Ririe Woodbury's, "One"

“One…” presented by the Ririe Woodbury Dance Company runs from April 25-27 at the Rose Wagner Performing Arts Center. This year the company’s season has acted as a countdown towards their 50th anniversary. It has also been the last season for Artistic Director Charlotte Boye-Christensen as well as veteran member Jo Blake. Included in the program were two pieces from 2005, Alicia Sanchez’s “If My Right Hand Would Say What My Left Hand Thought” as well as Boye-Christensen’s “Bridge”. Also included and premiered on Thursday evening was German native Johannes Wieland’s “one hundred thousand” which was created on the company last fall.

The show was a marathon for the dancers with the entire company utilized in each piece. Sanchez’s “If My Right Hand Would Say What My Left Hand Thought” demonstrated the company’s physicality in a way they have become known for. The piece was comprised of seemingly unrelated vignettes each ending unresolved and paving the way for a new story. The material was at once quite personal and then uncomfortably distant. As the relationships between the dancers were formed and destroyed, I had a difficult time understanding my own relationship to the dancers as an audience. Sanchez made occasional use of breaking the fourth wall, but this decision seemed to leave me less involved than expected. The work certainly had a story to tell; I just could not understand it given the language the dancers were speaking.

Following this was Boye-Christensen’s “Bridge” set to a fast past and engaging score by John Adams. To be quite frank, I have never been the biggest fan of Boye-Christensen’s style and normally find her material vague and tedious. “Bridge” however was anything but. It acted as less of a bridge into the future and more of a cannon ball. While it certainly had her signature, I found the piece to be thoroughly engaging and surprising. There were moments that were private and ones that were quite explosive. It was a seamless homage to the past with an urgency and expectancy of the future. I felt that this was a successful farewell from both Charlotte to us and the dancers to her.

Following intermission the dancers completed the daunting task of performing Wieland’s “one hundred thousand”. Though the format of the piece itself was not pleasing to me, I must commend the dancers on their accomplishment of such a production. This company has never been said to be lacking in guts and gusto, and this was more evident than ever in Wieland’s work. The piece itself utilized many theatrical elements that in my mind are becoming quite kitsch. This along with a confusing array of music left me feeling quite alienated as an audience though the work itself was compelling, making me want more. I felt no resolution, and perhaps not even a clear message from the work, but what was evident was that it was courageously inhabited by the dancers and ferociously honest. With little room for error, the movement was raw and one could sense a real camaraderie between the dancers.

The Ririe Woodbury Dance Company has launched itself headfirst into the next phase of its life. Presenting such an energetic and dynamic program leaves me wondering what the new face of the company will look like. There are two more chances to see “One…” at the Rose Wagner Performing Arts Center tonight and tomorrow both at 7:30.

Katherine Adler is an intern for loveDANCEmore. She will be graduating from the University of Utah with a BFA in Modern Dance.

some thoughts on some spaces

This writing is one of many “non-reviews” that I’ve tended to post on this blog. It’s not a critical look at the craft of dance-making; instead, it’s a focused exploration of the ways in which dance can be experienced here, in Salt Lake City, and the kinds of connections that makes me consider.

Tonight, April 14th, I felt lucky to see Ririe-Woodbury perform some excerpts at the Cathedral of the Madeline, a clearly beautiful space which has housed a lot of dancing over the years, mostly that by children.

I enjoyed myself not only because the space and the performers are always beautiful, but also because it challenged my expectations of Charlotte Boye-Christensen’s choreography and helped me to explain my feelings about works by Johannes Wieland, and others.

It’s not a huge secret that I’ve personally come to find Charlotte’s work repetitive over the years she has served as Artistic Director of the company. The lull I find in that repetition has prevented me from seeing what many friends and peers respect as a strong physicality and an unyielding determination in complex collaborations. Watching her work tonight in the Cathedral was a departure because, for the first time, I experienced the intimacy that others claimed to always see in her partnering. Without the farce of a cyc or bright gels I saw the performers as grounded in a real space, in a real time and with one another. Their glorious shadows illuminating the walls were just the icing.

Each work was distilled to the smallest excerpts and accompanied by interludes on the guitar by Jon Yerby which helped me to find easiness as an audience member. The situation helped me to see the dances not as the “masterful” work that the marketing always claims but instead as honest and reflective work.

There were times I laughed of course because the imagery so frequently resembled a crucifixion and while I wouldn’t think twice in a theater it was curious how and why certain images come to be in certain spaces and how we can never predict the associations made when our circumstances shift. There were times that shifting circumstance also caused be great discomfort, particular in a preview of a new piece by Johannes Wieland.

