Looks like one of the better dance films of late. In cinemas this October.
CONGRATS TO JEANINE MASON, "AMERICA’S FAVORITE DANCER"!
I’m happy for her — she definitely had her moments of brilliance, and I do think overall she did the best, most original solos of the season.
The rest of the So You Think You Can Dance results were: 4th Kayla, 3rd Evan, and 2nd Brandon.
Seeing Janette dance that Doriana Sanchez disco with Brandon made me want to see her again. I do hope we see some of these dancers again, and not just on the show but out in the world. As Jonathan commented on my Pasha & Anya Burn the Floor post, it seems like season three contestants have done well on Broadway, happily. I really liked Janette and Evan, so I hope I will see the latter on Broadway as well, and perhaps the former in a travelling ballroom show?… I will try to find out what’s going on with Sabra and Cedar Lake.
I think the other star of tonight was Louis van Amstel, with all of those routines he choreographed throughout the season — the waltz, the samba, the paso — being chosen by the judges for encore perfs. And yeah, they were all really memorable, now that I see them again. Let’s see him do a Broadway / travelling ballroom show in the near future! C’mon Louis.
I really wish they would have had other dancers / dance companies perform tonight rather than have so many encore performances. How about some Alvin Ailey, ABT or San Fran Ballet, and maybe some fun small modern dance companies like Keigwin + Company? And maybe some top ballroom dancers as well, or some more America’s Best Dance Crew winners? I loved seeing Desmond Richardson perform earlier in the season and then, bam, that was it — no more outside dance. I would think audiences would really want the chance to see what else is out there rather than see so many repeat routines, flashbacks to the dancers’ auditions and interviews, and previews of next season, right?
SO YOU THINK YOU CAN DANCE SEASON FIVE FINALE
I know this will come as a surprise to everyone (not!), but I really agree with Mary when she commended Evan for having introduced young audiences to a dance style that was in danger of dying: good old fashion Broadway / classic MGM — Fred Astaire, Gene Kelly and all that. To me that has been the highlight of the season. To me, none of the dancers really had the sort of overall star power that Danny Tidwell, for example, had a couple of seasons ago, but Evan shone for what he excelled at. And I really believe audiences went for that — not for his cute face, as Nigel put it, or his good guy-ness, but for the way he brought that classic Broadway / Hollywood style of the ’40s and ’50s charmingly to life with character and intelligence — and with very good technique.
I don’t understand why all the judges kept harping on him. I actually thought he outshone Brandon in the Laurieann Gibson routine (at the beginning, they both jumped and his was sky high, with better lines than Brandon’s). I thought both he and Brandon did well at the more hip hop-y parts, but Evan outshone Brandon with the jumps and turns. But people will probably disagree with me on that…
And I thought he was technically better than Kayla in Tony and Melanie’s Jive. I thought her arms were way too busy. In jive your arms aren’t supposed to be swinging about wildly; your legs and mid-section are supposed to be doing the work. I feel that if you use your arms too much, it’s like your center and legs are weak — it’s like using your arms to haul your body up during sit ups or something. Outwardly you’re doing the movement pattern, but you’re not using the proper muscles. Anyway, I thought his legs were fantastic — those jive kicks had so much strength. And the lifts were spectacular — I love how they slowed them down mid-air to keep in time with the music. They almost looked like they were in slow motion. Difficult! I honestly thought that jive — and Evan’s performance in particular — was one of the best I’ve seen on the show. And how much do I love the audience chanting for him when the judges were being harsh 😀
I do think overall, though, my favorite dance of the night was Jeanine and Brandon’s Paso Doble. What a triumph for Louis van Amstel — holy cow! Normally I don’t like non-traditional Paso music, but this (from The Matrix) worked well — can you say intense?! Great razor sharp movement for both of them, he had some gorgeous turning jumps, and what a beautiful jete into an assisted slide for her. I totally agree with Adam Shankman’s comment that the reason this worked so well is because they focused on the transitions — the movement between the tricks — and not only the flashy things. As my former teacher, Luis, always used to say to me, the actual dancing takes place between the tricks. Nowhere was that better demonstrated than with this Paso. Kudos to everyone involved.
