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Interview: Matthew Powell Of “Find Your Fifth”

August 20, 2015 by Rachel Hellwig

Matthew Powell (center) and the cast of "Find Your Fifth". Photograph by Shane Ohmer
Matthew Powell (center) and the cast of “Find Your Fifth”. Photograph by Shane Ohmer

What drew you to the profession of teaching dance?

To be honest, it was at first for very selfish reasons! As a young dancer, I was given some advice from my Artistic Directors to begin teaching as a means of improving upon my own technique. As a dancer, it is sometimes difficult to feel what exactly your body is doing. Teaching provided me with the opportunity to take the role of the onlooker, see corrections that needed to be made on my students, and apply them to myself. I started teaching at a very young age, and I really think it enriched my dancing on the whole.

What does your average work day look like? Give us a little snapshot of your life…

I’m freelancing a good bit these days, so my schedule is a bit all over the map. At the moment, I’m in Carlisle, PA teaching for Central Pennsylvania Youth Ballet’s summer program and having a blast, but there is always a long list of ‘to do’s’ to keep my life running back in New York. Here’s what today looks like:

7:00am – 9:00am – Answer questions for this interview over coffee and a bagel.

9:00am – 10:30am – Teach my morning class at CPYB

10:30am – 1:30pm – Head to Staples to print, sign, scan and email a contract for a new ballet I’m creating for Point Park University in Spring of 2016. Then I head to the Post Office to ship two orders of ‘Find Your Fifth.’ We are a small start-up, so orders are processed not through a company, but from my apartment in Queens (or wherever I happen to be). You should see my living room. It’s a ‘Find Your Fifth’ extravaganza in there!

[Read more…]

Filed Under: 4dancers Tagged With: ballet class DVD, ballet class music, dvd, Find Your Fifth, Find Your Fifth Matthew Powell, interview, matthew powell, teacher interview, teaching, teaching ballet

DVD Review: Alice’s Adventures in Wonderland

January 26, 2015 by Rachel Hellwig

by Rachel Hellwig

Alice in Wonderland PicThe opening of the Royal Ballet’s Alice’s Adventures in Wonderland interposes a psychological basis for Wonderland. Alice (Lauren Cuthberton) is not a little girl in this version, but a young teenager who shares an infatuation with the gardener’s son Jack (Sergei Polunin). But, tsk tsk, this is the Victorian Era and Alice’s mother (Zenaida Yanowsky) disapproves of this class-disparate romance. She takes the opportunity to dismiss Jack after she erroneously believes he stole a tart. Not surprisingly, Yanowsky returns in Wonderland as the Queen of Hearts and Polunin returns as the Knave of Heart who “stole tarts”. The premise of dual characters is carried farther as family friend Lewis Carroll (Edward Watson) reappears as The White Rabbit, and tea guests such as the visiting Rajah (Eric Underwood) and Magician (Steven McRae) later morph into The Caterpillar and Mad Hatter.

Video projections are appropriately used to portray Alice falling down the rabbit hole. In the sequences that follow, a combination of projections and more traditional theatrical effects help create the famous “Eat Me” and ”Drink Me” episodes (where Alice grows and shrinks) as well as the “Pool of Tears”. All of these scenes are fun to watch, although, if you haven’t read the book in while, they might be hard to follow in places. “The Pool of Tears” is actually the most visually effective though it’s also the most conventional – dancers “swimming” in between rows of stationary scenery painted to look like waves. While suggesting just enough of reality, it retains the charm of a storybook illustration – something that is not as easy to accomplish with video projections.

A challenge in adapting Alice in Wonderland for a non-verbal medium is the fact that much of the story’s potency comes from wordplay and parodies of poems and songs. The wordplay, of course, can’t be translated into dance, but there is a perhaps a nod to it in some of the projected backgrounds which feature skies of scrambled letters. The element of parody though does find an interesting parallel in Christopher Wheeldon’s choreography which incorporates spoofs of classical ballet, most memorably in the Queen of Hearts’ botched Rose Adagio. Elsewhere, Wheeldon employs a mix of non-satirical classical ballet, contemporary ballet, and, occasionally, other styles of dance. The Mad Hatter is in fact reimagined as a tap dancer, an effect which works remarkably well.

As for the music, I admit I have mixed feelings about the original score by Joby Talbot. Of course, it makes sense that a soundscape for Alice in Wonderland would express the madness, confusion, curiosity, and even violence that are integral to the story. However, whether or not you enjoy Talbot’s approach to this will depend on your taste for modern symphonic music, which, of course, doesn’t shy away from dissonance and percussion-heavy moments. At the risk of sounding like a throwback, I think it’s harder to pull off effective dissonance than it is effective melody. So, to me, the score is most compelling when it sticks to the latter. During these moments, such as Alice and the Knave of Hearts’ courtroom pas de deux, the music takes on an engaging cinematic quality which enhances the already engaging visuals onstage.

