Press "Enter" to skip to content

Posts published in “Theater”

Alvin Ailey Dance Troupe Wows with “Minus 16”, “Revelations”

Alvin Ailey American Dance Theater: Linda Celeste Sims and Glenn Allen Sims, with Jessye Norman, at right, at City Center. (Photo: Andrea Mohin/The New York Times)

On Wednesday evening Alvin Ailey American Dance Theater settled into City Center for its annual season with a nod to the past and a look to the future. Amid the din of shrill greetings — this was a gala, after all — Samuel Lee Roberts worked his way across the stage, jabbing the tips of his toes into the floor until his knees buckled and his spine contorted inelegantly. It was an arresting and, for Ailey, an unusual sight, yet few grasped that “Minus 16,” by the Israeli choreographer Ohad Naharin, had even begun.

This introduction requires a dancer to perform an improvised solo rooted in Gaga, a method of training that focuses more on sensation than technique. In “Minus 16,” based on excerpts from Mr. Naharin’s past works and a welcome addition to last season’s repertory, dancers trade their customary expressions of joy or sorrow for impassive stares.

Playwright Tarell Alvin McCraney to Adapt and Direct ‘Antony and Cleopatra’

Tarell Alvin McCraney in 2009.Tarell Alvin McCraney (“The Brothers Size”) will direct and adapt a new production of Shakespeare’s “Antony and Cleopatra” as part of a collaboration among the Public Theater, GableStage in Miami and the Royal Shakespeare Company, the Public announced on Monday. The play will have its premiere at the Stratford-Upon-Avon home of the Royal Shakespeare Company, where Mr. McCraney is an artistic associate, in November 2013, before being staged in Miami in January 2014 and later that month at the Public.

In addition to directing the production, Mr. McCraney edited the text, reordered the scene structure and relocated the play to “the late 1700s against the backdrop of Saint-Domingue, on the eve of the Haitian Revolution against the French,” according to a news release. Casting will take place in London, New York and Miami, Mr. McCraney’s hometown.

A 2007 graduate of Yale, Mr. McCraney has also written the trilogy “The Brother/Sister Plays,” “Wig Out” and other plays, including “Head of Passes,” which will have its premiere in Chicago next year.

The production will be the latest collaboration between the Royal Shakespeare Company and a New York stage. In 2011 the company had a residency at the Park Avenue Armory as part of the Lincoln Center Festival. In March 2013 its production of “Matilda the Musical,” based on the Roald Dahl children’s book and now running in London, is to begin performances on Broadway.

article by Erik Piepenburg via nytimes.com

“Walking Dead” Actress Danai Gurira Wins Whiting Writing Award

Danai Gurira, best known for her role of Michonne on AMC’s The Walking Dead, has been awarded the Whiting Writers Award.

For those who may not be familiar, Danai Gurira, who made her Broadway debut in 2010 in Joe Turner’s Come and Gone by August Wilson, is an accomplished playwright in her own right.  She co-wrote In the Continuum with Nikkole Salter which received the Obie Award and Outer Critics Circle Award for writing.  Gurira also received a Helen Hayes Award for her performance in In The Contiuum.  Other work written by Gurira includes Eclipsed and The Convert.

Another woman of color honored was Sharifa Rhodes-Pitt a non-fiction writer.  She graduated from Harvard and was a Fulbright Scholar

A Review Of Suzan-Lori Parks-Directed Production of "Topdog/Underdog"

Brandon J. Dirden, left, and Jason Dirden in “Topdog/Underdog.” The actors are brothers both in real life and in the play, in Red Bank. (T. Charles Erickson)
There is a gunshot in “Topdog/Underdog,” the shining first production of Two River Theater Company’s 2012-13 season.  Maybe you don’t expect it because of all the comedy. Maybe you do expect it because the gun has been too visible onstage not to play an important role. I was pretty sure I knew what lay ahead, but it was still a shock. Cheers to Jason Dirden, the shooter, and to Suzan-Lori Parks, the playwright, who also directed.

A Review Of Suzan-Lori Parks-Directed Production of “Topdog/Underdog”

Brandon J. Dirden, left, and Jason Dirden in “Topdog/Underdog.” The actors are brothers both in real life and in the play, in Red Bank. (T. Charles Erickson)

There is a gunshot in “Topdog/Underdog,” the shining first production of Two River Theater Company’s 2012-13 season.  Maybe you don’t expect it because of all the comedy. Maybe you do expect it because the gun has been too visible onstage not to play an important role. I was pretty sure I knew what lay ahead, but it was still a shock. Cheers to Jason Dirden, the shooter, and to Suzan-Lori Parks, the playwright, who also directed.

