Showing posts with label dance. Show all posts
Showing posts with label dance. Show all posts

5/21/2012

Adam: Giselle (American Ballet Theatre) Review

Adam: Giselle (American Ballet Theatre)
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This is an amazing version of Giselle - and my favorite. It was taped live in NY in 1977, with Baryshnikov & Makarova, Martine van Hamel as Myrta, Frank Smith as Hilarion, Marianna Tcherkassky and Kirk Peterson in the peasant pas de deux, Jolanda Menendez & Nannette Glushak as Moyna & Zulma. Baryshnivov is amazing to watch, not only because of his technique, but also because of his artistry. Makarova is every bit as good as he is and together they are simply stunning both in the technical aspects of their performance and in their ability to project the emotional power of the story. It's wonderful to see two such talented artists at the height of their powers, so totally commited to their artistry. The whole cast is excellent.This has been out of print for a long time, grab it if you can find it

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5/18/2012

Fosse (2002) Review

Fosse  (2002)
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Let me start by saying I'm a huge fan of the work of Bob Fosse. Let me also say that I saw FOSSE live on Bway a few weeks after it opened, with the wonderful Valarie Pettiford opening the show with "Life Is Just A Bowl of Cherries" and with a cast that was so precise, so together in their performing of the choreography it really would have been hard to beat that experience.
Unfortunately, this filmed version of the show, filmed towards the end of the show's run, with Ben Vereen and Ann Reinking in the cast, turned out to be a huge disappointment for this fan.
The energy is definitely palpable, and a few numbers like "I Wanna Be A Dancin' Man", "Big Spender", "Cruncy Granola Suite", "Steam Heat" and "Shoeless Joe From Hannibal Mo." work wonderfully on the small screen and display the necessary Fosse flair as well as precision required.
I wish I could say the same about the other numbers. "Bye Bye Blackbird" is a mess, almost unrecognizable from the original version from LIZA WITH A 'Z" (which I have thanks to a friend who taped it many years ago when it aired on PBS.)and I'm afraid to say this was mostly due to Ben Vereen's inability to perform like he used to. Too many changes were made in the original choreography to accomodate his current physical limitations.
I'm not saying a man who has gone through what he has should be expected to perform/dance just like when he was 20. That would be absurd. But at some point, it almost seems best to be clever about how/when you use an ageing star. Vereen does wonderfully with "The Manson Trio" from PIPPIN, and with "Me and My Shadow" and "Razzle Dazzle", where his movements are smaller, more simple and more acting-based. He especially excels in "Mr. Bojangles", where his real life story lends a certain gravitas to a number I must confess I always found a bit maudlin.
But unfortunately, Vereen's dancing in some other places is strained and just really painful to watch. I wish it weren't so, but it's true. It would have been best if he had stepped out for some of the more complex numbers and allowed the younger dancers to display the Fosse steps more accurately. That being said, I think having Vereen open and close the show with "Life Is Just A Bowl of Cherries" works well and his vocal performance on the song is unique and beautifully delivered.
Reinking, wisely, does not try to recreate her peak dancing years, but instead, acts more as a narrator and conduit for Fosse's specific style, appearing only in "Big Spender" and in the short transitional segment, "Fosse's World".
The other problem with this program is that the dancers that ARE at their peak, and should know better, are often not together and lack precision. Not just individually, but as a group. (This would particularly distress Fosse himself, I'm sure).
Numbers like "The Rich Man's Frug", "I Gotcha" (the two men are particularly unimpressive in this one), "Blackbird" and even the once stunning "Sing, Sing, Sing" that closes the show, lack the luster they once had when coached by Fosse and are several notches below the quality I witnessed when FOSSE had just opened on Broadway.
No one loves Fosse and Reinking and Vereen more than I do, but this video was really just a big disappointment for me. I wish the original cast at its dancing peak had been recorded back in 1998/99, instead of this sort of "last minute" recording of a show that was about to close.
Fosse deseves better and those who follow his work know so. A student of his would do better to watch ALL THAT JAZZ and the several other films and T.V. shows that showcase Fosse's work.

