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Brilliant Leaps and Cautious Steps A Review of Dance in Dayton 2013 and What to Watch for in 2014

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Another year has waltzed by, creating a beautiful stir in the Dayton dance community. I have been privileged to bear witness to some incredible moments of sublimeness amidst the cautious backdrop of these uncertain times in regards to patronage and audience building. Now more than ever we as patrons of the arts have to reinforce our commitment to the arts in our community. While financial support is critical to keeping the lights shining, an education and connoisseurship is vital to elevating our community collectively. These moments and individuals made this year a tantalizing appetizer for a brighter future.

In no particular order:

Sheri “Sparkle” WilliamsDCDC

How often do we have a goddess walking amongst us? For over forty-five years Sheri has illuminated and turned up the heat on the stages of Dayton and around the world. When they describe DCDC as a “world class” organization, they are really describing Sheri. What she brings to the world can only be attributed to the divine. Her artistry is on the level of Dame Helen Mirren, Meryl Streep and Aretha Franklin, an ageless category defying artistic genius that we are privileged to witness. She is worthy of our continued attention.

Dayton Ballet-crop of new choreographic voices

Kudos to Dayton Ballet and their commitment to elevating female choreographers in the realm of classical ballet. This season saw the beautiful work of Gina Gardner-Walther, Amy Seiwert and Susanne Payne. They released the aesthetic beauty and artistic abilities of the dancers and challenged them to new heights and we as an audience were grateful to witness.

DCDC Urban Impulse

This is what a satisfying concert looks like; one that combines community outreach and artistic ambition. It was a gamble that payed off brilliantly. I cannot imagine any lover of dance not leaving that show ecstatic.

DCDC Emergence
This company came back in the fall with a concert of original works that was inspired. The luscious, diverse choreographic works that made Boll Theatre feel like Lincoln Center for a brief autumn evening.

Paul Gilliam, Dayton Ballet

A physically gifted performer who brightens the stage with charm, grace and intelligence. I have been very fortunate to briefly witness his choreographic skills. And I believe we are witnessing a diamond in the rough. Breakout star of 2014

Jammie Walker, Dayton Ballet

A welcomed soulful and passionate presence at Dayton Ballet. A dancer who can handle classical and contemporary work with ease. I look forward to seeing more of him in 2014.

Shed by Kiesha Lalama

Ms. Lalama set an energetic work that was wonderfully constructed and rendered by the dancers at DCDC. The company came roaring back to prominence with this piece and this reviewer was incredibly grateful.

Extremely Close by Alejandro Cerrudo

Okay, so this piece was performed by Cincinnati Ballet, but I would be remise in not discussing it. I had no expectations for this evening of dance at the Aronoff, but as we entered the auditorium, we were greeted with a blank stage, except for a white wall partition and a steady stream of feathers lazily drifting into a pile center stage. It took this reviewer/audience on an unexpected journey, one that we all gladly took. Note to artistic directors in Dayton this guy is worth the investment.

Prodigal Son by George Balanchine

Closing the same concert for Cincinnati Ballet was a re-staging of Prodigal Son with coaching by Edward Villlella. They delivered a bravura performance that brought down the house.

Smag Dance Collective

Congratulations on the 10th anniversary of Smag Dance Collective. The tenacious Artistic Director Michael Groomes fights for his vision of dance that is interwoven into the fabric of our community quilt. This is dance by the people and for the people. He is truly an urban visionary walking amongst us and he and the company deserve our support.

The Brown Dance Project

A poignant, funny and beautifully rendered work created by choreographer Rodney Brown and danced by members of DCDC. MODULE is an educational community outreach work that deals with HIV prevention. A brilliant example of the power of art to address social issues. I was particularly impressed by the audience Q & A afterwards and the fact that they came out on a Saturday afternoon to embrace this necessary work.

Dayton Ballet2014

I am looking forward to several things: The choreography of DeShona Pepper Robertson for Dayton Ballet in the fall. The site specific installation piece being presented by Ohio Dance and created by Crystal Michelle Perkins. Amy Seiwert and Susanne Payne creating new choreography for Dayton Ballet. Dance concerts returning to the Blair Hall Theatre stage at Sinclair Community College. The return of DCDC to the Victoria Theatre stage and the revival of the Dayton Arts Project.

I can think of no better resolution than to see more dance. And in the immortal words of London Coe, #dateyourcity.

ON STAGE DAYTON REVIEW: Godspell (Sinclair Community College) – Unified Joy

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Cast of Sinclair's production of Godspell (photo by Patti Celek)

Cast of Sinclair’s production of Godspell (photo by Patti Celek)

Sinclair Community College delivers a highly admirable production of composer Stephen Schwartz and librettist John-Michael Tebelak’s 1971 biblical musical “Godspell,” an upbeat, poignant look at the last days of Jesus Christ based on the Gospel of St. Matthew.

