DanceMetro

Dancefusion&Sokolow Theater/Dance Ensemble at FringeArts

 

(photo courtesy of Dancefusion)

For three decades Gwendolyn Bye, artistic director-choreographer-founder of  Dancefusion has staged reconstruction and revivals of specialized from influential and underrecognized contemporary choreographers, specifically a 20th century modern master Anna Sokolow. Bye’s revivals assuring important choreographic works remain are part of a living repertoire for this generation of dancers.  For Dancefusion’s 9th presentation at the Philly Fringe at the Performance Garage,  Bye partnered with  Sokolow Theatre/Dance Ensemble for a substantive program of Sokolow repertory and Dancefusion premieres.

Opening with Sokolow’s still stunning “Moods” (1975)  scored to music by Gygori Ligeti in a flawless restaging by Nora Naslund, gorgeously performed  by dancers from both companies. “Moods”  entrances with Sokolow’s flowing ensemble lyricism, and more abstract duets and trios mise-en-scenes. The cast included both Dancefusion and Sokolow dancers, with stunning clarity and esprit de corps.

Then three works by Dancefusion choreographer dancers-

“The Space Where You Were” by Jennifer Yackel, suggest a woman looking back on her younger self, or, as a mother/daughter narrative. Danced by Janet Pilla Marini and Kate Lombardi with original music by Philadelphia based composer Cory Neal. The imagery suggests everyday activities moving around in rooms of a house (by way of square spotlights) and when the dancers partner, expressing emotional bonds or conflicts issues coming between them. Both Marini and Lombardi dance with dramatic intensity and unfussy technical artistry.

– “Diaries” by University of the Arts dancer-choreographer Omar-Frederick Pratt with a mix of music by Pratt (& Richter, Zimmer, Winston)and and choreographed for ten dancers in the opening tableau on the floor strewn with rose petals writing on the stage or in the air. Pratt unleashes them in high velocity ensemble movement.

Then Pratt thrilling adagio solo danced by Zaki Marshall that was packed with  technical artistry.  Then followed by an athletic duet with Lamar Rogers, laced with intricate lifts and expressive narrative .  Pratt himself enters the scene in  a mach speed pirouette sequence, turning it into a trio.  The full cast returns for a series of duets, within the group configurations.  Some of the full group passages look choreographically rote- lots of rushing on and off stage, for instance- this is a strong narrative work from Pratt.

“Three Parts Human” choreographed by Camille Halsey, also a  talented University of the Arts dancer-choreographer.  contemporary ballet piece with for five women (in  Athena tunics) and one male dancer.  Halsey also uses some conventional ensemble unison, and some of the duet had a middle draft feel. Still, Halsey’s overall stage composition and ensemble esprit carries the piece..

The second half of the program began with short works by Sokolow from 1984 titled “As I Remember” early work by Sokolow that she  reworked in 1984.  In this revival directed by Jim May, Sokolow’s company co-director and founder of Sokolow Theater ST/DE.

‘Lament for the Death of a Bullfighter’ (1941) Janet Pilla Marini dressed in a black satin gown with a red drop panel that she teased out like bullring cape, a lethal gaze and altogether smoldering precision in this dance of death.

Camille Halsey’s dances ‘Ballad in a Popular Style’ (1936) to music by Chick Corea (which Sokolow changed from the original by Alex North) is a jaunty, skippy free dance, with perhaps some shade to Graham, and anticipating Paul Taylor’s witty approach to postmodern movement.

‘Kaddish’ (1945) from the music by Ravel, with Kate Lombardi, Melissa Sobel and Elissa Schreiber in dramatic black dresses with black piping coiled on one arm, seemed like a beautifully danced parody of a Graham knock-off.

“The Unanswered Question” (1971), scored to music by Charles Ives, it is a meditative group sculptural piece with both the Dancefusion and Sokolow dancers face down on the floor and their bodies slowly lifting  skyward.  The symbolism of universal human struggle and ultimate shared hope, both earthy and ethereal.  This collaborative concert a reminder that Dancefusion remains one of Philadelphia’s most diverse and vital repertory companies.