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The electricity of one of Broadway's greatest talents springs to life in Fosse, a tribute to the man behind such favorites as Cabaret, Chicago, Sweet Charity, and Pippin. A seductive mixture of physically aggressive dance moves and dazzling visual style, Bob Fosse's approach to theater revolutionized how we experience music and dance, while his mixture of cynicism and sentiment remains timely decades after his death. Join one of Fosse's most gifted collaborators, Ann Reinking, as she and a wild, gyrating cast take you through such memorable standards as "Life Is Just a Bowl of Cherries," "Steam Heat," "Mein Herr," and the unforgettable "Big Spender." So pull up a seat, put on your dancin' shoes, and get ready for a tune-studded show guaranteed to deliver plenty of "Razzle Dazzle!" Songs: Life Is a Bowl of Cherries, Bye Bye Blackbird, From the Edge, Percussion 4, Big Spender, Crunchy Granola Suite, From This Moment On, Transition/Dance Elements, I Wanna Be a Dancin' Man, Shoeless Joe Ballet, Dancing in the Dark, Steam Heat, I Gotcha, Rich Man's Frug, Silly Thoughts, Cool Hand Luke, Nowadays, The Hot Honey Rag, Glory, Manson Trio, Mein Herr, Take Off with Us/Three Pas de Deux, Razzle Dazzle, Who's Sorry Now, There'll Be Some Changes Made, Mr. Bojangles, Life Is Just a Bowl of Cherries (reprise), Sing Sing Sing. 118 minutes.

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The Ultimate Swan Lake / Bolshoi Ballet, Bolshoi Theatre Review

The Ultimate Swan Lake / Bolshoi Ballet, Bolshoi Theatre
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This is a wonderful, classical version of Swan Lake. It has all the elements and parts I want to see in this ballet: most of the dance segments and artistic excellence and balance. Right from the beginning we can tell this is going to be a great, energetic ballet as Prince Siegfried comes onto the stage in the very beginning and joins his tutor and jester in a lively pas de trois. it is choreographed by Yuri Grigorovich, Natalia Bessmetnova's husband and the director of the Bolshoi Ballet at that time. He was a great choreographer and was especially gifted at staging the classics so that they fit the standards and requirements of today. The role of Odette and Odile is danced by Natalia Bessmertnova magnificently. She always danced with a combination of technical excellence and dignity. Another remarkable aspect of this performance is the uniform excellence of the dancing. Nowhere is there the slightest imperfection! Additionally, I was very impressed with the combination of youthful vigor and mature stature of all the dancing. All of the ethnic dances are included, and the Black Swan pas de deux follows the Petipa version. Rothbart is also given some great choreography here, something that is often neglected in other stagings. The sets and costumes are also at the highest standard--absolutely gorgeous. The image and sound are very good, as well, but keep in mind that this is a ballet movie on color film, so it has that special quality that film imparts. If you don't mind a Swan Lake on film, this is a fine Swan Lake to have in any collection.
Sadly, on February 19, 2008 Natalia Bessmertnova died of a grave, protracted illness, just a few weeks after the release of this DVD. After her retirement from the stage, she had been teaching until her illness.

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5/17/2012

Petipa - Le Corsaire / Ethan Stiefel, Angel Corella, Vladimir Malakhov, American Ballet Theater (1999) Review

