Tag Archives: contemporary ballet

elements

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There are few more hallowed grounds in the great cavernous world of dance than those woodsy ones that comprise Jacob’s Pillow. Being relatively quaint in composition (that is, when compared to say, the gilded curtains at Palais Garnier or even our own fabergé egg in Providence), is no accidental affair; The space at Jacob’s Pillow invokes an unbridled celebration of marriage between movement and nature. I mean, the celestial “pillow” itself is an oversized rock, so, there you have it. Stages unencumbered by adornment, curtains, walls…

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Could any such space appear more divinely designed for Louisa Chapman’s “The Elements”? On Saturday afternoon the sun was shining, the sky showing off a perfect milky blue, and the wind was so gracious as to help the trees do some dancing of their own. From between branches that same wind whirled down around our faces as we emulated flocking birds, an invisible current, congested leaves, and finally ourselves, gently blown aback by the sweet scent of summer. This feels like something I should further describe the feeling of, but I already have: simply the perfect marriage of movement and nature.

 

 

second photo by Michael Collins.

a contemporary classic

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We’ve traded Tchaikovsky for a delicious mix of Prokofiev and Bizet, and oh, what a welcome trade.  There’s nothing like a new soundtrack to wash away the worn and sing kinetic life.

This month and next are filling quickly with material- both the newly created and the boldly revisited.  Between R&J rehearsals, videos of Viktor Plotnikov’s first full-length rewind and play, rewind and play.  Fourteen years ago, our beloved Viktor reimagined this classic drama in that way only he can.  Then a fairly new choreographer, Carmen was one of his first collaborations with the company whose roster he now graces.  A decade and a half later we wake Viktor’s steps to discover them somehow still innovative; his is an ever revolutionary form of dance.

During my first year as a trainee with FBP, I performed as a (rather intimidated) “factory girl” in Viktor’s Carmen.  I remember reveling in the genius of his unforced mime and celebrating- though timidly- my body’s ability to use his powerful and strange dance vocabulary.  This season I am honored to be learning the role of Michaela, Don José’s betrothed who, in this version, also has the privilege of acting as a bit of a narrator.  Finding herself in quite the assortment of situations, Michaela’s choreography is both sweet and mature, and I am all sorts of excited to dance it.

 

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welcome to the house

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Running forward towards him, I push my sad body desperately through the air that separates us.  He is the only man I’ve ever seen up close, the love of my life.  I thrust my arms around his shoulders but my forearms continue to cross, until my elbows have passed and not the thinnest thread could snake into my grasp.  There’s no one there.  I am startled, alone, and heartbroken.  Martirio’s love is not only unrequited, but fulfilled by the arms of her younger sister, Adella, whose noose awaits her. A sadder fate than that of the Alba sisters is hard to fathom.

This week we’re on set with the brilliant Shaun Clarke and choreographer Viktor Plotnikov filming for his newest creation, The House of Bernarda Alba.  Sections of the ballet occurring outside the infamous house (or those inside our heads, like many of mine) will loom stage right as literal projections of our subconscious exposed on a hanging screen.  It’s all very new, to us and to Viktor, and the creation process has been peppered with discovery.  Things I have learned this week:

Acting is really fun.  The immediate feedback you get after an acting scene feels so different-and more satisfying, I think- than the kind you receive after running a classical variation.  Maybe because you are being asked to pull upon something deeper than your lower abdominals?

Holding one arm straight out in front of you, hands in fists, legs in a squat, is an excellent work out.

It’s hard to appear as if frightened by invisible ghosts around you without ever casting your eyes downward.  Who knew opening your eyes could be so difficult?

The first day’s process looks pretty cool in a time-lapse.

It’s also quite beautiful in this peaceful compilation of Day 2’s filming.

 

For tickets.

 

photos by Shaun Clarke.

hansel & gretel go downtown

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Early yesterday morning, just as the sun started to backlight the grey rain clouds overhung from last night’s shower, we made our way downcity to my favorite theatre.

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PPAC was filled to its maximum with excited children, field tripping to the ballet as part of Providence’s community arts outreach program.  What a wonderful way to debut our cast of Hansel & Gretel, on the biggest stage in the state before thousands of enthusiastic kids.  They make the most interesting spectators, don’t they?

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Maybe I’m projecting my time as a child of the theatre, but I feel so fueled by the spontaneity of a young audience.  A rogue chuckle here, a random gasp there, reactions unfiltered and not one emotion held back.  It’s so helpful to be reminded what it feels like to see the show with fresh eyes, after hours of rehearsing the same scenes again and again.  Even when a show feels stale (which trust me, this one definitely does not!) you can always count on a child audience to teach you something new about it, purely through their physical reception of the performance.

The gloomy weather in Providence this morning also lent itself quite well to the dark tone of this story.  Then again, I have been known to relate outside surroundings to inside feelings…

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Projections of my psyche aside, with well-timed applause, hooting and hollering aplenty, I’d say the show was an overall success.

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There are 3 more chances to catch us in Ilya Kozadayev’s brand new production of Hansel & Gretel, this time in our black box theatre on Hope Street.  Don’t miss it.

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fauns and roses

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We are headed to The Vets this week, and already I feel the familiar excitement of performance time.  Choreographer Dominic Walsh returns to Providence tonight, so it seems an appropriate time to look back on this interview from a few weeks ago, when he was in town setting his works.  In the clip, Dominic sheds some light on the inspiration behind his reinventions of Le Spectre de la Rose and Afternoon of a Faun.  Being able to learn about the birthplace of his creativity and take special note of those influences now, while preparing his pieces for the stage, has been so rewarding.  I especially love seeing the Rodin sculpture of Nijinsky that inspired the iconic first pose in his Faun.  Dominic makes such a poignant statement about creation:

“That time of The Ballets Russes was so exciting; They were breaking barriers.  There was this dedication to exploration and excellence.  So I think to reinvent these works is one way to contribute to the roles and responsibilities of the cultural institutions, and therefore our community.”

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Very well said.  If you have a minute, check out his interview below.  The extended version is even juicier, if you’re interested.

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Photo of FBP ladies in rehearsal for Dominic Walsh’s Afternoon of a Faun by Alex Lantz; Second photo featuring Ty and Marissa Parmenter in Dominic Walsh’s Afternoon of a Faun.

building the house

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I crank open the back door at the 4th Street entrance and creep into FBP into a day for which, it turns out, I am emotionally underprepared.  I’m standing in the green room, but black seems a more fitting color to describe the building on this particular Sunday.  The fluorescents have been cut, dark curtains hang over the windows and a single glowing boom reflects in the glassy marly floor like the moon on a midnight river.

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Jaime kneels, blonde hair and ruffled black dress leeching her soaked face and body.  In the frame, silk trills of water weep down her mascara-inked cheeks as she stares blankly ahead.  What I see that the camera does not: the plastic pool in which Jaime has knelt to keep the floor from flooding, Viktor Plotnikov– watering can in hand- playing special effects manager, and Shaun Clark working his directional magic behind the lens.

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Moments later I find myself in a living oil painting, a canvas of white linen dresses wrapping up a family portrait in the wake of tragedy.  The fifth sister missing, four girls and a grandmother’s audible tears stain the page and screen, while an oppressive mother’s mourning fumes in the foreground.  Behind her, we do not weep; we wail.

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Undoubtedly one of the darkest days of my career, the preliminary filming for a new Plotnikov project has me anxious for the start of Season 38.  In the meantime, I will do my homework.

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Fifth photo by Alex Lantz, the rest by me.