GBN Quote Of The Day

“Life is just a short walk from the cradle to the grave – and it sure behooves us to be kind to one another along the way.” — playwright and author Alice Childress

Michaela DePrince: Ballerina Dances Out of War-Torn Childhood

As a toddler, Michaela DePrince, was ranked “number 27” — the lowest, the worst of the children in her orphanage in Sierra Leone. “So, I got the least amount of food, the least amount of clothes and what not,” she explained to the Associated Press. DePrince lost both of her parents in the West African nation’s decades-long civil war which claimed the lives of an estimated 60,000 people. She was born with vitiligo, a skin disorder that causes uneven pigmentation, and was taunted by the other kids as “the devil’s child.” Fourteen years later, she is considered one of the most promising teenage ballet dancers in the United States. Recently graduated from the American Ballet Theatre’s Jacqueline Kennedy Onassis School, the 17-year-old debuts professionally on July 20, as a guest artist of the South African Ballet Theater and the South Africa Msanzi Ballet performing in ‘Le Corsaire.’
DePrince recalls her early childhood as a time of “terrible” hardship. The one thing that gave her hope was a picture of a ballerina from a magazine that blew over the orphanage walls, which she hid under her clothing. Though she had no context for the image, she says, “I remember she looked really, really happy,” and DePrince longed “to become this exact person.” She also imagined that all Americans walked on tip toes.
Watch: Ballet Theater of Harlem
After a year in the orphanage, DePrince had to flee barefoot when it was threatened with bomb attacks. She was only four-years-old. She ended up in a Ghanaian refugee camp, where she met an American volunteer, Elaine DePrince, who would become her adopted mother. “Michaela arrived with the worst case of tonsillitis, fever, mononucleosis, and joints that were swollen,” remembers Elaine. She was also suffering from trauma. “I have a lot of bad memories,” the young dancer told theGuardian UK in a recent interview. “I remember losing my family, I remember seeing a lot of rebels killing people that I knew. It was disgusting and just revolting.”
Although it took her years to fully recover, Michaela says, “Dance helped me a lot. I had a lot of nightmares.” However, DePrince had to overcome even more than physical and psychological damage to become a professional ballet dancer in the United States. Rehearsing for ‘The Nutcracker‘ when she was eight-years-old, a teacher told her “I’m sorry, you can’t do it. America’s not ready for a black girl as Marie.” She refused to let it hold her back. “If you enjoy my dancing, why should my skin color or body type bother you?” she told the NY Post. Dirk Badenhorst, CEO South Africa Mzansi Ballet, concurs: “Brilliance is colorblind and it really is proved by Michaela.”
DePrince hopes her story will inspire other young people to follow their dreams no matter how distant they seem. “I would like to change the way people see black dancers,” she says. “I just want to be a great role model for kids.”
article by Sarah B. Weir, Yahoo! blogger | Work + Money

Earvin "Magic" Johnson Buys 'Soul Train' Rights, Developing Musical Based On Don Cornelius!

Don Cornelius hosting “Soul Train”

BY TAMBAY A. OBENSON | JULY 13, 2012 1:06 PM via http://blogs.indiewire.com/shadowandact/
It was much earlier this year when it was announced that there was renewed interest in exploiting the Soul Train franchise – thanks to Don Cornelius’ death.  The news then was that Soul Train Holdings was working with WME to find ways to, as I said, exploit and grow the brand, which would include a film, a stage musical AND a TV show.  “Certainly we want to proceed in a way that will highlight the contribution of Don to the creation of the brand and its subsequent impact on American culture,” said Kenard Gibbs, CEO of Soul Train Holdings.
However, there were some rights issues that they’d have to deal with, notably the music used in each episode of the series. But they were confident that wouldn’t be a problem.  Things seem to be in motion again as it’s been announced today that Earvin Magic” Johnson and his business partners have bought the rights to the Soul Train franchise for “several million dollars,” and are planning an upcoming musical based on the life of Don Cornelius, according to the NY Post.   The musical, which is being aimed towards Broadway, will focus on the once mega-hit variety show.

Earvin “Magic” Johnson Buys ‘Soul Train’ Rights, Developing Musical Based On Don Cornelius!