Petipa - Le Corsaire / Ethan Stiefel, Angel Corella, Vladimir Malakhov, American Ballet Theater (1999)
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I am a big FAN of ballet, but not a CRITIC; thus, I'm not qualified to analyze this performance down to every minute detail as some of the other very erudite reviewers have done. Dance--especially ballet--is far and away my favorite form of performance art, and I loved ABT's "Le Corsaire" for overall presentation, great artistry, lively dancing, and excellent editing.
The Dancing. "Le Corsaire" is a full-length ballet story that centers on a beautiful slave (Medora, danced by Julie Kent) who becomes the object of desire of more than a couple of pirates (principal characters danced by Ethan Stiefel, Angel Corella, Joaquin De Luz and Vladimir Malakhov). It's a theme we're all familiar with (I dare say, perhaps in real life also), so the inbuilt intrigue is enough to keep viewers interested throughout the story. The dancing in this performance (staged in Southern California in 1999) is absolutely awesome from a technical standpoint, and there are many moments that caused me to marvel. Principal dancers Corella, Paloma Herrera and Malakhov put on truly amazing displays of athleticism, balance and fluidity. Same with Julie Kent, who still looks like my ideal ballerina in terms of beauty and grace. Even the corps shines, especially in Act III. I must admit [picky comment] I was a tad underwhelmed by Ethan Stiefel, not because of his dancing, but because he seemed to be miscast: his slight build and boyish looks just didn't convey what I expected from a pirate. This little "flaw" was not enough to detract from the performance.
The Interludes. Prior to each act there is commentary by Artistic Director Kevin McKenzie and interviews (more like sound bites) with dancers and backstage personnel that are supposed to provide insight into what is portrayed as a confusing (I'm not certain why) storyline. Although it's a mildly interesting added dimension to hear the characters speak behind the scenes, much of the cast comes across as a little goofy and/or tongue-tied. I watched the first time; in the future I'll likely skip these parts.
The Visuals. I have to say that this ballet DVD showcases some of the best camera work and editing I've ever experienced for a dance performance. Edits betwen full stage and individual character views are timely and allocated perfectly. Thankfully, the common mistake (seen so often on television these days) of zooming in on a performer's face--while missing the body's attitude and movement--virtually never surfaces on this disc. There are a couple of distracting instances where the conductor's baton flicks into the bottom of the picture, and where some standing audience members obscure the dancers at curtain call time. Still, 99% of the time the camera is looking exactly where my eyes want to go, and that scores big points in watching a great performance like this.

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5/08/2012

Blast An Explosive Musical Celebration (2001) Review

Blast An Explosive Musical Celebration (2001)
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I watched this tape a few weeks before I saw the actual show in Bloomington, and although the two were somewhat different, both were WELL worth the time and money spent. I was a little apprehensive when I first heard about the production, "A Drum Corps show on an auditorium stage? Riiight." But, being a fan I went ahead and gave it a chance just to see. Almost needless to say, I was blown away. The show on the video was a work of creative genius. My hat is off once again to Jim Mason and Bill Cook for their ever-outstanding work. I recommend this show, video or live to anyone interested in theatre, music, Drum Corps, marching band, or just having a blast (pardon the pun). There is really nothing like this out there, but the closest comparison I can make would be Stomp (with winds and a guard) or a full out DCI show... An awesome experience!

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4/12/2012

Grupo Corpo - Brazilian Dance Theatre Review

Grupo Corpo - Brazilian Dance Theatre
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From classical to modern, the dancing and choreography here is pure virtuosity. The dancers are technically superb and in perfect physical condition. The Brazilian influence is only very slight and what is very obvious is a solid classical ballet foundation, both in the dancing and the choreography. There is one piece with pairs of men and women, combining elements of ballet, modern, and ballroom, displaping amazing virtuosity. There is also a very complete documentary included.

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3/26/2012

Amargosa Review

Amargosa
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This is a lovely, fascinating, and OUTSTANDING documentary portraying Marta Beckett's development of the Amargosa Opera House...an abandoned theatre on the edge of Death Valley which she renovated, painting an audience on the walls and performing her vaudeville style ballets and skits. And then the real audience came. She was profiled in National Geographic in the 70's and is still performing. The documentary also discusses her help with saving wild burros and horses, the haunted hotel, and the local handyman who became her friend and colleague.