Stage

 

Vintage Tennessee at IRC’s ‘Eccentricities’

Nightingale cast (photo courtesy IRC)

Idiopathic Ridiculopathy Consortium’s production of Ionesco’s “The Bald Soprano” proved to be a breakout hit at the 2017 Philly FringeArts Festival. IRC followed up this year with a fine production of Tennessee Williams “Eccentricities of a Nightingale.” Directed by and starring Tina Brock, the play is staged ingeniously in the raftered high ceiling top floor of the Bethany Mission Gallery, which is packed with Americana artwork and curio artifacts, with the audience in arced seating around. This is up close and personal vintage Southern gothic drama.

The story of Alma Winemiller, the aging unmarried preacher’s daughter, who sings with too much emotion in church, and is the subject of cruel amusement by the gossipy gentry of Glorious Hill, Mississippi, circa 1930. But actually Alma is one of Williams’ most heroic characters, willing to defiantly be herself in the face of every social indignity. She even takes nightly strolls in the secluded park at night for the odd chance of a poetic encounter.

Brock’s portrayal of Alma is triumphantly operatic, distinctly different from the Geraldine Page’s more mannered screen portrayal in “Summer and Smoke” the first version of the play which Williams continued to revise and eventually writing it again as “Eccentricities.” Williams edited out a romantic subplot involving the young doctor that Alma is secretly in love with. Still the play is packed with Williams’ signature psychosexual tropes -including veiled hint of mother lust for a son- that can come off as dated and even campy if not handled right. Brock, impressively doesn’t solve all the inherent structural problems, no one can, but she brings balance, character humor and dramatic clarity. Crucially, Brock makes this an ensemble piece, rather than a star vehicle.

When John Buchanan visits his parents for the Christmas holiday, now a celebrated doctor, in his father’s professional shadow. Alma’s reveals her secret love for him that is already obvious to everyone, including the doctor’s mother, who belittles her at every opportunity.

John, Jr. tries to dance around his domineering mother who is loath to think that he might get involved with Alma. He sees right through her and it is a contest of will, with Alma caught in the middle. As the young doctor Buchanan John Zak exudes earnest southern charm, yet deftly fills in that ambiguous line about his real intentions toward Alma.

Alma’s literary coterie meet at her house to the distain of her boorish father. The ensemble- Kathy Bradford, Carlos Forbes, Jimmy Guckin and Bob Schmitt are the other town ‘eccentrics’ because they discuss literature and also sing Christmas carols between some of the scenes.  Brock underscore their outsider status and brings wit to Williams’ gay hide/seek subtext of his era. Bradford the rule breaking minutes taker and literary sleuth. Guckin plays Rosemary, the impatient poetry scholar and later he is the flirty traveling salesman who Alma picks up. Forbes the handsome and fastidious playwright.

All of the actors handle the Southern accents well. Fine performances by the lead cast, Tomas Dura is the one-note cold clergyman. Jane Moore breaks your heart as his wife Grace, losing her grip on reality as she babbles about a museum fire and Carol Florence as Mrs. Buchanan, bringing basso-voice humor as she schemes to control her son’s life.
The versatile John Zak nails the tricky role of Buchanan which has proved elusive to many actors (including Lawrence Harvey in the film version). Brock and Zak are especially memorable in their understated sexually charged final scene together. “Eccentricities” rests on the believable chemistry and Brock and Zak bring poetic depth to these vintage Williams characters.

Tennessee Williams: Eccentricities of a Nightingale | The Idiopathic Ridiculopathy Consortium performances of “Tennessee Williams: Eccentricities of a Nightingale “ Sept 7- 23 at Bethany Mission Gallery, 1527 Brandywine St, Philadelphia PA. Go to http://www.fringearts.com for tickets & information.