Uthoff's DanceSpin

Chicago, November 3 to November 6, 2011

michaeluthoff — Wed, 09 Nov 2011 21:02:56 +0000

Left St. Louis for 0Chicago accompanied by Flor to enjoy a fascinating city and to see dance, a lot of dance.

Wednesday, upon arrival, we headed to theMuseum of Contemporary Art where Lucky Plush was premiering a new work co-directed and co-created by Julia Rhoads and Leslie Buxbaum Danzig. I am a fan of Julia’s work. As Flor asked when it was over, “Is that really dance?” I answered yes. It was a fascinating work where movement simply happened and fore told various different episodes. The time spent there went by fast. In typical Lucky Plush style we either laughing or thinking where was this going. Having been an early show we went looking for something to eat and was surprised to see how early the restaurants closed on a Thursday night in Chicago. I guess I will not complain about St. Louis again.

Friday had us going to the Arts Institute for a couple of hours before attending a charming event with Dance Works Chicago and the Chicago Symphony. A beautifully conceived educational program that showcased the instruments of the orchestra through dance. Beautifully conceived and choreograph by Christian Spuck, German choreographer that I was unaware of and is taking over the Zurich Ballet. Certainly someone to follow. The dancers performed with great charm and artistry. I was thrilled to see what Julie Nakagawa and Andreas Bottcher, directors of Dance Works Chicago, have accomplished in just 5 short years.

By six we had a wonderful dinner with Gail Kalver, Executive Director of River North and were joined by Randy Swartz and his wife Lara from Dance Affiliates in Philadelphia, Liz Silverstein and one of her associates from Siegel Artists Management, and Julie and Andreas. Great conversation, laughter and good food was shared by all and we amused at the fact that Randy’s birthday was that day and mine the following. We were treated to scrumptious chocolate cake and ice cream with, thank heaven, one candle.

Dinner over we walked across to the Harris Theatre to see the performance of River North Dance Chicago. Always topnotch with dancers fully committed to the movement and the ideas behind it though I felt the program was not up to their higher standards of creativity. Good opening with an existing work but followed by a solo from a larger work that by itself did not stand up to the power that it usually generates. Hann Brictson danced it powerfully but as I said, did not come across as it usually does when performed as part of the complete work. The following work saw them static like manipulating balls. They did not drop them though we all wished they had. It was a work that appeals to some people but I founded somewhat contrite. The premiere of Al Sur del Sur, choreographed by two competitive tango dancers and using some of Piazzolla’s music left me unmoved, uninvolved and worst of all unconcerned. It was not real tango, it was not a dance work inspired by tango it simply was nowhere. Dancers looked and tried hard to look sexy and sensual. Having said this, the audience appreciated the work.

The best work of the evening was by Daniel Ezralow, it was an older work from their repertory that showed the incredible versatility of the dancers and their obvious talent to command the stage and sink their teeth into meatier works. A solo of Frank Chavez followed with control beauty though I have liked others he has done better. The final work, a premiere by Frank Chavez to Miles Davis music called Simply Miles, Simply Us meander back and forth and lacked that inner passion and that drive I have learned to love in Franks work,

The following day, having before spent an afternoon at the museums, we wondered the streets of Chicago’s Magnificent Mile. Some shopping was done and we wanted to eat at a famous pizzeria that had an hour wait. No Pizza is worth an hour of my time. So back to the hotel for a little nap and then off to see a performance of Dance Works Chicago at the Ruth Page Dance Center. A small black box theatre made us once again admire this incredible company of six dancers that perform with complete control and commitment a variety of good works. The company is conceived as a training ground for young professionals, no one can stay longer than two years, after that they have to move on to another company. Seeing their dancers perform I doubt any of them will have a problem finding a job. They moved from physical dance, to dramatic dancing to comedy with no problem Kudos to Julie and Andreas.

Over at seven we rushed, with Randy and Lara, to the Auditorium Theatre where we had been invited to view Rasta Thoma’s Bad Boys of Dance. A company conceived to break barriers where physicality is the order of the day. Six male dancers and one woman romp for an hour and a half through a various popular music scores turning, leaping, splitting, Like Rasta himself says, Like You Think You Can Dance with pointed fee and technique.