My other favorite moment of the night was Jeanine’s solo — by far the best of the night, I thought. That modern-y tango was so original — part Latin, part American Modern with the staccato, angular movement, the sharp stops, the isolations. And, contrary to Adam, I loved the rose stem held between her teeth. I thought it gave the dance character, and was a bit humorous to boot. And those pirouettes — totally agree with Adam there — WTF! Those were incredible! She began with a group of fouettes to give herself speed, then wound down into a combination of pirouettes that she somehow slowed to a perfect stop at the end, holding her balance after the last one ended, in perfect form. Astonishing — that was like something you’d see from Gillian Murphy and it made me think she’s been holding back all season…
But then … when she danced the Mia Michaels routine side-by-side with Kayla, I thought Kayla outshone her. I thought Kayla had greater height on her kicks and jumps, and overall more precision in her body. I think Kayla has the best modern dance technique of anyone on the show, and it really shows in the way she is able to dance with so much expansiveness, so much breadth, yet still keep such a tight form. In the group routine I found her to be the most expressive, to have the greatest range of movement in her head, neck and torso. And she’s got such stunning leg extensions. That Tyce DiOrio routine she did with Brandon — she really blew me away when she swung her right leg up, held it nearly to her ear, and then he threw her over his head in a split.
I wasn’t as in love with Brandon’s solo this week as I was last (and as the judges were), but I did love how he ended in that sudden straddle split. That is kind of his thing — making these sudden and intense lines. And his solo last week was to die for — so he’s definitely had his moments on the show.
Again, I have no idea who will win tonight. I feel that everyone has something: Kayla’s a great mover, Brandon has strength and intensity and can really blow you away at times, Jeanine excels with original solos and really brought it on this week and did something astounding, and Evan I love for bringing back Gene Kelly. Maybe Evan’s popularity on the show will lead to increased appreciation of Jerome Robbins?… Okay, I can dream 🙂
PASHA KOVALEV AND ANYA GARNIS BURN THE FLOOR
It’s just been announced that Pasha & Anya (from So You Think You Can Dance of course!) will join the Burn the Floor Broadway cast as the star dancers, replacing Maks Chmerkovskiy and Karina Smirnoff, who depart the show August 16th. Pasha & Anya will begin August 18th.
Woo hoo! So excited for them!
I really think they’re going to make this show. (My review of the Maks / Karina cast is coming very soon — likely later today). I think Pasha and Anya are the quintessential Latin ballroom performers. Karina’s technically probably the best female Latin dancer in the world right now (imo, with the arguable exception of Joanna Leunis, or Yulia Zagoruychenko) and Karina & Maks are worth seeing in the show for that reason alone. But Anya’s a true diva like no other and she and Pasha really know how to melt you into a giant puddle, right there on your seat… I’m not kidding, they are to die for.
I don’t know which cast to recommend now… I recommend them both!
(Full disclosure of course: for newish readers to this blog, I am friends with Pasha; he is my former instructor).
ALEX WONG AND MIAMI CITY BALLET IN VAIL
The company’s currently at the Vail International Dance Festival, performing a Balanchine spectacular, which includes, along with Tarantella, The Four Temperaments and Serenade. Visit Vail’s website to watch a video of the two talking with Erik Williams of Plum Vail in the beautiful Colorado mountains. They talk about the program, about their dancing lives, and about Miami City Ballet. So You Think You Can Dance watchers will of course remember Alex from earlier this season.
ROBERTO BOLLE INTERVIEW IN BALLETCO
Here.
Oooh, he says he’s doing a modern version of Giselle (by Mats Ek), in February. Something worth going to Naples for…
REPEAT OF VERONIKA PART ON LETTERMAN
tonight (Monday, August 3rd), late night on CBS.
via James Wolcott.
Here’s a nice, detailed overview of Part from those wonderful “Bag Ladies” across the pond.
