Archive for the ‘ Theater ’ Category

Posted on Tue, Nov. 16, 2010

Amy Smith, as Jane Fonda, lends the controversial work her humor.

By Merilyn Jackson

For The Inquirer

There’s theater, dance, dance theater, musical theater, physical theater, and variations with multimedia and new media. The lines differentiating them have been blurring throughout the past century, especially in the last 30 years or so. And in Philadelphia the pairings and sharings among disciplines have blended in some surprising ways, among them That Pretty Pretty; or, The Rape Play, which Theatre Exile opens here this week – with a dancer in a major role.
When Sheila Callaghan’s controversial play premiered last year in New York, it was variously reviewed as tricky and darkly funny or raunchy and only partly successful. It begins with two women in a hotel who entice an anti-abortion crusader into their room and murder him; the scene is immediately replayed with two men who kill a hooker. For the rest of the play, Jane Fonda flits in and out of these scenes like a misguided Tinker Bell, sprinkling feel-good happy dust over the carnage.
Posted on Sat, Oct. 30, 2010

The troupe’s students were smooth, too.

By Merilyn Jackson

For The Inquirer

Koresh Dance Company, at Thursday’s opening of its fall run at Suzanne Roberts Theatre, did what it always does – stormed the stage and took no prisoners.Roni Koresh opened with the Koresh Youth Ensemble performing an excerpt from one of his best works, Negative Spaces, a fiercely staccato dance of fisted hands and attacking feet.

Normally a student group wouldn’t be reviewed, but the ensemble’s 13-to-18-year-olds danced the challenging piece almost as well as I recall the professional troupe did some five years ago. Charged up by the antic music of the Romanian brass band Fanfare Ciocarlia, they brought the piece home with their fake laughter and perfect timing.

Benchtime Stories and Somewhere in Between were announced as world premieres, but some parts were recycled. In any event, sections one and five of Benchtime Stories – short episodes set on and around benches – were better in their second comings. Both are comedic. In “The Bums,” Eric Bean and Micah Geyer created drolly drunk shtick. Instead of pratfalling, they land in perfect splits and backflips. Bean, in “The Bench” takes a pretty funny beating as Alexis Viator seduces him while they wait for a bus.

Read more: http://www.philly.com/inquirer/magazine/20101030_Recycled_or_new__Koresh_dance_dazzles.html#ixzz13sEW0O2u

Over the last 14 years many Philadelphians have come to partake of what is now called the Live Arts Festival/Philly Fringe, but started out as the Philly Fringe and is still affectionately so-called, just as the Philadelphia Dance Company can’t escape being called Philadanco. Nicknames stick. Some audience buy tickets for multiple shows in an evening, swanning around town with stops at outdoor cafes, many of which have proliferated and prospered with the Fringe and First Friday events. With the festival spread out over wider parts of the city each year, it’s become more difficult for me to get to as many sites as I had in the past.

As a dance critic for the Philadelphia Inquirer, I limit my review nights to just one show. Still, I have been out at some festival event or other for the last 17 nights and will head out this evening for the one I held out for my own Grande Finale, Brian Sanders’ Sanctuary. Sanders is a near perennial Fringe favorite and I’ll include Sanctuary in an omnibus review for Broad Street Review next week.  I most look forward to seeing Sanders work, not just because it is great dance, but because of his exuberance as an artist. He’s been living with HIV for many years, yet his devilish joie de vivre never fails to amaze and delight me. So this is just a little homage to one of the most imaginatively brilliant artists I know.

In the week before his show opened, Brian whooped my butt in a Facebook Scrabble game — 341 – 320 – my first game online and I’m hooked. I am calling him out for a rematch next week and look forward to many more years of his shows and Scrabble games.

MEATY: [Definitions] rich, especially in matter for thought : substantial <actors looking for meaty roles> Full of substance or interest, satisfying: The ballet has stayed the course because of the meaty roles it offers.

I like to say that the interests and experiences I’ve listed in this blog will all come together when I write a novel about an anorexic Polish ballerina who leaves the stage to write a cookbook. But I can begin to give them a good gloss here on Prime Glib.

So why call this blog “PrimeGlib” and why use an image that will surely turn off many who are not carnivores? Because I am an animal that, like other animals, eats other animals and I enjoy the occasional joint. The beef says juicy, raw and sanguine – in both the cheerfully optimistic sense and the bloody – and I have never been anything if not meaty. I therefore let a standing rib roast stand for me.

