating high school, Kenny and his dance friend from Randolph moved to LA to pursue a full dance career and he immediately began landing dance roles such as on the television show "The Drew Carey Show" and in Madonna's "American Life" music video.
The lucky, talented and irresistibly adorable Boston boy with a South Shore accent to match, will be performing with Justin Timberlake tonight at the TD Banknorth Garden with Timberlake's tour.
Dream's don't come true more so than that.
Monday, February 5, 2007
Complexions performance review continued ...
So as I began to just touch upon in last night's blog, the Complexions company featured a variety of dance, dance styles and songs.
"Barely Silent" was the opening piece for Act 2 and featured two couples (one male and one female each) in fluid light blue/gray costumes performing a dance that featured more modern/lyrical movement than the previous "Hissy Fits" which awakened the senses to think deeper about relationships.
The "Barely Silent" female dancers appeared to not be wearing dance shoes at all, but after a minute into the piece my companion and I realized that they were going up en pointe (on point, a.k.a. on the very tips of their toes) several times and without hesitation.
The secret of the graceful transition from flat foot to pointe: incredibly smooth and barely visible pointe shoes.
The choreographers need to be commended on the complementary partnering movement which seems to flow naturally out of the dancers' fingertips and toes. Plus, a signature move, a slap on either the chest, thigh or arm, seemed to occur at least once per piece.
The pieces ranged from a Fosse and Twyla Tharp-inspired jazz piece to a "tango ballet" that left me on my feet clapping.
The one downfall in my opinion was the lack of unison group movement. And when it appeared it was obvious the directors choose to do mainly solos and complementary partnering because each dancer truly adds their own distinct style to the movement. When two or more dancers performed the same exact movement, I became lost in finding the differences rather than enthralled by the unique choreography.
However, it is also my belief that this type of distinction in movement and style is fostered in the Complexions company, and encouraged during group pieces.
Either way, the mix of genres, the enthusiasm, energy and pizazz of the choreography all lend themselves beautifully to an entertaining dance show that anyone can appreciate.
"Barely Silent" was the opening piece for Act 2 and featured two couples (one male and one female each) in fluid light blue/gray costumes performing a dance that featured more modern/lyrical movement than the previous "Hissy Fits" which awakened the senses to think deeper about relationships.
The "Barely Silent" female dancers appeared to not be wearing dance shoes at all, but after a minute into the piece my companion and I realized that they were going up en pointe (on point, a.k.a. on the very tips of their toes) several times and without hesitation.
The secret of the graceful transition from flat foot to pointe: incredibly smooth and barely visible pointe shoes.
The choreographers need to be commended on the complementary partnering movement which seems to flow naturally out of the dancers' fingertips and toes. Plus, a signature move, a slap on either the chest, thigh or arm, seemed to occur at least once per piece.
The pieces ranged from a Fosse and Twyla Tharp-inspired jazz piece to a "tango ballet" that left me on my feet clapping.
The one downfall in my opinion was the lack of unison group movement. And when it appeared it was obvious the directors choose to do mainly solos and complementary partnering because each dancer truly adds their own distinct style to the movement. When two or more dancers performed the same exact movement, I became lost in finding the differences rather than enthralled by the unique choreography.
However, it is also my belief that this type of distinction in movement and style is fostered in the Complexions company, and encouraged during group pieces.
Either way, the mix of genres, the enthusiasm, energy and pizazz of the choreography all lend themselves beautifully to an entertaining dance show that anyone can appreciate.
Sunday, February 4, 2007
Complexions combines three distinct dance styles to achieve new levels of artistry
(Photo from: www.complexionsdance.org)So, after reading the Complexions company review in the Boston Globe on Thursday I planned out my Saturday to make sure I was able to get in line for student rush tickets.
But not just get in line, to be the first in line since I called the Tsai Performance Center on Boston University's campus and was informed that for Celebrity Series performances (the event that brings several dance performances and performing art performances to Boston every year including Alvin Ailey) there would only be 10 student rush tickets released.
Fellow dancer and friend Ty, headed with me to BU's campus at 5:30 pm this past Saturday, and were the first people in line.
The line exceeded 30 people by 6:28 pm when the cashier decided to start selling the tickets. Being early has its benefits, as we got to choose the seats we wanted and were able to attend the show. Needless to say, several people were quite angry they couldn't watch and the tension could be felt down the line.
