Complexions is a company which was formed in 1994 when two of Alvin Ailey’s brightest stars, Dwight Rhoden and Desmond Richardson, broke off to begin their own company. Its mission was to push the boundaries of what dance can be and how movement can blend many styles and cultures reflecting the world around us. Primarily, the company is known for its dancers who are awe inspiring to watch with technical training that rivals any company in the world, as well as being a beautiful group representing many ethnic backgrounds.

In the opening 25-minute work titled Mercy, the 14 dancers examined the theme of faith accompanied by a collection of various chants, hymns, and spirituals representing an array of religions. A central figure danced by the brilliant Gary W. Jeter was at times a Christ figure, at others the antagonist, and others an evangelist; his theatrical gestures, jumps, and perfect lines immediately showed him as a standout. The company displayed explosive intensity here with convulsive jerks, angular shapes, and spit fire leaps driven by the pounding collage of music.

But this is where it became clear that what is secondary for the company is choreography, and by the end of this impressive blast off, I wondered if the dance had gotten anywhere, like a race car that revs its engine and doesn’t get to the finish line. The repetitive sequences were full of super high extensions and speedy turns which all happened so quickly that it was difficult to enjoy any one moment. Various costume changes and props came and went without any major rhyme or reason.

The second portion of the evening was lighter fare with four duets to very different music selections, with a high point being two male dancers dancing to one of Vivaldi’s Four Seasons, and another to Broadway show tunes. Here, the dancers pleased the crowd with their skill and personality and there was something for everyone to enjoy. This is a company where the men really carry the company, and it is refreshing to see.

Finally Rise was a celebration of U2 songs with the full company in bright and sexy costumes to the high powered tunes. This was where the dancer’s raw and relentless energy worked to its advantage, showing the pure love of movement and the fun and life affirming way physical expression can transport the viewer into another place.

Complexions is passionate about what they do and at the end, many were brought to their feet to show appreciation for this exhilarating display of the human spirit.

Split Sides

A FEW WEEKS AGO I made a pilgrimage to the Brooklyn Academy of Music (BAM) to see the second to last performance of the Merce Cunningham Dance Company. Like me, many of you might think traveling to Brooklyn is on the same adventure level as traveling to Tasmania, but it can be easily reached by subway or a shuttle bus especially for arts lovers who can see the impressive lineup of theatre, music, dance, and film that BAM offers.

At the time of Merce Cunningham’s death in 2009, it was announced that the company would be on a 2 year “Legacy Tour” to show his wide repertoire of modern dance–which had begun in 1953 when he founded the company–and then disband, not to be seen again. This was in response to work that seemed to go on ad nausea after the choreographers were gone. For a man who led the way to the cutting edge of modern dance, it seemed only natural that, when he could no longer make new work, the work was over.

The history of the Cunningham Company is a sorted one and always divided by people who think his work is genius and those who can’t stand it. Once during a Spoleto performance nearly 20 years ago, I watched as people got up in droves and walked out of the theatre. It happened at different moments in the performance and in different numbers of people, and I began to think that Cunningham was choreographing these exits just as he had choreographed the dancers of stage. Of course, I had stayed as I loved what I saw and had been a student at his school after college, immersing myself in a technique that was always challenging, sometimes painfully so, but kept the body thinking and, by default, the heart, too.

Pond Way

The BAM performance offered three dances I had never seen live and some of them only in filmed excerpts or photographs, so it was a treasure trove for a dancer with an interest in its history. I noticed at once that the audience were enthusiasts like me, so I felt sure there would be no deserters during the performance which was comforting and exciting like a pilgrimage should be.