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In the remote California ghost town of Death Valley Junction (pop 10) stands the Amargosa Opera House, where for the past 33 years former New York dancer and artist Marta Becket has performed her own ballets in the theater she spent seven years handpainting with stunning murals. For Becket, the creative life is an obstacle course of self-doubt, criticism and abandonment a high price to pay in the pursuit of self-expression. But for the seventy-six-year-old dancer and painter who is isolated in the badlands of Death Valley, the process of creating and performing is her refuge. In this EmmyTM award-winning documentary, Becket recounts how she first came to live in this unlikely desert oasis, and describes her unquenchable need to create and perform her work. Marta Becket's life is an inspiring testament to dreams and creative endeavors everywhere. Emmy Award Winner, Best Cinematography Academy Award Finalist, Best Documentary Feature - 72nd Annual Academy Awards

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3/18/2012

Balanchine (2004) Review

Balanchine (2004)
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This dvd, originally seen on PBS, is a great tribute to the Russian-born choreographer George Balanchine, who founded the New York City Ballet and is often creditted with bringing classical ballet to the United States. This documentary focuses almost exclusively on his professional and artistic life, and this is right and proper. There are books, as well as several documentaries ("Dancing for Mr. B," "Elusive Muse") which focus on Balanchine's complicated personal life. Here, we can just look at his great artistic creations.
There;s archival footage of so many great ballerinas and ballet dancers that were Mr. B's inspiration. Tanaquiel le Clercq (who judging from the footage may have been the most beautiful ballerina to ever step onstage), Diana Adams, Maria Tallchief, Edward Villela, Allegra Kent, Suzanne Farrell, Peter Martins, Patricia McBride ... None of the dancers are interviewed, perhaps because of time constraints. But just the footage of the dancing was enough to keep me happy. I was struck by Mr. B's diversity -- there are many clips of his ballets, and it's a testament to Mr. B's genius that I was always upset when the clips ended, because I wanted to see more.
There are also several interviews with Mr. B. His soft, gentle voice and almost childlike enthusiasm are infectious. Particularly amusing are the clips of him and Igor Stravinsky, the composer whose music whom Mr. B set so many of his best ballets (Rubies, Apollo, Agon et al.) Mr. B talks about his love of cats and cooking. So even though the documentary focuses squarely on the artistic, these interviews with Mr. B humanize him. Read the various memoirs and autobiographies for Mr. B's darker, more complex side: he was famously possessive of his ballerinas, and did not think they should have families or even personal lives apart from him. This video focuses purely on Balanchine as a creative artist.
Recently, more extensive dvd's have been released of Mr. B's complete ballets. But this documentary is still a must-see, a wonderful tribute to one of the 20th century's most prolific and remarkable artists.

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3/04/2012

Who's Dancin' Now? (2001) Review

Who's Dancin' Now (2001)
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Jacques D'Amboise demonstrates the difference between a teacher and a mentor. A teacher gives information, a mentor literally reaches into a child's life and lifts him/her to a higher plane. In this video, it's great to watch Jacques coach average kids into above-average performance, and provoke them into seeing greatness in themselves, and his technique has obvious application in all fields, not just artistic or physical. This video is superb for not only profiling an accomplished mentor like Jacques, but for showing us the incredible power of dance to unchain a child's imagination, and boost their self esteem.