Also on TV, showing on local public-access stations across the country now and in the near future, is the rock opera, Remember Me, a collaboration between the East Village Opera Company and choreographer David Parsons, with dance performed by Parsons Dance. I haven’t seen it but it’s been called “a high energy mix of contemporary dance, opera, and rock music” and was popular when it premiered live here back in January. Here are the broadcast times:
KQED, San Francisco, CA – 8/2 at 8pm (also on KTEH/San Jose and KQET/Monterey), 8/3 at 2pm
WGBH, Boston, MA (presenting station) – 8/2 at 8pm, 8/5 at 3am and 3pm, 8/6 at 7:30pm
KCET, Los Angeles, CA – 8/7 at 3:30pm
AETN, Conway, AR – 8/9 at 8pm
WUSF, Tampa, FL – 8/9 at 8pm and 8/15 at 3:30pm
KLRU, Austin, TX – 8/10 at 8pm
WMHT, Albany, NY – 8/10 at 8pm
WLIW, New York – 8/13 at 7:30 pm
Photo of Remember Me by Yi-Chun Wu, taken from Explore Dance.
TAKE DANCE PREMIERES FOOTSTEPS IN THE SNOW
TAKE Dance Company began its season at Dance Theater Workshop on Thursday night. There were four dances on the program — all choreographed by artistic director Takehiro Ueyama: two pieces from last year (the upbeat Linked, and Love Stories, a haunting duet about three stages in the life of a relationship that was inspired by a Magritte painting); the New York premiere of Shabon; and the world premiere of Footsteps in the Snow, both rather abstract pieces that I found a bit unsettling.
Shabon, set to Steve Reich music, is bookended by a solitary woman walking across the stage blowing bubbles. Bubbles are blown onstage throughout the dance, by bubble machines, which would seem to make the mood of the piece playful. But there’s a lot of intense partnering and the dancers seem to be characters who struggle somewhat with each other. During the climax of the piece, a small woman walks atop the shoulders of the other dancers, who together make a kind of human pyramid. She does this twice, then falls backward, hoping the others will catch her, which they do. But it still made me jump, because it doesn’t seem like she’s really trusting them so much as that she doesn’t care about her own well-being any more, like she’s given up. Then, in the end, when the solitary woman is walking across stage blowing her bubbles again, it’s like she’s in her own world. To me, it was about the solitariness of human existence or the fragility of connection.
The last piece, Footsteps, seemed to echo those themes as well as hint at the impermanence of human existence. Set to the rain-drop-like music of Arvo Part (the same used by Christopher Wheeldon in his famous After the Rain pas de deux), the stage was covered with fake snow (confetti) and there were some “snow-blowing” machines used from time to time to cover the dancers’ tracks, which made me think of the way it’s impossible to leave a lasting footprint in the snow. The dancers danced by turns in solo, in pairs, and in ensemble, the mood shifting between violent, tender and pensive. In one part, Francisco Gracinao (who regularly dances with Paul Taylor and was guesting with TAKE) throws himself violently to the floor, ending in a balance on the side of his neck, his legs in the air. I don’t think I’ve ever seen someone throw himself down that way and then basically land on his neck. It made me jump. In other places, the men dangle the women upside down. In one moment — my favorite – -a man and woman, both crawling on the floor, find each other, and rub necks, entwining them and kind of locking them into place, fitting together perfectly like the pieces of a puzzle. It’s a beautiful image and at first I was hoping the piece would end there, but no, the pause in the music and the dimmed lights were only a pause; there was another, more disconcerting section that followed. I guess, thinking it over, I’m glad it didn’t end there — it would probably have been too pat, too happy, and I don’t think Take does happy endings!
I really like TAKE’s dancers. Ueyama has a good, diverse group — about half of them are kind of “all American” in a Paul Taylorish way (Ueyema danced with Paul Taylor before forming his own group) — kind of carefree and sunny and spacious in their use of the floor, and then the other half are these really intense Asian women who captivate you with the depth of their gaze and the small details in their movement. They’re kind of opposites in a way but both are equally compelling and together I think make for a really unique company.
This is a good, varied program. It runs at DTW through this Sunday afternoon.Visit the DTW website for details and video excerpts, and see Philip’s blog for more pictures by his friend Kokyat.
DANNY TIDWELL IN MEMPHIS CAST
It’s official, according to Playbill, that Danny Tidwell will be in the cast of Memphis when it hits Broadway in late September. Memphis, set in the 50s, is the story of a young white DJ who introduces his radio audiences to “black music” and falls in love with a black diva. Previews begin September 23 and it officially opens October 19th.