Pond Way was a dance from 1998 with music by Brian Eno, decor by Roy Lichtenstein, and costumes by Suzanne Gallo. In the usual Cunningham chance manner, the collaborators worked independently and did not confer on the overall effect of movement, music, decor, and costume–but  unveiled what they had created at the last serendipitous minute. This works perfectly for Ponds Way which depicts the natural world at any pond where flora and fauna exist independently, but in unison add to the overall environment. The Zen-like atmosphere replete with stillness and unpredictable rhythmic phrasing made me feel like a voyeur on a nature scene. The dancers were brilliant in their razor sharp clarity.  Even their usual austere faces hinted at joy as they danced in the delicious technique where impossibly intricate footwork was topped with  ever changing and counter-intuitive upper-body positions.

RainForest

The next piece was the famous RainForest from 1968 with silver helium filled pillows designed by Andy Warhol, an auditory-challenged composition by David Tudor, and lighting by Aaron Copp. I had always wanted to see this on stage and never had, and it was the effect of the floating obstacles that float freely through the dancer’s space which was the most interesting element. It is when the dancers encounter the silver pillows that this chance shines. This intersection of unrelated entities becomes at once relative and wether the movement smacks the pillow with power to change the floaters pathway evermore, or softly bounces off a shoulder or curved back–like thoughts which move unhindered through the mind–these become the most stunning moments.

Last was Split Sides from 2003 with two composers (Radiohead and Signor Ros), 2 set designers (Robert Heishman and Catherine Yass),  and 2 costume designs by James Hall. To introduce the piece, all artists and dancers came to the stage and each element (including choreography made in 2 parts) was chosen by a flip of a coin–which offers a myriad of probabilities in terms of what dance section would be performed to which music with which set design in what costumes! This spontaneously-generated creation was a delight to observe and the dancers were obviously charged with the constantly changing set of rules. The dance showed Cunningham’s intense playfulness and several standout solos and duets illuminated the off-centeredness and balance that requires great strength and control.

It is ironic that a man whose work was guided by chance had such a firm hold on where avante garde performance should be and what standards were expected. When the curtain comes down for a final time on the stroke of midnight at the company’s performance on the Upper East Side at The Armory it will be the end of an era, but both choreographers and dancers will forever be influenced by Merce Cunningham’s ideas about dance as art.

Robert Ivey

THE LOWCOUNTRY LOST one of its brightest stars on July 15th when Robert Ivey passed away leaving behind a long lineage of actors, singers, dancers, and fans who had been inspired, mentored, and directed by the legendary man for more than 30 years.

I first met Mr. Ivey 20 years ago when I sent him my résumé as a young dancer who was moving to Charleston from New York City because I was marrying a man who was not very inclined to come to the cement jungle. Mr. Ivey assured me an interview and a promise that I would find many opportunities in Charleston, starting with my first teaching job at his studio.

When I arrived, I quickly learned two things: that Charleston was a ballet town (downtown modern dance not society’s cup of tea), and that if I had Robert Ivey on my side, I could do just about anything. We became fast friends and his continued support to me as a teacher, choreographer, and dancer never wavered. For him I am most grateful for many opportunities, but most important to me (still today) was his taking me on at the College of Charleston where I could share the growing courses that he had begun a decade before.

Mr. Ivey’s enthusiasm and professionalism were trademarks in his work as a Professor of dance at the College of Charleston who created a dance minor and whose company, The Robert Ivey Ballet, was in residence there for much of that time. Students in theatre, music, and dance responded so well to his boundless energy and his authority in the arts. His stories included people that most of us have only read about in magazines.

He was like an onion: there was always another layer to peel. He had many lives, growing up in Sweden, performing with the Royal Norwegian Ballet, working with Jerome Robbins on Broadway with West Side Story. He took the Robert Ivey Ballet abroad to Spain and South America, as well as to rural schools throughout our state, where students only knew of dance on MTV. He opened many eyes and put the love of dance into many hearts.

He was a mentor and a shining star who, when you were with him, great things were sure to happen and a lot of fun was to be had. His energy and creative talent were abundant and those close to him were awed by his tireless ability to keep so many projects going at once. To be connected to Robert Ivey was to be connected to the cultural pulse of Charleston. His love and friendship will be a great loss for many. And when I feel like I’m ready to throw in what towel there is left to throw in, I will think of the dynamic Mr. Ivey and keep things moving!