Don Cornelius hosting “Soul Train”

BY TAMBAY A. OBENSON | JULY 13, 2012 1:06 PM via http://blogs.indiewire.com/shadowandact/

It was much earlier this year when it was announced that there was renewed interest in exploiting the Soul Train franchise – thanks to Don Cornelius’ death.  The news then was that Soul Train Holdings was working with WME to find ways to, as I said, exploit and grow the brand, which would include a film, a stage musical AND a TV show.  “Certainly we want to proceed in a way that will highlight the contribution of Don to the creation of the brand and its subsequent impact on American culture,” said Kenard Gibbs, CEO of Soul Train Holdings.

However, there were some rights issues that they’d have to deal with, notably the music used in each episode of the series. But they were confident that wouldn’t be a problem.  Things seem to be in motion again as it’s been announced today that Earvin Magic” Johnson and his business partners have bought the rights to the Soul Train franchise for “several million dollars,” and are planning an upcoming musical based on the life of Don Cornelius, according to the NY Post.   The musical, which is being aimed towards Broadway, will focus on the once mega-hit variety show.

Judith Jamison Honored At White House Dance Event

 

JOCELYN NOVECK,AP National Writer
WASHINGTON (AP) — The stately White House East Room, home to many a bill signing and ceremonial gathering, became a stage Tuesday for pirouettes, jetes, gravity-defying leaps and a few bumps and grinds as Michelle Obama inaugurated a new dance series.
Dancers of all types — ballet, modern, hip hop and Broadway — took over the room, first for a series of workshops in which students from around the country had a chance to learn from the pros.
After a short break, the students were to return to see their mentors for the day perform in an hour-long, star-studded show. Even Broadway’s young “Billy Elliot” was there — well, four Billys actually, from the show’s rotating cast.
But the main attraction was the Alvin Ailey American Dance Theater, whose celebrated artistic director, Judith Jamison, soon to retire after two decades in the job, was the honoree of the event.  At the afternoon workshops, young girls in leotards, their hair tightly wrapped in buns, sprawled on the shiny East Room floor, stretching their legs into splits as they warmed up. Jamison watched with a smile on her face as current Ailey dancers then taught the kids — about 100 boys and girls from across the country — excerpts from Ailey’s “Revelations,” one of the most beloved works in all of modern dance. “Slow! Slooooow,” intoned teacher Nasha Thomas-Schmitt, urging the kids at one point to take their time with a stretch.
“Wow,” said Damian Woetzel, director of the event and a former star of New York City Ballet, after the Ailey workshop. “Now you’ve danced in the White House!” he told the kids.
The 67-year-old Jamison is an icon of the dance world. She joined the Ailey company in 1965 and became the choreographer’s muse, her dramatic power as a dancer epitomized in the unforgettable 1971 solo piece “Cry.” In 1989, after Ailey’s death, she took over as artistic director. She is scheduled to step down in 2011.
“What a rare opportunity, to be invited by your country’s first lady to be honored like this,” Jamison said in a weekend interview. “I’ve been to the White House a couple of times before, but this event is totally unique. It’s so terribly important to recognize this art form and to understand how important it is to the fabric of this country.”  “This will be another clarion call to people: Pay attention to your arts!” Jamison said. “My dancers are so excited.”
Woetzel, who is on the President’s Committee on the Arts and Humanities, had a dizzying array of choices from which to cull an hour of the country’s best dance. And he said it wasn’t exactly hard to find dancers, no matter that the event came just after a summer vacation weekend.
“Everyone was so excited to be a part of this,” Woetzel said in an interview. “It’s really an exciting opportunity to present the variety of dance in this country. And the student component makes it especially unique. It’s a great way to start the school year.”
Though the Obamas have spotlighted many varieties of music since they came to the White House — there have been events celebrating Latin music, rock, jazz, country, classical and Broadway show tunes — the dance world might have felt ignored, until now.  But Michelle Obama seems to be a dance fan. Jamison noted proudly that the Obamas and their daughters spent one of their first nights out as first family taking in an Ailey performance at the John F. Kennedy Center for the Performing Arts.
“They came backstage, took pictures — the dancers were thrilled,” she said.  Also on the program Tuesday: the Paul Taylor Dance Company, The Washington Ballet, Super Cr3w and the New York City Ballet.  The students came from dance schools around the country: The Alvin Ailey School, Ballet Hispanico, Cab Calloway School of the Arts, Dance Theatre of Harlem, the Chicago Multicultural Dance Center and others.
Copyright 2010 The Associated Press.