Speaking of engaging visuals… the costumes, colors, scenery (with a small caveat about out-of-place grimness of the kitchen set with its sausage maker and pig carcasses), lighting, and overall composition of each scene is top-notch, sometimes to the degree that the designs begin to compete with the dancing for your attention. The courtroom in Wonderland just might be the best for its geometry, full prism of costumes, and a giant house of cards looming in the background.

When that house of cards literally and figuratively falls and Alice awakens in reality, we notice that she is now wearing a modern-day dress. The Knave of Hearts/Jack, sitting nearby her, is sporting a t-shirt and blue jeans. Yes, as it turns out, this story wasn’t about a Victorian youth dreaming of madness, love, confusion, and discovery based on her real-life experiences. It was instead a dream about a Victorian youth who had such a dream. Hmm… I’m not sure this conclusion is quite as interesting as the scenario seemingly set forth at the beginning.

The dancing, of course, is world-class all around, as you would expect from the Royal Ballet. As Alice, Lauren Cuthbertson is like a music-box ballerina in her seemingly effortless precision, line, and musicality – her technique so pure it’s almost startling. She also possesses a natural girlish playfulness and lightness that are ideally suited for the role. The other standout is Zenaida Yanowsky as the Queen of Hearts. Her acting is spot-on, and, even more impressively, her classical grace radiates so thoroughly through her every movement that you’re simultaneously in awe of how well she embodies her comical character and how she makes it so beautiful to watch — without dampening the fire of the satiric choreography.

This OpusArte DVD of Alice’s Adventures in Wonderland is from 2011. Since then, the Royal Ballet has revised and extended the production. I haven’t yet seen the updated version, but Sarah Crompton of The Telegraph wrote that the changes were all improvements. I truly believe that this ballet has masterpiece potential, though, as with all art, it takes time and revision to achieve that end.


Purchase this DVD:

 

Filed Under: DVDs, Reviews Tagged With: Alice's Adventures in Wonderland, ballet dvd, dvd, dvd review, royal ballet

DVD Review: La Fille Mal Gardee

February 20, 2013 by 4dancers

by Emily Kate Long

La Fille Mal Gardee Sir Frederick Ashton’s La Fille Mal Gardee is one of the best-loved works in the Royal Ballet’s classical repertoire. This black-and-white release, recorded in 1962 (just two years after the ballet’s premiere), features the original cast of principals: Nadia Nerina as Lise, David Blair as Colas, and Stanley Holden as Widow Simone, Lise’s mother.

Ashton’s construction balances the humorous narrative with surprising choreographic shapes and movement sequences. This ballet is a true work of art, and producer Margaret Dale’s arrangement of the ballet for the BBC studios ensures each aspect is given due attention. The large-scale dances are given appropriate perspective, and close-up shots allow the narrative to flow smoothly and the comedy to read clearly.

Act I begins tongue-in-cheek with a dance for four hens and a rooster, setting a tone of lightness and humor for the entire ballet. We meet Nerina as the impetuous Lise, teasing her mother and always up to something.  She is in love with Colas, but Widow Simone has other plans—Lise is to be wed to Alain (Alexander Grant), the bumbling and subtly hilarious son of a wealthy landowner. This act is laced throughout with smart and lively choreography for the villagers, as well as the comic “Clog Dance” for Widow Simone and four of Lise’s friends—an echo of the chickens’ dance that opened the act. After making their way to the fields for both work and play, the entire cast is chased home by a spectacular thunderstorm.

Act II opens with Simone and Lise back indoors, drying off and settling down to domestic pursuits. Lise’s mischief continues, and eventually Simone leaves on an errand. By the time she returns, Colas has sneaked into the house and hidden in Lise’s room. Lise is sent upstairs to change into her wedding dress in preparation for the arrival of Alain, his father, and the village notary. Soon the lovers are discovered, much to the dismay of the future parents-in-law! After recovering from the shock, Widow Simone relents and blesses the marriage of Lise and Colas. Act II closes with a boisterous, circular party, and as in the first act, Alain gets the last laugh.

The pas de deux in this ballet are certainly worth mentioning as highlights—none are of the usual “opening-adage-solo-solo-coda” formula. The first two make use of ribbons, one brilliantly playful, the second a nod to traditional, formal pas de deux framed by an entire corps de ballet. The third is danced through a window, and the last, reminiscent of La Sylphide or Giselle, is seamlessly integrated into the general merry-making.

This production in utterly charming and plays out like a storybook, and it’s a treat to see the original principal cast. Dance lovers will enjoy watching this piece of history!

Filed Under: DVDs, Reviews Tagged With: david blair, dvd, La Fille Mal Gardee, nadia nerina, royal ballet, Sir Frederick Ashton

DVD Review: The Bolshoi Ballet HD Collection – The Sleeping Beauty

January 16, 2013 by 4dancers

by Vicki Crain

sleeping beauty balletAmerican Ballet Theater principal dancer David Hallberg made international news in the fall of 2011 when he was asked to join the illustrious Bolshoi Ballet as a premiere danseur, the first American ever invited to join the company. One of his first performances in Russia’s newly renovated Moscow Theatre was also filmed for live cinema simulcasts around the globe. This updated version of Petipa’s The Sleeping Beauty features new choreography by Yuri Grigorovich with The Bolshoi Theatre Orchestra playing Tchaikovsky’s famous score.