A memorial service will be held on August 13th at 2 PM at the Sottile Theatre.

The company includes Julie DeLizza, Kristin Fieseler, Courtney Kay Jamie Mandrell, and Francesca Stigliano who were joined by guest performers Ashlee Pittman and Meredith Shaver, along with College of Charleston apprentices Alexandra Danna and Allyn Wong. All worked together with sensitivity and intelligence that painted a landscape of duets, trios, ensemble, and solos punctuated by beautiful moments and inventive partnering.

The work’s highlights were when the text interwove with the movement and relationships took time to be understood such as the pas de deux danced by Jamie Mandrell and Francesca Stigliano whose fluid and tender delivery with its grounded intensity was easily understood. Some transitions between sections worked better than others, but the work was in the end a joyful experience by committed and wonderful performers. I look forward to seeing this company’s next endeavors!

Conceived by Cynthia Ward for the Washington, DC based troupe, the actress Maia DeSanti is powerful in her portrayal of the passionate and prolific Sand as she recalls the final winter of their relationship as he was consumed by his music and tuberculosis. Traveling to Majorca Spain for his health, they only encountered attack by the harsh weather and a hostile reception by the natives. Carlos Cesar Rodriguez plays the preludes with great skill and sensitivity as three dancers (Cynthia Word, Ingrid Zimmer, and Jeanne Bresciani) perform Duncan’s solo dances in a dreamlike way that gives another dimension to the story and illuminates the characters with joy, pain, loss, and soul stirring artistry.

Duncan’s dances are at first musical interpretations and use simple movements such as runs, skips, turns, and reaches, but just when it starts to feel like unrelenting lyricism in a loose form, there is the surprise of weight and pain and intention that takes the work to a deeper place of drama. The dances become a perfect example of indirect and direct energy essential to choreography.

The role of Sand expands with the music and dance, as well as her idealistic love that turns into a lonely nightmare as her disappointment in not being Chopin’s muse is palpable. The music is a perfect stage for Duncan’s dances that become a silent song of sheer expression. Kudos to the creators of this original and heart-wrenching theatrical experience.

Robert Ivey

OVER THE PAST MANY YEARS, whenever I see the Robert Ivey Ballet Theatre perform, I am always struck by the vibrant young dancers with commitment in their eyes and love for their art form apparent in their energy-fueled dancing. At the end of the Dance at Noon concert performed on Friday at the Footlight Players Theatre, Ellen Dressler Moryl presented an award to Robert Ivey for his cornerstone work in presenting dance at the Piccolo Spoleto Festival over the last 33 years which was accepted in his absence (Mr. Ivey is recovering from a neck injury) by Sannie Cook, his Executive Assistant.

The noon concert offered seven works that ranged in classical to contemporary styles danced by the talented young 14 member company who are all students from Robert Ivey’s school and the College of Charleston where it serves as the company in-residence.

photo by Douglas Smoak

Opening the show was the visually lovely Tchaikovsky’s Serenade staged by the company’s ballet mistress and teacher Olga Wise who presented an immaculate version of the Romantic classic expertly danced by 7 ballerinas whose clean lines and seamless transitions was a beautiful vision of one of the great musical score’s. Wise also choreographed Quintessence to Vivaldi’s Winter Variation for four females and one male danced by the talented Michael Rodreguez whose clean lines and natural elegance were highlighted by his jumps and turning skill. His confident partnering work was also well displayed in Flower Festiva where he partners the lovely Emily Poff from the Bournoville repertoire.

Some of the contemporary works spotlighted the talents of Jackie Moore whose clean lines and fluid delivery is stunning to observe in Les Visages de Moi and the sassy Cell Block Tango from Chicago. Choreography by the young Amanda Nelson was inventive and well danced in the quirky work entitled Mathematics. The program closed with Grand Tarantella which still has its pop as the full company performed the high energy classic with speed and precision in Ivey’s well polished signature piece.