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3/02/2012

Cursive II / Lin Hwai-min, Cloudgate Dance Theatre of Taiwan Review

Cursive II / Lin Hwai-min, Cloudgate Dance Theatre of Taiwan
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Lin Hwai-min's Cloud Gate Dance Theatre provides a new language of dance for anyone who has not seen them perform before. I watch a great deal of dance from classical to contemporary, and while there is much that is familiar in the dance vocabulary of this company to anyone who knows the work of Jiri Kylian, Mats Ek, Carolyn Carlson, or Angelin Preljocaj, there is also much that is new. The western dance influences borrowed by Mr Lin are subsumed in positions and movements from Tai Chi and martial arts, as well as from the Beijing Opera, with the result that the dance is fresh, arresting, and sublimely beautiful.
I found myself wondering how the best dancers from the western tradition -- Gillot, Ganio, Durante, Baryshnikov, for example -- would view these dancers with their extraordinary extensions, their almost contortionist flexibility, and their electrifying ability to freeze instantly into a position which looks completely untenable and hold it for what seems minutes at a time. Technically, the Cloud Gate dancers are remarkable -- although their technique is so infused with elements other than those of western contemporary dance or ballet that it is difficult to judge it analytically. It is rather like listening to poetry read in a language one does not know, or doesn't know well: certain elements (sonality, metre, inflection) may be judged, but the overall effect is simply beyond one's ken, and in the end one must simply experience and wonder.
Certain stylistic points can be made which might help others considering this DVD. First, there is practically no contact between the dancers: they tend to work in positions close to one another but not touching, and the movements are often "counterpointed". For example, one dancer might be moving very quickly through a series of gestures and positions while another, or others, remain still or move slowly in contrast. Second, in general (at least in this piece) the main line of the dance is low -- say at waist height: most of the movements generate from the waist or are effected with the feet firmly planted. One typical resting or transitional position has the legs wide apart, knees bent, the feet planted, and the hands placed on the thighs, giving a rooted, solid effect.
Both the women and the men are dressed in long, loose, widely cut pants of light translucent material (men in black, women in white) with the men naked to the waist and the women wearing flesh-coloured leotard tops. This throws the emphasis on the upper body and arms, and gives the effect of the lower body's being the foundation of the dancer: there is, in other words, very little of the delicate use of the foot which one finds in ballet -- no entrechats, no pointe -- although the occasional stretchings-out of the feet are lovely. The dancers are barefoot. Even the jumps are kept low to the floor, although they include some fairly hair-raising flips.
The music by John Cage, selected from a number of his works, provides a perfect accompaniment. If one didn't know its origin, or know Cage's work otherwise, it could easily be mistaken for music by a Chinese or Japanese contemporary composer, although it hasn't the textural delicacy of a Takemitsu, for instance. It does provide a good deal of space -- silence -- between notes or passages, and this fits well with the style of the choreography, which seems to seek points of rest and then move swiftly into successions of movement. The subject of the piece, Chinese classical calligraphy, also of course relies on a contrast, in that case between the blackness of the ink and the whiteness of the paper on which it appears -- a point Mr Lin makes strikingly in his discussion of the piece both in the twenty minute introduction, and in the later hour-long documentary about him and the company. These are both fascinating and essential viewing. I would particularly suggest watching the introduction before seeing the dance itself.
All in all, I found this a delightful, stirring, and ravishingly beautiful experience. It will surely provide deep pleasure to any lover of modern dance particularly, but really to any open-minded lover of dance in any of its forms. I am determined to add the other available DVDs of the company to my collection as soon as possible.

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2/27/2012

Barrage - The World on Stage Review

Barrage - The World on Stage
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In the lineage of "Stomp", "Blue Man Group" and "Blast", this group of talented violinists, guitarist, percussionists, and bassist are breaking new ground with the use of the violin. The music is stunning, and their personalities are enchanting. It is really wonderful to see excellent musicians having a great time making music. I use this as a teaching tool for my elementary music classes, and the students love it!!!! The guitarist is phenomenal and the selection of music is perfect. Own this, you won't be sorry!

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2/19/2012

Kaguyahime - The Moon Princess / Nederlands Dans Theater (Jiri Kylian) (1994) Review

Kaguyahime - The Moon Princess / Nederlands Dans Theater (Jiri Kylian) (1994)
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This is by far one of the most impressive piece of work by NDT choregraphed by Jiri Kylian. They made supreme work on combining all area : dance, music, staging, lighting. The performance seems to have been recorded a little while ago (not very recent), which I can guess from less colorful recording, however, due to such style of recording, it can make you to see more of the dance. The dancers on this one are the best ones from NDT, and highly recommend this work. Really happy to own this work.