Via Rickey.
SO YOU THINK YOU CAN DANCE SEASON FIVE TOP FOUR INCLUDES EVAN!
Yes!!! I was trying not to get my hopes up but I am really so happy. This will make the finals for me next week. And with his “Lady is a Tramp” solo last night, whoa I take back everything I said about his Wednesday night solo. He really nailed it last night. I think he might have thrown in a couple of back flips at the top that he didn’t do the prior night — just to show America he doesn’t just dance with character and loads of pizzazz but can actually deliver athletically as well. He just danced with everything he had. So happy we have one more week to see him … before he goes on to have a huge Broadway career 🙂
Anyway, funny, I was all set for Kayla (my favorite female since Janette got axed) and Brandon to go last night since they were in the bottom two last week. But instead it was Melissa (who’s hardly been in the bottom two at all), and, sadly, Ade. This show is completely unpredictable this season. I was sad to see Ade go. He was a real original and he really stood out to me Wednesday night. If I had my way, the top four would have been him, Brandon, Evan, and Kayla. But of course they need two girls.
Anyway, nice show last night. Loved that America’s Best Dance Crew’s JabbawockeeZ were on and that they’re showing the Emmy-nominated routines from seasons past. So proud of Dmitry Chaplin for his nomination for that astounding Argentine Tango he did for Chelsie and Joshua last season! Took my breath away all over again. There aren’t a lot of ballroom peeps who get nominated, so big hooray for him. And I loved re-watching Tabitha and Napoleon’s hip hop for Mark and Chelsie and Mia’s contemporary door-slammer for Katie and Twitch.
Okay, onto the finals the outcome of which I have NO predictions…
MORE ON DANNY TIDWELL (AND OTHERS) IN FIRE ISLAND
Here are a couple more breathtaking pics of Danny Tidwell dancing at the Fire Island Dance Festival last weekend, taken by photographer Fred Hecker who graciously sent me a link to them. Visit his full flickr album of the Festival for some gorgeous photos of the other dancers as well. Apparently Keigwin + Company performed “Water” (I love that piece!), and Karole Armitage performed, as did Miami City Ballet (Alex Wong’s company), and Cedar Lake Contemporary Ballet. Danny danced “The Eternal Vow” by Lauren Adams, to music by Tan Dun and Yo-Yo Ma. Thank you so much, Mr. Hecker!
Speaking of Cedar Lake (of which fellow SYTYCD alum Sabra Johnson is, or at least was, a new member – she’s not currently on their dancer roster…), here’s an enticing video of excerpts from their recent performance of Orbo Nova at Jacob’s Pillow, which they’ll repeat in New York at the Joyce Theater in October.
And, speaking of the Joyce Theater, Haglund is excited about the Tulsa Ballet coming there August 10th. I plan to see them too, especially since they’re performing a MacMillan work I haven’t seen! Read up on that company and their upcoming Joyce program on Haglund’s blog.
SO YOU THINK YOU CAN DANCE, SEASON FIVE SEMI-FINAL
Is it really the semis already?!
At the top of the program Mary Murphy expresses shock about Janette getting kicked off last week since she “didn’t miss a single step throughout the show,” then urges the audience to vote based on the whole season, not just their favorite performer or performance of the week. Don’t remember hearing a judge say something like that before. Wow, they all really liked Janette (as did I, as everyone knows!).
Then Nigel says he thinks no one is really standing out as a star this season, unlike in seasons past; that’s why people are voting for the choreography and not the dancers. I agree with him to an extent. Generally, there haven’t been any standouts, which is actually making this season kind of boring to me. I do think Evan has stood out a bit, but mainly with his solos, where he kind of takes on a character like Charlie Chaplin, Gene Kelly, etc. But he hasn’t delivered with the duets.
The group routine for the men is choreographed by Sonya Tayeh. I thought, from seeing the three guys in distinction to each other — Ade, Brandon, and Evan, that Ade’s lines and form were much better than the other two. His jumps were higher, his extensions longer, and overall his movement more powerful and precise.
And all of what I just said above: ditto for Kayla on the women’s routine, also choreographed by Sonya.
My favorite solos of the night were by Brandon, Ade and Melissa.
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