As for the show itself, it was phenomenal. The creators and directors of the Complexions company, Dwight Rhoden and Desmond Richardson are both former Alvin Ailey dancers with impressive dance resumes. The self-called "contemporary ballet" genre of dance their company members perform, is an electric mix of ballet, jazz and modern dance with influences from Ailey, Twyla Tharp and others which are apparent in the movement.
But not just get in line, to be the first in line since I called the Tsai Performance Center on Boston University's campus and was informed that for Celebrity Series performances (the event that brings several dance performances and performing art performances to Boston every year including Alvin Ailey) there would only be 10 student rush tickets released.
Fellow dancer and friend Ty, headed with me to BU's campus at 5:30 pm this past Saturday, and were the first people in line.
The line exceeded 30 people by 6:28 pm when the cashier decided to start selling the tickets. Being early has its benefits, as we got to choose the seats we wanted and were able to attend the show. Needless to say, several people were quite angry they couldn't watch and the tension could be felt down the line.
As for the show itself, it was phenomenal. The creators and directors of the Complexions company, Dwight Rhoden and Desmond Richardson are both former Alvin Ailey dancers with impressive dance resumes. The self-called "contemporary ballet" genre of dance their company members perform, is an electric mix of ballet, jazz and modern dance with influences from Ailey, Twyla Tharp and others which are apparent in the movement.
$20 for a student rush ticket bought me an evening of inspiration and incredible talent. All the dancers were flexible, showcased an obvious strong ballet background and broke barriers in terms of traditional styles of dance.
The first thing I noticed immediately was that the company had a very diverse group dancers with varying ethnicities, heights, body types and styles of dance. This made for a great dynamic where the same movement was portrayed in a different way because of a different body type for example
The first piece, "Hissy Fits" was described in the program as a comment on the tumultuous and ambivalent nature of relationships, and the movement for the piece depicted that sentiment perfectly.
I want to go into more detail but am being bombarded by football noise from all directions. I will continue to blog about the show I attended later tonight or tomorrow.
And don't forget tomorrow's episode of "Dancelife" at 10:30 pm on MTV, followed by my blog soon thereafter.
Thursday, February 1, 2007
Dance talk with the Boston Ballet
At the Harvard Dance Center tonight at 7:30 pm, the upcoming ballet opening next Thursday, A Midsummer Night's Dream, will be the focus of a dance talk.
Ballet master, Tony Randazzo and Boston Ballet School Faculty Member Jacqueline Cronsberg will lead the discussion, talking about Balanchine's approach to "narrative" dance. In other words, a story told through the art of dance.
The most memorable Balanchine performance I can remember seeing was Balanchine Martins Balanchine in December 2004, at the formerly known Wang Center. The Balanchine piece "Rubies" was just sparkling with life and innovation and beautiful artistry.
So I am pretty pumped to go see the show on opening night next Thursday February 8. As a Boston Ballet Subscriber, I can pick which shows I want to see, which seats I want to sit in and get discount benefits at the Boston Ballet store, several South End restaurants and am entitled to special events and pre-ticket sale information.
And the best part, as a student, every ticket I buy is $20 with the student plan I picked. It is a great Valentine's or birthday gift for your favorite dance lover.
For more information on the dance talk tonight head to: http://www.bostonballet.com/educationoutreach/lectures/dancetalks.html
For more information on A Midsummer Night's Dream and the rest of the Boston Ballet 2006-2007 season check out:
http://www.bostonballet.com/season/default.html
Ballet master, Tony Randazzo and Boston Ballet School Faculty Member Jacqueline Cronsberg will lead the discussion, talking about Balanchine's approach to "narrative" dance. In other words, a story told through the art of dance.
The most memorable Balanchine performance I can remember seeing was Balanchine Martins Balanchine in December 2004, at the formerly known Wang Center. The Balanchine piece "Rubies" was just sparkling with life and innovation and beautiful artistry.
So I am pretty pumped to go see the show on opening night next Thursday February 8. As a Boston Ballet Subscriber, I can pick which shows I want to see, which seats I want to sit in and get discount benefits at the Boston Ballet store, several South End restaurants and am entitled to special events and pre-ticket sale information.
And the best part, as a student, every ticket I buy is $20 with the student plan I picked. It is a great Valentine's or birthday gift for your favorite dance lover.
For more information on the dance talk tonight head to: http://www.bostonballet.com/educationoutreach/lectures/dancetalks.html
For more information on A Midsummer Night's Dream and the rest of the Boston Ballet 2006-2007 season check out:
http://www.bostonballet.com/season/default.html
Subscribe to:
Posts (Atom)