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2/18/2012

American Ballet Theatre Now - Variety and Virtuosity (Dance in America) (1998) Review

American Ballet Theatre Now - Variety and Virtuosity (Dance in America) (1998)
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Finally, this thrilling gala performance is available on DVD! The transfer is crisp and the dances are nicely indexed so you can jump to your favorites...not that you'll want to skip even one of them. But I'm sure every balletomane will have her or his favorite. Mine is "Remanso", a pas de trois for men based on a Garcia Lorca poem. Taped in 1998, these performances feature many of ABTs upcoming stars (Corella, Carreno, Herrera, Stiefel) as well as seasoned veterans (Jaffe, Bocca, Hill, McKerrow). Angel Corella delivers breath-taking turns in his pas de deux with Paloma Herrera from "Don Quixote."
Although comprised of eight separate dance performances, each segment is intercut with fragments of backstage interviews with the dancers and artistic director Kevin McKenzie. Nothing momentous is revealed, but it's nice to hear the dancers express their enthusiasm for the works they perform and for the company that have the priviledge to dance for. Introduced by prima ballerina assoluta Natalia Makarava (looking great in a maroon silk and velvet gown by Gianfranco Ferre), it moves quickly and is the type of DVD you'll want to watch over and over. Far superior to ABTs other recent offering on DVD, "Le Corsaire," in which the dancers make fun of ballet (with justification) in between-the-acts interviews...and which is difficult to watch more than once.
I never understand why "fine art" DVDs offer so few "extras" (in this case, none). If you go to a live performance of a ballet, you get program notes on the music and choreography and short biographies of each principal dancer. Is that so difficult to transfer to a bonus material section on a DVD? Are there copyright issues? Anyway, don't let the absence of extras deter you, this DVD really delivers the goods. Buy it, watch it, love it.

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Variety and virtuosity are the key qualities of American Ballet Theatre's tradition. The company has long distinguished itself through its artistic eclecticism and its star power. In this dazzling program, leading American Ballet Theatre dancers are joined by guest artists to perform highlights from the company's 20th century repertoire, including romantic, classical and contemporary pieces as well as the premiere of a new piece by Nacho Duato.

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1/29/2012

When Hell Freezes Over, I'll Skate (Broadway Theatre Archive) (1979) Review

When Hell Freezes Over, I'll Skate (Broadway Theatre Archive)  (1979)
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This Vinnette Carroll production, brought to life by a talented 8-member troupe of singers and dancers, features a combination of poetry and song which reflects the African-American experience. Inspiring, at the same time that it is an indictment of the treatment black America endured over the ages, the production celebrates the ultimate triumph of the rich and varied African-American culture.
With music created and directed by Tony Award winner Cleavant Derricks and his twin brother Clinton Derricks-Carroll, the revue showcases the performers and their melodies and rhythms, rather than musical instruments. Hand-clapping, simple drums, and a single piano or sax often provide the only accompaniment.
Joyful and enthusiastic, the music ranges from early chants and marches, as in "When the Colored Band Comes Marching Down the Street," through folk dance, gospel, revival music, blues, and disco. The late Lynne Thigpen is the female anchor, doing a passionate blues solo, her voice a contrast to the soprano of Lynne Clifton-Allen, who "just spreads her mouth and shouts, 'Come to Jesus'" in a gospel song. Clevant Derricks is a powerful interpreter/singer throughout, as is his twin, Clinton Derricks-Carroll, whose stirring bass/baritone inspires both the live audience and the viewer.
The production contains almost as much poetry as it does music, with poems by Countee Cullen, Julian Bond, Nikki Giovanni, and Langston Hughes, among others, enacted by the talented cast. Sometimes humorous and satiric, the poems range from the elegantly expressed to the vernacular, always showcasing attitudes and events which have led to moments of triumph, including domestic triumph. Gracefully blending songs, dance, and poetry, the revue creates a moving and comprehensive tribute to the enduring spirit of Black America. As one singer attests, "You can't put out the fiery spirit [of] my soul." Mary Whipple