Cédric Andrieux

“IT IS WHEN MOVEMENT starts to be awkward that it becomes interesting.” This is how Cédric Andrieux explains his experience with Merce Cunningham whose company he was with for eight years. The statement could also describe Andrieux’s one-man and self-titled show at the Emmett Robinson Theatre where, for a little over an hour, the dancer tells his story in an unusually honest way with awkward silences and stillness which at the same time illuminate dance history and the story many performers have. You do not have to be a dance expert to fully appreciate the show because the work stands alone as a stark and authentic performance, raw in its telling and poignant in its aftermath.

Conceived and directed by Jerome Bel, the work is narrated by a deadpan Andrieux who also dances some excerpts of important dances while his story unfolds like his audition piece that got him his first break in the dance world—a section from Merce Cunningham’s Biped where he danced the choreographer’s role, and a little Trisha Brown’s among other short dances he uses to illustrate his points. When he is not dancing,  he stands perfectly straight with his arms by his sides, feet in parallel position and weight equally distributed between two legs—a place modern dancers are trained to be—and it creates a neutral canvas for his story, unadorned by gestures or personality.

One of the most interesting moments is when he talks about the process of learning a dance from Merce, as he is affectionately known, with the then  80-year-old choreographer. Directions were painstakingly given—first the lower body and then the upper body movements. Andrieux spoke of the challenges and tedium in working with the technique and the humiliation he would often feel. He spoke about the dance and it’s non relationship to music which, when it was used, was “unbearable” and how in performance the “steps were so complicated, I could not think of anything else.”

This work really puts modern dance under a microscope and the beautiful and confident dancers we see on stage may be like Andrieux himself, struggling for perfection and trying to stay true to themselves but successful in their profession, making sacrifices along the way.  We are shown an intimate and vulnerable slice of life that illuminates the backstage reality and helps us further appreciate the art form.

At the end, the dancer shows a short work by Jerome Bel. The only time music is used is here with The Police song “Every Breath You Take” playing while Andrieux enters and stands downstage left and looks at the audience for four minutes doing nothing but an occasional smile. We as audience are now on display and it is unnerving and revealing. “We are first people and then dancers,” says Andrieux, but I think it’s also safe to say, he finds more about himself through being a dancer.

This is a wonderful example of the boundary-pushing work that Spoleto brings us each year. And in this case, since Cunningham’s Company and school will be closing its doors in January, the story is even more relevant.

Photos by Herman Sorgeloos

Jonathan Tabbert

AS I SAT BESIDE my eight-year-old daughter and watched the Charleston Ballet Theatre’s production of Willy Wonka & the Chocolate Factory, I thought, thank goodness there is something besides the Nutcracker geared towards her age group.

This is a wonderful production that uses the spoken story and songs recorded from the original and updated versions of the movie with choreography by Stephen Gabriel and Ashley Lazenby. The cast comprises both the senior company and younger apprentices from the school. Bright lighting design and expert costuming add to the strong dancing throughout the ranks all framed by inventive choreography.

Act I introduces us to Charlie Bucket, impressively danced by Alex Collen, who plays a good-hearted boy from a poor household who wins a golden ticket to see the great Willy Wonka and his chocolate factory. Other winners include the comic stand out Augustus Gloop danced by Steven Boston, the gum-smacking grimacing girl Violet Beauregarde shared by Callie Mathias and Emily Lamm. These are joined by the spoiled rich girl whose role is shared by Bree Holstein and Chloe Morone, and finally the T.V.-obseesed Mike Teavee danced my Hannah MacKenzie-Margulies.

The real fun starts when the winners and their parents meet the enigmatic Willy danced by a company favorite Jonathan Tabbert.  It is here that we meet the lovely and dynamic dancers of the Candy Corp as well as the brilliantly conceived and hysterical Oompa Loompa Corp. Favorite dances were “Little Willy,” “Eat it,” and “Bazooka Bubble Gum” as well as the upbeat finale “Hear it  For the Boy” and the poignant “Superman.” The 75-minute show is a great way to spend a piccolo Spoleto afternoon. Shows on Sunday June 5 are at 1 P.M. and 3 P.M.