The audience loved them, there was nothing not to like. Was it an artistic endeavor? No! But fun to see.

Late dinner, early rising and back on the CTA to O’hare airport and our American Airlines flight to St. Louis. Overall a most productive and fun time had by all.

My next journey, to New York to celebrate an honor bestowed on a friend of mine and then catching a plane to Tel Aviv where I have been invited to attend a dance festival of Israeli companies. It should be exciting.

Love and peace,

Michael

Connecticut, October 1 and 2

michaeluthoff — Thu, 06 Oct 2011 19:10:56 +0000

Last weekend, October 1 and 2 while the Cardinals where moving ever closer to continuing their magic run, I was in Connecticut where the Connecticut Dance Alliance was honoring me for services rendered to the dance world, specifically the 20 years I spent developing the Hartford Ballet. It turned out to be a beautiful and emotional affair.

The day before, Stephen Piers, director of the Hartt School of Music Dance Department had invited me to teach and speak to his students. It was nice to see that not all was lost. Some 20 years removed from Hartford and the School and the Company no longer in existence it was a revelation to note the imprint we had left behind and his desire to make sure they built from it. It was touching and I was grateful for that.

The class was specially interesting because as I delivered my “wisdom” to this new generation, seated behind me where a dozen of our former dancers smiling, beaming and chuckling as the class went on. Some gifted students were present and specially a young girl of which a little bit more later. The Dean came to welcome us and Mort and Irma who had contributed a large sum to create the center, where there as well. It was heartwarming

Class over, hugs over, smiles over I left with my host to visit the Mark Twain house in which after 20 years in Hartford I had never been in. Very interesting as he and I developed thoughts for a production of “The Nutcracker” that could appeal to St. Louis and Hartford utlizing Mark Twain as the main character.

On Sunday we left for Old Saybrook where the ceremony was to be held. It was to take place at The Kate, a theatre established by the legacy of Katherine Hepburn. We went early and drove by her old house and I marvel again at the beauty of the Connecticut shore and the calm placidity of its rolling hills.

Arriving at “The Kate’ I was taken aback by the number of people. I thought their would be a handful but I guess we had close to 200. Old dancers, new dancers, would come around to thank us for the work done that permitted them to continue pursuing their goals. I do think that with the Harford Ballet no longer, it will be more difficult for everyone.

First our awards were handled and Judith Gosnell, the first dancer I hired and who became an incredible performer, introduced me noting that all those present from the old days, were there married to one another after all this time. At least if the company does not exist anymore the bond between couples shows that their was something special about the institution.

As the program was about to start and announcemente was made that the listed solo with no credits will be explained after it took place. I feared the worse. The event commenced with simple dance choreographed by Ted Hershey, a former dancer whose legacy was also being honored and followed by a beautiful Solo performed by Paul Dennis I had never seen. Quite exquisite and beautifully danced.

Then came this mysterious “solo”. As the lights came on on stage this beautiful young dancer I had seen the day before stood by a russled bed in the same pose that Juliet, in my version of Romeo and Juliet, would start her first solo of awakening. Lo an behold, the music start and she moved. And it was, beautifully staged by two of my former dancer Thomas Giror and Jeanne Tears-Giroir. I was taken a back and tears flowed, more so when the nurse entered and the character was being portrayed by another dancer from the ‘old Hartford Ballet” who happened to be the mother of this gorgeous child performing the work.

I guess you can imagine how I was feeling at that time. A moment I will never forget who quite simply brought a full circle to an incredible time that was The Hartford Ballet.

More hugs, more watery eyes, more expressions of love and thanks and the proceedings were over.

A quiet dinner on our way back with Judy and John and Joan Simone, former dancers where I was staying and night took over and early morning I was flying back to St. Louis. What used to be a short 2 and half hour flight now takes almost all day as we have no direct flight in American.

Certainly the weekend told me that what we did had not been forgotten or was in vain. Let us hope someone can take the mantle laid for them and bring something back with greatness. I think Stephen at Hartt has the right idea, so after 20 years, i felt “our” child had evolved, differently that what we had hoped or expected, but it had life.

2011-2012 Opening Weekend of St. Louis Symphony

michaeluthoff — Tue, 20 Sep 2011 18:10:12 +0000

I was asked to assist David Robertson, Musical Director of the St. Louis Symphony on the opening of their 2011-2012 season. A season dedicated to some of the marvelous creations composers have come up with that were written for dance. Their first program was exactly that. Three monumental scores by Igor Stravinsky created in between 1910 and 1923: Petruschka, Les Noces and Rites of Spring

Being part of Maestro Robinson’s pre performance talk was exhilarating and I believe we had good chemistry. After opening night he suggested we take the “dog and pony show on the road”. I was willing to do it. The concert was magnificent. The orchestra rose to each piece with incredible sonorities and the difficult rhythms came to life. It was fun watching Maestro Robinson conduct the three works, it was a choreographic masterpiece unto to itself. Those who missed this opening missed something special.

Arts Midwest Conference, September 2011

michaeluthoff — Tue, 13 Sep 2011 19:32:46 +0000

Every year I have to attend at least two conferences that bring artists and
presenters together to discuss how to best promote the art form and what is out there that deserves being promoted. In many cases I have it easier than most since I represent an arts specific organization and my search is only for dance. This past weekend I was inMinneapolis,MNfor the Arts Midwest conference and had marvelous dialogue with our Plains Presenters with whom we are working on some exciting projects for the near future.

Attended several dance showcases and though familiar with most of the artists I did get to see two groups that interested me, Zenon Dance Company whose flair and commitment to the work created by Daniel Charon was exciting to watch. The work itself felt like the best conceived of all the works I viewed this past weekend. I also came across a charming duet, almost performance art, that call themselves Trick Boxing. I will see how I can make sure that both of them have a showplace in Spring to Dance, if not in 2012 definitely in 2013.

But what was most exciting was the opening, to which I had the honor of being invited by Lise Houlton daughter of Loyce Houlton founder of Minnesota Dance Theatre and with whom I created some of my earlier works with Lise in the cast before she went out to become a star with American Ballet Theatre and other companies around the work, of a brand new theatre , The Cowels Art Center, refurbished exclusively for Dance.MinneapolisandMinnesotahave truly caring support from the State and the arts are greatly appreciated by the populations. Whatever they are doing is certainly a model for all of us to follow.

The Theatre, seating only 500 does not have the beauty of a Touhill, but certainly makes dance accessible and provides the artist and audience with the environment they deserve.

Now, back in St. Louis to be charmed by MOMIX, again and excited about the upcoming performances of Martha Graham Dance Company.

MOMIX in Botanica

Martha Graham Dance Company

SPRING TO DANCE – Why???

michaeluthoff — Tue, 25 May 2010 22:08:57 +0000

I wish I could say it was a totally original idea, but it was not. After seeing what a dear friend of mine, Arlene Shuler, accomplished in New York City with Fall for Dance, I thought, why couldn’t we develop something similar but with a different slant? Our goal became to promote the wealth of talent that our region has to offer and to augment it with attractions that would enhance the viewing pleasure of the audience and create awareness for our local artists as to what exists out there.

Three years since we started, much of that is being achieved. Artists are talking to each other after viewing each other’s work and are exchanging ideas. Local dance companies have, consciously or unconsciously, raised their level of performances. The excitement amongst our audience members is palpable.

People are embracing the concept and adoring that they get to know so many artists that otherwise would not be possible for them to see and enjoy. The $10 ticket price for each night is a bonanza, of course, and it is not possible without Dance St. Louis’ board support and corporations and foundations that see the enormous impact SPRING TO DANCE has in our community.

Each day I spent at the Touhill during SPRING TO DANCE discovering new ideas brought forth by a talented new generation of dancers and choreographers enriches me tenfold. What pleasure it is to foster their growth and visibility.

And it makes me feel proud to learn that all of the artists we have brought to the Touhill have rated it one of the best if not the best venue for dance they have ever performed at, but even more compelling have been their comments about how they felt about the crew backstage and all the attentions bestowed on them.

All of us in St. Louis should be very proud of this endeavor. People are beginning to travel hundreds of miles to see the event, and we hope it can be a destination point every Memorial Day Weekend when people can spend beautiful days with us and enjoy the other assets of our fair city.

Please find the time to share this treasure with all of us. From 5:30 to about 9:30 on each of the three evenings May 27-29 you will be taken through a journey as magical as any of Alice’s trips. We start in our lobby with young performers from some of our own local troupes. At 6 p.m., four companies perform in the Lee Theater. Plan to be there early as they fill up fast since only 375 people can fit in that theater! At 7:30 p.m., six companies dance in the Anheuser-Busch Performance Hall.

Come and join me in the discoveries that make us better people.

San Antonio, Mexico City, back to St. Louis!

michaeluthoff — Mon, 26 Apr 2010 17:12:52 +0000

The past two weeks have been a whirlwind of activity and different emotions. On one hand, we launched our 2010-2011 season, which promises to me an incredible one, with the likes of Houston Ballet, Cedar Lake Contemporary Ballet, Alvin Ailey American Dance Theater, MOMIX, the Joffrey Ballet in our Nutcracker at the Fox, and furthermore STOMP and Billy Elliot the Musical, and SPRING TO DANCE® FESTIVAL 2011. On the other, we had to deal with the financial issues that are affecting many in our field due to the low attendance experienced during our current season. Excited about finding some answers for the latter, and thrilled about the response our 2010-2011 season has had so far with our season ticket holders, I am able to reminisce of 12 fantastic days spent in San Antonio, Texas, and in Mexico City.

The first experience I had lived before but I had forgotten how rejuvenating and inspiring it can be. I had been asked to adjudicate the Southwest Regional Dance America, which covered Texas, Arkansas, Louisiana and Oklahoma. In all I visited 24 companies that were to take place in this festival. After three weeks of traveling about and looking at their work, I was to put together three programs to be performed during the festival in San Antonio.

The first performance was exclusively dedicated to Emerging Choreographers, and I was amazed at things I saw. Coming out of nowhere, some really unusual ideas were being formulated that boded well for the future. Still, many of the works needed direction and were not completely up to par, but the fact they were searching for things was fascinating.

The other two performances were to showcase all 24 companies. My job was to choose the best work they had to offer and make sure the two programs flowed with excitement and quality. Though the level through the region is very high, not all works I had seen measured up, so putting together two programs that flowed was not easy. But I think I accomplished the deed. Throughout, what was most joyful was to see the spirit of the young dancers (almost 700 of them) taking classes with new teachers, sharing ideas and enjoying not only each others’ company but each others’ work. The teachers who serve this region (and all others) are the feeders of talent to the great companies we enjoy not only during Dance St. Louis’ series but throughout the country’s major companies.

No sooner did the last performance end than I was back on a plane this time, to Mexico City. This place has always fascinated me. I was surprised this time by how clean it was, the amount of construction that was going on, the crowded nature of the restaurants, and the spirit of the people. It seems to be undergoing a great renaissance, with of course an enormous amount of security visible to prevent any wrongdoings.

Having enjoyed walking throughout the city (to avoid the most horrendous traffic jams I had ever seen), I managed to accomplish much. I was there to speak to members for the Cia. Nacional de Danza about a project I hope to bring to St. Louis, a work created by me and three Mexican artists—Rafael Cauduro, Eugenio Toussaint, and Berta Hiriart—with costume designs by Judanna Lynn. The discussions were started and we can only hope they will flourish. I was then invited to see a performance of the company, an abbreviated version of The Sleeping Beauty performed outdoors using the Castillo de Chapultepec as part of the set and background. It was a cold night and I could not help but feel for the dancers. The performance is done at popular prices and certainly is an opportunity for the people to see productions of this nature. The company looked to have very good dancers although that evening’s performance left me wanting more out of them. I felt myself drawn all evening to one of the character players who danced the Master of Ceremonies, rather than to the lead dancers. His carriage and commitment were obvious and in style.

Meetings with the Embassy had to be postponed because Mrs. Obama flew into town for an official visit that lasted a couple of days. I decided to travel to Cuernavaca and meet with Rafael Cauduro, a most reknowned painter and sculptor in Mexico and also the designer of the work in question. His house is an island of beauty and is surrounded by some of his work. He is a charming man and was thrilled to know that he had been commissioned to paint a three story mural at the House of Justice a la Orozco, Rivera or Siqueiros. No sooner was I back in Mexico City that I ran to see the work. Impressive, powerful and out of the ordinary. It is marvelous to see how in Mexico visual arts are so much part of their daily life. Bellas Artes had a great exhibit of Magritte and it was crowded with young families of small means, talking and discussing the work with their children. An amazing site.

I met and spoke with a few other dance creators but the best time was spent with Tania Perez-Salas. Our audiences in St. Louis fell in love with her work when we presented her during my second season at the helm of Dance St. Louis. She is preparing some exciting new work which I hope to get to see next September or November and find a way of bringing her back to our city.

Finally, meetings over, I gave myself the treat of spending a couple of days for myself in the company of friends. I had a marvelous time visiting other museums and parks, and simply feeling the hassle and bustle of the city. Exciting.

But reality called and on Sunday the 18th I was flying back, having left beautiful memories behind and with exciting prospects to look forward to.

And now, I focus on SPRING TO DANCE. The excitement that is Dance St. Louis, bringing you the Most Beautiful Sport in the World—the best the world has to offer in dance, and this time the best our region has to offer, in three evenings of sheer excitement, novelty, and beauty come May 27, 28 and 29 at the Touhill. If you read this and live here, join us at the Touhill this Memorial Day Weekend.

New season, travels, and experiences await

michaeluthoff — Mon, 05 Apr 2010 21:44:04 +0000

Spring is in the air and what better way to bring it in than with the three fabulous performances by Aszure Barton and Artists that Dance St. Louis presented on March 26 and 27. Her mastery of dance and theatre was so evident. Not only is her vocabulary so intriguing but the tensions and drama she conjures have you on the edge of your seat. I was fortunate to view all three of her performances, and somehow each time that the curtain went down to indicate the end of the dance the audiences remained riveted and not wanting to move. Sensing they had seen something very special.

Also important at Aszure Barton’s performances was the announcement of our 2010-2011 season. One for the ages that follows perfectly in the footsteps of what we have been trying to achieve with Dance St. Louis. I will not waste your time and deprive you of the joy of discovery, so do log unto www.dancestlouis.org and spend not a moment longer without renewing or subscribing to a season that does bring you the best the world has to offer in dance, for a fraction of what you would pay in New York, Chicago, Paris, London, etc.

And speaking of Chicago, I spent Easter Weekend in that great city up north. Though I enjoyed walking its streets and visiting museums, I was there to view dance and theatre. Friday night I entered the life experience that is Billy Elliot the Musical. For over two hours, audiences were left in suspended animation marveling at the theatricality of the work, the mastery of the artists, and the imaginative direction. If by now you checked our website you know that I was there because Billy Elliot is the finale of our 2010-2011 Season. You can get tickets right now as part of our season packages. When the show comes to St. Louis in Summer 2011, do not just run, dance your way to the Fox Theatre, as it will be something to cherish. If you have any contact with dancers, in this case specifically male dancers, the play will give you a valiant glimpse at what many of us endured. But not only was the play worth seeing, living it has been a joy.

Saturday, after a delightful dinner at an Italian restaurant named Gioco, I attended Hedwig Dances at Columbia College, an evening of three interesting works performed by one of Chicago’s leading contemporary dance companies. Each work marked a different point of view and therefore many opinions were shared by the audience. Though one would appeal more to me than the other, the evening as a whole was fascinating. And the company is going to be here for SPRING TO DANCE FESTIVAL. May 27, 28 and 29, 2010. A fabulous event. Be there!

Hello Again

michaeluthoff — Mon, 05 Apr 2010 16:26:40 +0000

*Note, this was posted (or rather MEANT to be posted) in late December, 2009. Sorry we goofed somehow!

Dear Friends;

Sorry to have neglected you but life has a way of sometimes diverting your best intentions.

Having thoroughly been transported into a world of dreams with the Joffrey Ballet’s version of “The Nutcracker” and having enjoyed a variety of casts that showcased their versatility and abundance of talent, we prepared to end the calendar year and enjoy a few days of respite.

I ventured South and visited some friends in Oaxaca, Mexico where I began to feel the excitement of the upcoming performances of Ballet Folklorico of Mexico that will be gracing the stage of the Fabulous FOX Theater January 29 and 30^th, 2010. Can’t wait to be swept away by the music, color and pageantry of this national treasure.

Yet, as we continue with our 2010 season and await the artistry of River North Chicago Dance, Aszure Barton and Artists, the stars of the Moscow Festival Ballet and the third annual Spring to Dance Festival, our days are filled with budget issues as we prepare to put forth our 2011-12 season which promises to be as exciting as any.

Throughout February I will be adjudicating the Southwest Regional Festival and in 21 days will see 24 regional companies as I fly and drive throughout Texas, Louisiana, Oklahoma and Arkansas in preparation for their Festival to be held in San Antonio April 8 to 10, 2010. I think it will prove to be an exciting event featuring young performers, new choreography and making new friends. As soon as I have filed all my reports for them I shall let you know about what I saw and bring you up to date on the wealth our art form has to offer.

So, if you are in our neighborhood log unto our web www.dancestlouis.org and www.springtodance.com and make plans to join us for incredible dancing, emotional performances and superb choreography.

See you in St. Louis if you can.

Love and peace,

Michael Uthoff

Punks, Yankees, and Othello in Chicago, Luckily

michaeluthoff — Thu, 19 Nov 2009 22:58:01 +0000

The raking of leaves is upon us, and my late summer tumultuous traveling schedule is now a memory. But what glorious dancing was I able to see, guaranteeing you excitement for years to come from Dance St. Louis.

No sooner had I unpacked my bags, cleaned my clothes, and prepared for our first annual board meeting and the welcoming of five new board members, than I was up in the air again, this time heading to Chicago. Rainy, gray and windy but still exciting.

I landed to rush to the hotel and meet Bonnie Brooks, former executive director of Dance/USA and presently the chair of the Dance Center at Columbia College in Chicago. It was fascinating to spend time with a kindred soul so knowledgeable and in love with the art form. After a savory Italian dinner we sat down to watch the world premiere of Lucky Plush Productions’ Punk Yankees.

I had seen Julia Rhoads’ work some three years ago and was fascinated about the possibilities. She was one of the first to be invited to perform at our first-ever SPRING TO DANCE® FESTIVAL 2008 and was chosen again last year when she previewed a section of Punk Yankees (below)to the delight of our audience and the praise of Dance Magazine. She will be coming back again in 2010.

The work is inventive, visually stimulating, and appealing on many levels. It uses the spoken word, video images, and computers, where the audience can even Twitter to the artists on stage who do spend a few minutes responding. The premise has to do with how much is borrowed and stolen from others acknowledging nothing. Julia takes known phrases and movements from famous and not-so-famous choreographers’ works. She weaves them into a pattern that makes those of us who can spot them smile with gusto and yet remains interesting to those that would not be aware of the artists being referred to. The concept is very engaging, and she keeps her audiences going (though I would love to advise her to cut some 20 minutes of the 80- minute work and I think it would be a great work). But regardless, fun was had by all, and I could not help but marvel at how her mind works and the commitment, artistry and professionalism of her performers.

The following day, waking up early as I usually do, I spend the early time of the morning answering e-mails through my Iphone. I was supposed to have lunch with a local agent, but it was cancelled—and how great for me as I opted to stop by the Joffrey Ballet to clear up some issues we had about their coming here for Nutcracker at the Fox this December. I was able to first meet with Ashley Wheater, the artistic director, who was kind enough to allow me to watch the company class that he taught. It was a marvelous class that made me want to get back to dancing. Fortunately my body was cleverer than my mind and I remained seating.

With time in my hand I opted to take advantage of the life and bustle of downtown Chicago and do my Xmas shopping. Little did I know that their taxes are considerably higher than St. Louis. Finally the evening was here, and in the drizzle I walked to the gorgeous Auditorium Theater to view Joffrey’s production of Lar Lubovitch’s Othello.

Do not ask me why I had come to the theater almost predisposed not to like the work. But how pleasantly surprised I was to be part of the sold-out audience that marveled at the end result. The Joffrey dancers showcased their metier brilliantly. I am certain their dancing of the work was more powerful that some of the other companies that have performed it (American Ballet Theatre and San Francisco Ballet). All the leads were superb, but Fabrice Calmels as Othello (whom we know in St. Louis from his appearances in different roles at Nutcracker at the Fox) stole the show with his stature and power. The sets and costumes though minimal in style conjured all that was necessary. Slides were well put to use. Though I could say I liked this and not that, and did not feel that some things were as strong or purposeful as they should have been, it was an evening that all enjoyed and greeted by a thunderous ovation.

How thrilled I am and how greatly excited our St. Louis audiences should be that the Joffrey Ballet will be returning regularly in our Nutcracker at the Fox, coming this year for six performances December 3-6. Negotiations are in place to have them come to St. Louis regularly with some of their other works.

Thank you for sharing this summer and early fall with me.

Love and peace,

Michael

Excitement in Florida, Kansas and St. Louis

michaeluthoff — Wed, 18 Nov 2009 19:33:36 +0000

At Dance St. Louis we have just completed the opening of our 2009-10 Season with three performances by Complexions (left). It was a rousing start to a great season.

But I am getting ahead of myself.

As my travels continued some truly exciting dancing took place that I was fortunate to witness. I headed south to Sarasota, a beautiful town in Florida where Ringling Brothers Circus has set their museum and had the sense to build three theaters for live performances. In partnership with Baryshnikov Arts Center from New York City, a festival of music, theater and dance was launched. My interest and time determined that my focus would be dance. The theaters were small by usual standards and performances were sold out.

I saw three companies that performed twice a day. My main reason for being there was to see Aszure Barton & Artists. I had seen her at Jacob’s Pillow some three years ago and fell in love with her work. Since then I have tried hard to make certain that as soon as her company got off the floor, she would come to St. Louis. After seeing what I saw, I must shout, “She Is Coming, She Is Coming!” (Aszure is pictured at below right with Michael Uthoff). The performance confirmed and expanded my belief in her work. It was creative, physical, sensual, funny, visually striking, perhaps profane to some but at every moment, with every step and image, your attention was riveted to the stage and the glorious ability of her dancers/artists. The respect she has for the craft and her dancers makes me wish for youth and the ability to perform again. If I could I would rush to be part of her group. And “She Is Coming to St. Louis!”

Back to St. Louis via Tampa, where I spend the afternoon with my great friends, Tito and Gigi Capobianco. He is a famed Opera director with whom I have worked all over the USA and with whom we embarked on our ill-fated mission to resurrect the Teatro Colon in Buenos Aires, Argentina. It was great seeing them and we enjoyed ourselves tremendously. I must remember to go see them more often, but Tampa is not always in my way to someplace.

I came home to the battle of the cash flow. Expectations are high, results have not met them, but it is amazing what we are accomplishing so far. Let us hope it is a sign of tremendous things to come. So, that done, with a small bag packed I headed West in my trusted Toyota Highlander. This time my objective was the opening of Kansas City Ballet. We have presented them before and will bring them back for our SPRING TO DANCE ® FESTIVAL 2010, and we are also discussing a couple of projects with them.

Artistic Director William Whitener and Executive Director Jeff Bentley had great reason to be beaming. Not only did the company look very good, but in a couple of weeks ground will be broken to start construction of the Todd Bolender Dance and Creativity Center (artist sketch at left). To top that, in a couple of years they will be moving into a brand new Arts Center where they will be the resident dance company, allowing them to dream of many more things to create.

Bill Whitener is a staunch believer in the teachings of the past, as his program this time showed. But more important in my opinion, it gave the dancers an unusual opportunity to work in things that they had never experienced and that had not previously been part of the company’s vision. By trying them now, the dancers will be beautifully prepared for the expanded repertory that should come their way once the Arts Center is built.

Looking at the company I was impressed by the quality and precision and beauty of the women They seemed to have improved tremendously every year. The men accredited themselves well but it was a program that gave the ladies more of a shine.

I discovered, like the audience did, a little jewel of pastiche and mannerism created in the 19th Century. Frescoes, choreographed by Arthur Saint-Léon (right), saw four women convey all the mannerism of an era. I could not help but smile and be amazed at the performers and really be impressed on how the audience responded to it.

The other encounter I had was with Splendid Isolation III, the work of a young choreographer, Jessica Lang, of whom I had heard a lot but had never seen anything. She is a graduate of Juilliard, if I am not mistaken of around the same time that Aszure Barton graduated It says a lot for the teaching at that time. Her work was luminous. She had the guts and fearlessness to be simple. To be emotional. I was truly impressed, and St. Louis audiences will also get the privilege of seeing her work when Kansas City Ballet appears at our SPRING TO DANCE next May. Do not miss this.

The rest of the program showcased the company’s willingness to try some things that are great preparation for the future. The pas de deux from Le Corsaire was danced with clarity and precision, though they have yet to capture the grandeur of a work where an entrance is as important and riveting as a series of turns and leaps. Carmen closed the program. St. Louis’ own Kimberly Cowen shone through a role created for her, but I felt the work itself did not meet my expectations. The Rodion Shchedrin score used, that I believe was used by a Fernando Alonso production for the ballet of the same name, dilutes the drama of the action. And though there were some really brilliant ideas within the development of the work, by the end I was not involved in the drama. Yet, I left the evening grateful for what our neighbors out West are doing. It would be great if St. Louis starts developing a company of similar vision.

Speaking of St. Louis, after meeting with Bill I was back in my beloved Highlander and heading East hoping to beat the rains as the road stretched itself for the next 250 miles. Once home, Cisco my dog was happy to see me. I loaded some new tunes into my Iphone and took a walk. Proceeded to try and prepare the garden for fall, but with a weakened back from dance injuries and being ran over by taxis, I can only do so much at the time. All this in preparation to attend one of the opening performances of a new company launched in St. Louis, Missouri Ballet Theatre.

Directed by Adam Sage, the company, as the “New Beginnings” title of its program insinuated, did bode well. Made up mostly by very young and promising dancers with relative small professional experience, it was marvelous to watch them throw themselves with total abandonment into a venture that it was obvious they were delighted to be part of. I was delighted to see the make up of the company. Theirs was no cookie cutter look where all dancers look the same and you cannot tell one from the other. They are all well trained, and when they learn that “less is more,” it will be great to see them grow.

The evening gave everyone a chance to shine. It might have been too many works, but I am sure Adam wanted to have all look at the possibilities that lie ahead. Jennifer Medina, one of St. Louis’ own, contributed an interesting work. In her dance and in a work like Hoop, choreographed by Mr. Sage, where the beauty and sensuality of a young dancer like Grace Austin partnered by Samuel Lopp was showcased, lie the possibilities for Missouri Ballet Theatre. We wish them much luck in these difficult times, but it is in times like this when great creativity and initiatives are born.

So, next time I will catch you up on my trips to Chicago, where I saw the new premiere of Julia Rhoads with her Lucky Plush Dance Company and Lar Lubovitch’s production of Othello with the Joffrey Ballet.

Until then.

Love and peace,