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1/28/2012

Honey and Spice: Sensual and Fierce Burlesque Review

Honey and Spice: Sensual and Fierce Burlesque
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Jo Weldon aptly describes burlesque as a "sophisticated and theatrical art with a long history," and it's a history that will go well into the future, in many forms. Anyone planning on a Broadway musical career should learn what Jo has to teach in this DVD, because sooner or later, they'll need to know. One has only to see the late great Bob Fosse's choreography ("Cabaret," etc.) to know what many of his ideas were based on...burlesque!
Jo covers many subjects in this DVD, and teaches 2 routines. The first is "Honey," which is smooth and sensual with a feather boa, the 2nd is "Spice," which is faster and raunchier because it includes the classic "bump and grind" moves. Both are demonstrated and broken down step by step for easy absorption, and are simple to learn. It's the style that takes practice, in this "art of concealing and revealing."
Jo among her many credits is founder of the New York School of Burlesque. The music used is terrific and very authentic, and is drummer and bandleader Ronnie Magri's Shim Sham Revue- Music of New Orleans Burlesque Shows of the 30's, 40's & 50's
There is a Warm-Up section, and the "Extras" are excellent, and are on costuming. Stockings (runs are O.K., but the seams better be straight!), corsets, and those special little tassels. You'll learn how to glue `em and move `em. They are demonstrated on a bra, but of course are supposed to be applied to your skin. These days we are used to seeing actresses on the screen "in the buff" and it is so boring. Jo does much more just taking off a single glove.

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1/13/2012

Dance Theatre of Harlem (1989) Review

Dance Theatre of Harlem (1989)
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Dance Theatre of Harlem, founded by Arthur Mitchell AND George Balanchine, is a first rate ballet company and this dvd offers a nice, varied sample of their large body of work, only a small portion of which is available on video(please see my review for "Fall River Legend" for more information on DTH). "Troy Game" and "The Beloved" are exquisitely choreographed modern dance pieces and "John Henry" is a light hearted folk piece choreographed by Arthur Mitchell and the input of the dancers themselves(this bit of information comes from what cast members have told me). The DTH dancers are all clasically trained(in those days by Arthur Mitchell and George Balanchine himself) and this is quite evident in their dancing. This production was done in Denmark and is absolutely first rate in quality, from set design to music.

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The Dance Theatre of Harlem, America's first outstanding classical ballet company of black dancers, started out as a ghetto experiment which quickly reached world-class level. It was created by Arthur Mitchell, a School of American Ballet student who had broken through ballet's color barrier by becoming the first black dancer to join an internationally renowned company, the New York City Ballet. In this special studio production, the Dance Theatre of Harlem performs a selection of its most popular works: choreographer Robert North's "Troy Game," Lester Horton's "The Beloved" and Arthur Mitchell's "John Henry." The pieces are introduced by Arthur Mitchell and Robert North.

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12/05/2011

Live at Broadway Dance Center: "Takes" on Theatre Dance for All Levels (Andy Blankenbuehler) Review

Live at Broadway Dance Center: Takes on Theatre Dance for All Levels (Andy Blankenbuehler)
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Ok, so when it says "all levels" it doesn't include people who have no dance experience. I guess that should be obvious since this is from a professional dance school in New York, but I just thought I'd warn off anyone who knows nothing about dance and just wants an exercise DVD. There's no warm-up, just a preview of the dance, and then a break down of the movements. I had to hit pause and advance on the slowest speed to get some of the steps, and it had taken me a few weeks to get the first twenty seconds down. It's really fun, even though I've no idea what I'm doing.

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