Stylized domestic violence is a brand of modern dance that I started to think that only I was seeing. I had begun to wonder whether the persistent, aggressive, heterosexual partnering which so often features the flung female body is only troubling to me. When I watched it enacted in the Cathedral, as part of this work the changing context revealed to me that I wasn’t making it up, that so much dance really does center on the premise of replicating physically the trouble we find in our personal relationships, no matter what larger projections it means about the bodies of the women and men involved.

Thankfully I didn’t leave with only that feeling of expectations confirmed, I also got to be surprised which was worth it.

Ashley Anderson directs loveDANCEmore programs as part of "ashley anderson dances." 

Salt Lake Municipal Ballet at Sugar Space

Below is Sarah Thompson’s take on the Municipal Ballet Co. at Sugar Space,originally published by 15 BYTES. We are excited to share her writing and also that more collaborations are on the horizon with 15 BYTES. While the details are still in flux, you can expect to see more dance writing on 15 BYTES and more contributing writers to the loveDANCEmore pool in the coming year.

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Sunset District, by Salt Lake City’s newest dance group, Municipal Ballet Co., debuted at Sugar Space Thursday evening. Formed by Sugar Space artist-in- residence Sarah Longoria, a graduate student in ballet at the University of Utah, Municipal Ballet Co. hopes to provide an outlet for ballet artists to create and perform their own work for a more diverse audience.  The company also hopes to transcend the stereotype of ballet being old-fashioned, elitist and boring.

Sunset District accomplishes both goals beautifully, with ten live dances and two dance films, more than can be reviewed here. From the first piece, “Adrift,” which introduces all nine of the company’s members, it’s obvious that this is not traditional ballet. Dressed in modern dance attire and soft shoes, the dancers gently guide the audience into the performance with a strongly balletic opener by Longoria that still manages to signal that this is something new, and provides an opportunity to get a feel for each dancer. This segues seamlessly into Longoria’s sparkling duet, featuring dancers David Riskin and Stacie Riskin.

Kaya Wolsey’s “She was not alone,” which follows, ventures further into contemporary dance, with dancers clad in black shorts and socks, and features a much more contemporary movement vocabulary and more physical interaction among the dancers.

The remainder of the program flows gracefully through a wide variety of approaches to ballet, including solos, storytelling, intensely emotional work, and lighthearted, jazzy fun. Of particular note are “The Crowd,” choreographed by Sarah Judd and featuring Saena Fukui, Eve Allen’s “Psychotic Girl”, and Ellie Hanagarne’s heartbreaking and heartbreakingly beautiful “Inverted Out” featuring the remarkable Eri Nishihara, the only dancer to appear in toe shoes.

Interspersed with the live dances are two films by Ben Estabrook.  His “Rebirth” is a lovely minimalist short, choreographed by Holly Martin and featuring the impressive Jessica Liu, accompanied only by the sounds of her shoes scraping the floor and her own breathing.

Many of the dancers also serve as choreographers, and every dance succeeds in holding the audience’s attention and offering a new take on what ballet has to offer.  The dancers are technically accomplished and the music selection is diverse and as close to perfect as one could hope.

Municipal Ballet Co. fills a much-needed niche in the Salt Lake dance scene offering a high-quality, accessible complement to the more traditional Ballet West, as well as to the city’s thriving contemporary dance companies.

Municipal Ballet Co.’s Sunset District will be performed again Friday evening, April 12, at 7:30 pm at Sugar Space.

Sarah Thompson is a retired physician and psychiatrist, as well as a writer and a fan of the arts. Her writing has been published in a variety of magazines and textbooks and she is currently working on a short story and a novel.

RDT's Women of Valor

This weekend’s performance of “Women of Valor” is the latest in a long line of community outreach efforts by Repertory Dance Theater (RDT). From educational programming to the recent “Green Map Project,” which considered environmental efforts through art-making, making dance accessible to nuanced groups within the general public has become a central part of RDT’s mission.

This recent effort is an attempt to gear dance performance towards military issues. Because these issues might cause some discomfort for someone who has never served in the military, nor has a strong relationship to family stories of those who have, I invited Melanie DeJulis, an old friend who served as a Staff Sgt. in the US Army Reserves from 2003-2012 and who was deployed to Iraq, to join me.

Together we watched a range of dances, old and new, that consider issues of military service, accompanied by dramatic monologues narrating experiences of women including medics, early Women’s Army Corps members and well known figures like Tammy Duckworth. By and large, Melanie enjoyed the concert saying that she felt access to some of the imagery and that the topical nature helped her to understand and relate to the performances. Yet, Melanie also notes that, while thought-provoking, the concert seemed to “dance around women in service,” favoring nurturing women over female warriors. She’s right. It’s a part of Utah’s modern dance history which often highlights women in extremely difficult, yet passive roles.