Incorporating fine musical revisions from the 2011 Broadway revival of “Godspell,” directly Kimberly Borst offers a sprightly, enthusiastic staging set within an urban playground excellently designed by Terry Stump. Borst’s breezy approach serves the insightful, parable-driven material well as her energetic 17-member cast delivers a consistent display of unified joy. The imperative example of diverse individuals of various backgrounds coming together to learn and grow from the teachings of Christ is evident here from the start with a strong version of “Tower of Babel,” crisply executed with fine assistance from Dan Brunk’s sound design capturing nearly every overlapping lyric in the frenzied number. As various philosophies are passionately spouted, the ensemble terrifically transitions from individualism to harmony before the tuneful proclamation of “Prepare Ye.”

The vocally appealing Natalie Sanders (a memorable component of Playhouse South’s production of “Children of Eden” last season) takes on the plum role of Jesus with a warm and inviting girl next door sensitivity. Sanders could be less presentational and calculated in her actions, but her genuineness is commendable. She also establishes an amiable, non-antagonistic chemistry with Jordan DuVall as Judas in addition to providing a tenderly optimistic rendition of “Beautiful City.”

Elsewhere, there are noteworthy performances from the fierce Kelli Locker (“Bless The Lord”), vocally striking Marcus Bedinger (“All Good Gifts”), sunny Hayley Penchoff (“Day by Day”), and the engaging pair of Destre Inlow (“We Beseech Thee”) and Skyler McNeely (“Light of the World”). Choreographer Rodney Veal creates many flavorful routines. Musical director Daniel Greene leads a solid offstage orchestra.

“Godspell” continues through April 13 in Blair Hall Theatre, Building 2, Sinclair Community College, 444 W. Third St., Dayton. Performances are today and Saturday at 8 p.m. Act One: 60 minutes; Act Two: 38 minutes. Tickets are $15 for adults and $10 for students and seniors. For tickets or more information, call (937) 512-2076. For more information, visit www.Sinclair.edu/tickets

 

ON STAGE DAYTON REVIEW: Intimate Apparel (Sinclair Community College) – Dangerously in Love

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Marva M.B. Williams in Intimate Apparel (Photo by Patti Celek)

Marva M.B. Williams in Intimate Apparel (Photo by Patti Celek)

Sinclair Community College supplies an absorbing local premiere of Lynn Nottage’s poignant 2003 drama “Intimate Apparel,” the heartwarming and heartbreaking account of African-American seamstress Esther Mills set in and around a Lower Manhattan boarding house circa 1905.

Delicately directed by Sinclair and Wright State University alumnus Monica L. Williams, “Intimate Apparel,” refreshingly grounded as a melting pot of diverse cultures and personalities, is firmly led by Marva M.B. Williams, a standout in the Human Race Theatre Company’s production of “Gem of the Ocean” last season. Williams brings grace, humility and ample naiveté to her commendable portrayal of Esther, a God-fearing, 35-year-old spinster defying the odds of her race and status by making a comfortable living designing and sewing garments for the upper and lower classes. As the illiterate yet talented Esther, a true survivor and descendant of slaves, becomes enamored by the letters she receives from the exotic George (an admirable Tray Shelton sustaining a thick Barbadian accent) and ultimately marries him with alarming consequences, Williams strikes an emotional chord that lingers long after the final bows. In fact, when Esther’s world comes crashing down thanks to the candor of sassy prostitute Mayme (a playful Sade Oyeyemi), Williams transforms Nottage’s rich text into poetry. Toward the conclusion she also wonderfully conveys Esther’s undeniable hurt of having been enticed by lies and to have married a stranger only to become a stranger to herself.

The marvelously earthy Catherine A. Collins, who appeared in Sinclair’s terrific 2006 production of “Flyin’ West” also directed by Williams, absolutely shines as meddlesome boarding house proprietress Mrs. Dickson, who takes Esther under her wing as is she were her mother. Collins particularly captivates when Mrs. Dickson discusses the intimacies of marriage. Kevin Erman is equally impressive in a quieter fashion as the kindly Mr. Marks, a Jewish merchant attracted to Esther but afraid to make his feelings known. Katie Beyoglides, in her stage debut, has the potential to take her portrayal of conflicted socialite Mrs. Van Buren to great depths, but oddly stops short, especially when divulging a pivotal revelation immersed in juicy drama. Even so, she ensures her character is a credible confidant throughout.

Guest scenic designer Chris Harmon supplies a striking, multileveled set proficiently lit by Dan Brunk. Kathleen Hotmer supplies lovely period costumes. Jennifer Kramer’s properties, Gina Neurer’s projection design and Kate Joss Glasheen’s dialect coaching are also noteworthy.

“Intimate Apparel” intriguingly looks back at a time when strong African-American women were bound by limitations and a narrow sense of purpose. Thankfully, they can hold their heads high today as equal and worthy without fear of leaving an unidentified legacy.

“Intimate Apparel” continues through Feb. 10 in Blair Hall Theatre, Building 2, of Sinclair Community College, 444 W. Third St., Dayton. Performances are Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 50 minutes; Act Two: 40 minutes. Tickets are $15 for adults and $10 for seniors and students. For tickets or more information, visit online.