So I loved seeing Lady Gaga’s skirt steak. It got my attention. Gaga is good – she reveals her pathos and shallowness. People miss the pun: she is full of gags and she makes you gag and she is neither gogo nor gew-gew and certainly not gigi. But I largely agree with Camille Paglia’s grilling of her in the Sunday Times of London. The Lady may be meaty on the outside, but there’s little if any substance inside. She made a good metaphor but doesn’t show us any meaning other than shock value.

http://www.thesundaytimes.co.uk/sto/public/magazine/article389697.ece

Two worthy new dances made locally

Posted on Sat, Sep. 11, 2010

8: Olive Prince and Shavon Norris. Olive Prince, a delightful dancer, choreographed quite a good piece Thursday evening with I Desire, one of eight new works by local choreographers for the Live Arts Festival. The pieces are being presented in four sets of two.

Marie Brown, Lindsay Browning, and Nora Gibson joined Prince onstage for I Desire, while Christopher B. Farrell’s compelling score moved them through with conviction. The dancers entwined themselves by turns in root-brown vines that hung from above. Prince repeated a motif using one vine for a support for deep back-bends and later did a little aerial work with it. This was not your girly maypole dance; all four attacked the meaty choreography with gusto. While Gibson brought her purposeful presence to the piece, Prince gave it its grace.

Read more: http://www.philly.com/inquirer/magazine/20100911_Two_worthy_new_dances_made_locally.html#ixzz0zf58X6pQ

Fall forecast: Dance

Posted on Sunday, Sept. 12, 2010

Merilyn Jackson

Inquirer dance critic

It may seem odd in this economy, but here comes the richest, most varied fall dance season in a few years.

With music by Philip Glass and film overlay by Sol LeWitt, Lucinda Childs’ black-and-white modern classic Dance powered through town over the weekend as part of the Live Arts Festival, but two of her reconstructed works will be here next month. A seismic shift from Childs’ minimalist work in concept, color, music, and choreography, David Parsons’ exhilarating Remember Me comes in December. And Paul Taylor brings us his new Phantasmagoria in October.

Read more: http://www.philly.com/philly/entertainment/102639074.html#ixzz0zRC7ih6j

8: Olive Prince and Shavon Norris. Olive Prince, a delightful dancer, choreographed quite a good piece Thursday evening with I Desire, one of eight new works by local choreographers for the Live Arts Festival. The pieces are being presented in four sets of two.

Marie Brown, Lindsay Browning, and Nora Gibson joined Prince onstage for I Desire, while Christopher B. Farrell’s compelling score moved them through with conviction. The dancers entwined themselves by turns in root-brown vines that hung from above. Prince repeated a motif using one vine for a support for deep back-bends and later did a little aerial work with it. This was not your girly maypole dance; all four attacked the meaty choreography with gusto. While Gibson brought her purposeful presence to the piece, Prince gave it its grace.

Dancers Mina Estrada, C. Kemal Nance, and Les Rivera inhabited the second work, Shavon Norris’ The Body in Lines, so well I was less disappointed that Norris wasn’t dancing. While I Desire explored what people really want from life, Norris focused on how people label each other and their lineage.

Nance played the role of what the narration called the “scary, big black man,” who is actually a dancer and educator (as Nance is in reality). Estrada, not the kind of dancer one would expect to find in a kick line, amusingly marched the three to the opening steps of A Chorus Line. Rivera slyly snorted and loped in apelike fashion through a dance meant to mock racial stereotyping.

The two simple, yet terrific dance concepts of I Desire and The Body in Lines are good examples of how dance transfixes audiences even when they don’t quite know what they are seeing.

– Merilyn Jackson

Read more: http://www.philly.com/inquirer/magazine/102684399.html#ixzz0zRG9OUTR

Read additional coverage of the Live Arts Festival/Philly Fringe at www.philly.com/fringe. Follow Inquirer critics on Twitter at #philastage.

Takes. Everything new is old again, unless it’s newer. In Takes, dancer/choreographer Nichole Canuso uses a Sol LeWitt-style cube, as have others recently. LeWitt, the late conceptual artist, still fascinates the dance world, having started the trend of image overlay 31 years ago in Lucinda Childs’ Dance, which anchors the festival next weekend.

Canuso squares her filmy cube with media artist Lars Jan’s installation (in which, during the day, you can make your own performance by reservation). Jan’s technical and artistic wizardry perfectly follows an indeterminacy principle mirroring Canuso’s deliberately indeterminate choreography. His live projections transfer Canuso and actor/dancer Dito van Reigersberg into quadruple takes on the enclosure’s “walls.” Wherever you are sitting (or walking – it encourages), Van Reigersberg’s image might loom vertically, like a cinematic Rorschach, from one corner while Canuso’s odalisque-like body floats around the sides.