One exception in this particular program is Lynne Wimmer’s “The Mechanic,” danced and spoken by Toni Lugo. While architecturally designing the space, Lugo expertly narrates the experience of a petite woman serving as a mechanic. Using an informal, direct text as a springboard for gesture and phrasing unites the interests of both military and civilian audiences. The text also enables Wimmer to hint at the more potent topics of sexual harassment as well as casual, unintentional sexism.

Despite relegating women’s experience to the more commonly discussed roles of family, Abby Fiat’s work “A Mother’s Farewell” also uses the inclusion of text to success. While most works in “Women of Valor” rely on abstraction to convey violence and grief, Fiat’s work includes Anne Decker narrating the voice of a mother, who has lost her son, describing her childhood experience visiting the Tomb of the Unknown Soldier. Rosy Goodman, Katie Winder & Sarah Donohue make the narrative multiple, and therefore collective, as they propel the text through space and physically ponder loss.

As enjoyable as a piece like Fiat’s makes “Women of Valor,” my companion’s observation about the nature of these dances persists: for all the consideration of women in service, through both movement and text, the dancing doesn’t seem very different from RDT’s normal repertory. Joanie Smith’s “Bolero” is a good example as it’s one of numerous works she has contributed to the RDT archive. “Bolero” is gorgeous but with a cast featuring men and women the virtuosic and building nature of the piece has less to do with current debates of women’s role in combat and more to do with historical notions of modern dance partnering. Audiences may sense that the military costumes could easily be replaced, shifting the content away from the objectives of “Women of Valor.”

Susan Hadley’s “Commonplace” is another piece which leaves space for contemplation. Witnessing the dancers engage in ritual mourning is moving but causes one to wonder what resonance the imagery would have had to a person who had seen someone shot, whether at war or in their neighborhood, and what dance might do to bridge the divides we feel interpersonally, war or no.

Ashley Anderson directs loveDANCEmore programs as part of "ashley anderson dances." 

Sample Tracks, an unreview

Before you read on I want to get out of the way that I think you should go see Sample Tracks at Sugar Space today (Saturday). In this writing I problematize the show without really describing it but I think it’s worth seeing.

I started this blog with numerous objectives. One was to find a place for dissenting voices and another was to find a place for documenting emerging voices. Both have happened, I think, with varying degrees of success. But tonight I watched Sample Tracks at Sugar Space and wondered why the audience was so scarce and why audiences in general aren’t as engaged by new work as by historic, and often more repetitively programmed, dance. Before I get ahead of myself I don’t think it’s an either/or situation, you can watch both sorts of dance, among others, but the issue seemed prominent tonight — the issue where we, as a general public, value perceived mastery rather than inquiry. That issue is not always the case, so before my imagination bombards me with the exceptions that might be noted, I’ll just say that regardless of them it’s simply still a majority view.

Sam Hanson, Leah Nelson with Cortney McGuire, and Movement Forum, are my peers. They are young artists working in SLC and they made things to be presented as part of Sample Tracks this weekend. Some people tonight saw their works as incredibly fresh, invigorating and unlike typical fare. Others saw them as haphazard and not very virtuosic. Neither group is right or wrong but that is beside the point; I could write about what each artist or group made and how I feel about it but it doesn’t seem really helpful. That sort of writing wouldn’t get at the problems I think we are all feeling in the current moment, where we all choose to watch dance when it’s convenient and not when it is complicated.

There are dances I enjoyed tonight and dances I didn’t. But I left with the understanding that I can’t expect dances to improve if the conditions for dance-making don’t improve. If, as part of a community, I choose to watch something that is cool by virtue of being European or being well-regarded in a long ago newspaper, I miss out on what the people around me are trying to make. Similarly, if I don’t start to comprehend the deficits left between academic institutions and presenting organizations in the city I can never make sense of why people with so few resources are unable to give dances the time they need to develop while also managing paying jobs among other facets of personal life. Some projects step in to close the gaps (whether intermittent programming such as this or others in the city, including those run by loveDANCEmore) but if, at the end, there is no audience to see the work and reverberate their energy, their questions and their interpretations, how can we imagine this will grow?

Of course in current funding models that is up to the artists and the assessment of tonight’s show is as simple as better marketing. But I think that it’s harder than that. I think it’s about the value we are placing on our fellow choreographers and the time they are worth. I think it’s about the expectations we’ve cultivated rather than the material we are seeing. I think it’s about us investing in ourselves before imagining that the general public ought to.

I will probably write more about this later. And, for the record, I think those who have seen the show should leave their own commentary whether about the work or otherwise. I don’t think I have all the answers, I just think I’m mapping the terrain that we all see but maybe haven’t begun to describe.

Ashley Anderson directs loveDANCEmore projects as part of "ashley anderson dances"