Another fun Spoleto event to take younger ones to is Paolo Ventura-Winter Stories at the Halsey Institute of Contemporary Art. This artist inventiveness “comes from remembering” and plays with reality and imagination on big and small scales. Creating a miniature scene which includes circus performers or clowns, the artist photographs them and blows them up making pictures that play with your perceptions. Whimsical and intriguing, the show is worth a visit!

The performance begins slowly as the audience enters the theatre; dancers on stage assembled a mandala of white and blue paper. Soon they move through the design on the floor—running, sliding, and turning as the pieces of paper dance along with them rise and fall through space. The movements are often meditative and focused in a way that pulls your attention in an unusual way. A projected image of clouds and breathtaking light design by Jennifer Tipton are completed by sounds of Tibetan songs.

In Re- (Part II), inspired by the ancient Cambodian temple of Angkor Wat which slowly vanishes from the growth of the natural world around it, dancers move as if liquid is spilling across the stage, sometimes in pairs. It is the phrasing of Wei’s movement that makes it unique, where body parts initiate unpredictable movement, shapes, and gesture. An organic electric current through the bodies is acutely visible. This section culminates with the entrances of partially nude dancers who move in sculptural ways between light and shadow. The upstage projection of an enormous root system from a tree mirrors the bodies in grotesque and beautiful ways. The power of these striking images shows Wei’s talent as a visual artist equal to his talent as a choreographer.

Re- (Part III) is perhaps the weakest link in the trilogy. Drawn from his travels to China and his work on the Beijing Olympic opening ceremonies, the dancers walk, run, and lean against each other in intricate patterns to the sound score by David Lang. Groups travel in unison and are contrasted by solos which break from them, seeming to be a comment on the individual verses the masses. The sound and intensity build as jerky movements assault the dancers in what may be sensory overload while projections of cityscapes change behind them. The closing image is a line where they connect and cling to each other in a desperate way.

As the curtain fell, the audience rose to their feet in appreciation of the journey that had so brilliantly unfolded.

Photos by Alex Pines

Corella Ballet

THE CORELLA BALLET’s performance at the Gaillard Auditorium Friday night was one of those Spoleto moments where artistry and virtuosity aligned in exquisite perfection. The flawless execution by the dancer under the direction of Angel Corella showed a company beautiful to behold as well as a program that displayed the magnitude of the art form.

The program open with a neoclassical work by Clark Tippet titled Bruch Violin Concerto No. 1 featuring four brilliant pas de deux framed by a corps de ballet displaying precision I have rarely seen. The male dancers were at once standouts whose landings from their jumps were even more breathtaking than the jumps themselves. The bright costumes and across-the-board strength of the company brought the audience out of their seats in appreciation.

For 4 by Christopher Wheeldon continued to showcase the male dancers as each displayed their own talent, never vying to upstage the other but sharing the stage. Dayron Vera, Fernando Bufala, Yevgen Uzienkov and Aaron Robison dazzeled the audience with their individual personas and skill. Next ,Corella shared the stage with his sister Carmen offered a brief demonstration of what he had to offer with Solea in a blend of Flamenco and classical dance. The sounds of traditional singing and guitar accompanied dynamite turning and sensual arm movement that identifies this passion filled dance style.

DGV: Danse a Grande Vitesse by Christopher Wheeldon closed the show and was unfortunately too long, but never did the company waver; and had this piece stood alone it would have been breathtakingly sufficient. The idea of time and the driving engine of the train was fully explored, and Wheeldon created innovative lifts and proven himself a master of movement seen in canon form.  Costume and light design by Jean-Marc Puissant and lighting design by the renowned Jennifer Tipton created a cinematic vivid world.

This sleek and sexy company is surely a highlight of the festival—be sure not to miss it!

video by Duffy Lewis