READ FULL STORY

Flying monks, undersea oddity, more

NATHANIEL TILESTON

By Merilyn Jackson

For The Inquirer

You are sitting in silence as a black-and-white freeze-frame of phantom dancers appears on a scrim across the front of the stage, the opening shot of a film by artist Sol LeWitt. Then, like a startling squall, Philip Glass’ pulsing music jolts you into vigilance and live dancers leap from the wings, turning, tilting their upper bodies sideways, arms outstretched.

The burst of flutes, voice, keyboard, and piccolo gathers turbulently as the dancers bubble across the stage in overlapping torrents – eight, but there seem to be twice as many exiting and entering, over and over, on a grid on the stage floor. The images on the scrim reanimate, oscillating, expanding the effect of a host of dancers.

You are engulfed in Dance , choreographer Lucinda Childs’ germinal 1979 work, a highlight of this year’s Live Arts Festival/Philly Fringe.

Read more: http://www.philly.com/philly/entertainment/102144029.html#ixzz0ygeTs2y5

By Merilyn Jackson

© Merilyn Jackson 2003

Director Lee Breuer and his Mabou Mines crew came over for supper after their last Peter & Wendy workshop/rehearsal at Arizona State University in 1992. It went on to win two Obie Awards and many others around the world. http://theater.nytimes.com/mem/theater/treview.html?res=9504E6DC143CF934A35751C0A961958260

First to arrive was the great Scots drinker and fast talker, Johnny Cunningham, (Nightnoise; Silly Wizard) composed and played his violin for Breuer’s show, Peter & Wendy. (Check out his brilliant CD on Itunes.) We had grilled salmon, black beans in dark rum, corncakes, and grilled eggplant in balsamic vinegar and a key lime tart. But Johnny ate nothing, having found our liquor supply early. He claimed to have gotten an upset stomach the night before and that only a few shots of tequila would stay down.

At the Pub

Everyone left by 11, so we took Johnny over to the Dubliner Pub. His dirty blond locks fell down between his shoulder blades and he constantly threw his head back like a horse tossing its mane.  He dressed in black with his shirt unbuttoned to the waist, but tucked into his jeans. Around the instep of his thick boots were heavy chrome chains, ready for riding or fighting, depending on which came first – a motorcycle or a moron.

At the pub, John sat in with the band for a few tunes, fiddling madly. Back at the table he picked up on the stories he’d been regaling us with at supper. His stories of a  recent gig with Hall and Oates held our attention.

In Vegas

“I was, I mean, there I was, in Caesar’s Palace, down the hall from Elvis Presley’s suite.  Sleepin’ in a huge bed that could’ve slept six.  It was so big they called it “The Four or More.”  So there I was, livin’ the life of Elvis, shit, with a huge sunken tub right next to me bed.  And I had me a wakeup call everyday at 5 PM and breakfast sent up shortly thereafter.

And at the wakeup call, the fuckin’ faucets to the tub go on so when they bring me me breakfast each evenin’ there I am, already in the tub waitin’ for me coffee and me International Herald Tribune. I mean t’say, I was livin’ the life of Elvis, sittin’ on, maybe, the very toilet seat where he’d once sat. And if I went out, the chauffeur would be waitin’ right outside t’take me anywhere.  Angelo was his name.

“Good evening, Mr. Cunningham, sir,” he’d say. “Where to?”

And then, West Virginia

“And then back in the room after the show, Darryl and me and some of the others would wind down. Hall went to his room with his young chippie — can’t be blamed — and there we all were, livin’ the life of Elvis. And when the gig is over I fly off to West Virginia, to this little coaltown college where I’m givin’ a master class and they show me to this little dormitory room with no air conditionin’ a’tall and they hand me sheets to make up me own bed!

“This, after livin’ the life of Elvis!

“I tell you,” he paused to down the fresh Tequila Sunrise that had just appeared before him, “I tell you,” he began again, “What I did was I got them to get me a refrigerator in the room and I unscrewed the fuckin’ light bulb and slept all night with the door of that refrigerator wide open on me. I mean, once you’ve lived the life of Elvis,” he winked, “there’s no turnin’ back.”

John Cunningham: 1957, Portobello, Scotland – 2003, New York, NY

Peter Pan: 1902, United Kingdom –

Follow

Get every new post delivered to your Inbox

Join other followers: