Monday, June 22 2015 • BRAVOCALIFORNIA! • interviewing and reviewing California’s diverse arts community • www.BravoCalifornia.com State Street Ballet, Eisenhower Dance, Santa Barbara Dance Theater - May 9, 2015 P Common Ground — Found roblem solving is honeyed manna for State Street Ballet’s Artistic Director Rodney Gustafson. Inviting Detroit’s Eisenhower Dance and Santa Barbara Dance Theater to join in celebrating the final performance of his company’s 20th season at Santa Barbara’s Granada Theatre May 9th, Gustafson devised a program, including two world premieres, that gave each organization opportunity Daniel to strut their unique then bond for a Kepl capabilities, joint collaboration, the world DANCE premiere of choreographer Review Edgar Zendejas’ aptly titled Common Ground, set on contemporary composer Max Richter’s “recomposing” of Vivaldi’s masterpiece, The Four Seasons. A collaborative artist by inclination and instinct, Gustafson carefully stitched together a cohesive program of repertory from all three companies: works by choreographers Gina Patterson (Between Shadow and Soul), Christopher Pilafian (Smolder), and William Soleau, the world premiere of his new work, Canvas. After intermission, Gustafson mixed everybody up for a joint performance of the world premiere of Zendejas’ Common Ground. Eisenhower Dance opened the full-house evening with choreographer Gina Patterson’s Between Shadow and Soul (2014), set to a vaguely Latin, quasiAfro-erotic score by Israeli composer Armand Amar. Burke Brown’s noir lighting design merged deep water blues, presumably representing the id, with Shari Bennett’s teasingly naughty negligee whites (women) and über-hetero Marlon Brando Streetcar-inspired jeans with tank tops (men). Pablo Neruda’s Sonnet XVII could not have been far from Patterson’s choreographic consciousness: “I love you as certain dark things are to be loved, in secret, between the shadow and the soul.” Santa Barbara choreographer Christopher Pilafian’s Smolder (2014), to Rachmaninoff’s Trio élégiaque No. 1 in G Minor for Piano, Violin, and Cello, was set on his steadily evolving Santa Barbara Dance Theater, the only resident professional dance company in the University of California system. Based loosely on one of Pilafian’s modernist paintings (Distance), the work represented a synesthesic corollary for the artist between the color red and the music of Rachmaninoff, expressed through dance. Smolder has acquired solid form and content since last seen about a year ago. There have been changes in personnel as well and the latest iteration of the company’s product is better balanced in ensemble appearance and execution, form and virtuosity. Costume design (Renita Davenport) and lighting design (Michael Klaers) gave subtle consonance to Pilafian’s match of music to visual and color narrative. New York City-based choreographer William Soleau has set several world premiere’s on State Street Ballet over the years. He has established an artistic rapport with the company that is both canny and intimate, inspiring the best from them time and again. The paintings of Mark Rothko were subtle numinous for Soleau’s new piece, Canvas (2015), which received its world premiere May 9th. Signature Soleau, the work featured a non-dance element, guitarist/ composer Chris Fossek, moving discreetly among the dancers while performing his original music composed for the piece. A color palette of greys (costume designer Ben-Oni Cortes) and Soleau’s always gorgeous flowing movement design, gave wonderful visual impact to the narrative over several sequences performed with superb technique and artistry by six members (three couples) of State Street Ballet. Soleau’s contemporary classical ballet penchant (women in toe Members of Detroit’s Eisenhower Dance perform a duo from Gina Patterson’s Between the Shadow and the Soul shoes) paired delightfully with Fossek’s sometimes funky/folk Jim Croce-like stylings. Soleau’s inate understanding of visual symetry, order, and meaning, together with his inveterate romanticism, gave Canvas universal appeal and elegant flow. After intermission all three companies came together as one, to perform Edgar Zendejas’ intriguing worldpremiere choreography to Max Richter’s equally fascinating and often amusingly kaleidoscopic re-imagining of Vivaldi’s eponymous The Four Seasons. Staged with the same black box simplicity as earlier works on the program, a thankful counter to Richter’s often dizzyingly busy and off-thewall score, the miracle on stage was Gustafson’s, for imagining the possibility of seamless collaboration between three disparate dance companies performing with seasoned style and finesse, Zendejas’ intimate exploration of the four seasons of human interaction. Highlights: a fun, boys only sequence; the emotional power of stopped motion and sudden silences, mid-phrase; gorgeous slow movement ensemble passages; and the incontestable beauty of the human form. Daniel Kepl has been writing music, theatre, and dance reviews since he was a teenager. His professional expertise is as an orchestra conductor. He will conduct the Emeriti Philharmonic Orchestra during its ten day residency in Cuba in March/April 2017. To watch Daniel Kepl’s video interviews with California’s diverse arts community visit www.bravocalifornia.com
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