According to Sergei L. Loiko of The Los Angeles Times, who covered the performance from Moscow, seven cameras filmed the Sunday performance that had the estimated audience of 1,750 in the theater giving a rousing standing ovation. Gorgeous shots of the ornate theater and behind-the-scenes takes from conductor’s view in the orchestra pit create the sense that you are there. Nobody does grandeur quite like the Bolshoi and the lavish sets and costumes, as well as the enormous cast of dancers, are on full golden display here. Even the dramatic tension of the story was heightened by the ultra-slow tempo of the music.

Prima ballerina Svetlana Zakharova (Princess Aurora) handpicked Hallberg to be her Prince Désiré. With long, lean limbs, high-arched feet and exquisite lines and extensions, these two are a match made in ballet heaven. Zakharova’s beautiful, relaxed upper body port de bras are at times defied by the sheer height of her extensions. Her full-split developé a la secondé makes The Rose Adage, albeit extremely slow, inherently more exciting to watch. Hallberg’s entrance solo in Act II is exciting and brilliantly executed. As he finishes, there is a millisecond pause/glitch in the dvd before the audience erupts in applause, as if even the film crew knew they were witnessing history. Bravura solos and effortless partnering make this pair irresistible to watch.

Classic storytelling with technically dazzling dancing make this dvd  a must-see. Standouts in the stellar cast are Nina Kaptosova and Artem Ovcharenko as Princess Florine and the Bluebird, Maria Allash and her liquid bourrees as the Lilac Fairy and Alexey Loparevich (in drag) as the evil fairy Carabosse.

Run time: 138 minutes

BIO: Reviewer Vicki Crain is the voice behind Rogue Ballerina, an excellent blog that covers the Chicago-area dance scene. Check out her site for interviews, previews, reviews and more, and follow her on Twitter at @rogueballerina

Filed Under: DVDs Tagged With: american ballet theatre, Ballet, bolshoi ballet, David Hallberg, dvd, moscow theatre, petipa, prima ballerina, sleeping beauty, Svetlana Zakharova

Mao’s Last Dancer: Choreography

April 23, 2011 by 4dancers

The behind the scenes work on any dance movie is pretty staggering. Besides the people who star (and dance) in the movie, there are many professionals that make the film possible–including the choreographer.

4dancers is pleased to share this exclusive clip from the DVD and Blu-ray extras of Mao’s Last Dancer.

This clip is from the ‘making of’ featurette, and discusses some aspects of the choreography that was used in the film.  As someone in the field, I can say that it’s always nice to see what goes into making the movie.

Enjoy! Here it is…

On a separate note, I’ve been thrilled to see more interest in dance over the past few years. Between the dance movies that have come out and the television coverage, dance is as hot as ever. Although not everyone thinks the attention is a good thing, I tend to believe that (for the most part) getting dance out there in front of people is beneficial.

I would, however, like to see a bit more of an educational aspect to it here and there. I think it’s important to try and represent dance honestly. There are a lot of myths out there, and these can be perpetuated by film. I’ve heard some dancers that were upset about the way ballet dancers were depicted in Black Swan…

What do you think? Is dance becoming more mainstream? Is the attention a good thing–or a bad one? There are so many schools of thought on this–and I’d love to hear yours.

Hopera Proposal: CD Promotion

Uploads:

ReverbNation:

ReverbNation account creation, setup and modification Reverbnation account integration with Twitter and Facebook (passwords and usernames as provided/authorized by Hopera) Hopera Bio/Press Kit upload Hopera press reviews upload (five) Hopera video upload (two videos as authorized and provided by Hopera Hopera Music and images uploads ( four tracks as authorized/provided by Hopera) Connections with 30 other ReverbNation artists for cross-promotion and PR

Setup and initial uploads at Soundcloud.com with audio clips provided/authorized by Hopera Soundcloud.com account integration with Facebook Hopera audio upload (three tracks) as authorized/provided by Hopera

(What about submission to IndieMusic.com? Do you know if that would be a possibility? Have you ever?)

Social Media

CD promotion to national and Chicago-area hip hop/related blogs

Facebook and Twitter promotion, dependent on CD release date. Sample schedule:

4 weeks out:

One tweet for 5 days + 2 FB posts per week

3 weeks out:

Two tweets for 5 days + 3 FB posts per week and one FB blast

2 weeks out:

Three tweets for 5 days + 4 FB posts per week and one FB blast

1 week to release:

Three tweets for 7 days + 5 FB posts per week and one FB blast

Total of 51 tweets, 14 FB posts and 3 FB blasts

What we will need from you before we can begin:

Twitter and FB usernames/passwords

Any pertinent dates regarding release, pre-release parties/events, etc.

Copy of CD/track listings/artwork/press materials/reviews/etc.

URLs/links for FB, Twitter and any other relevant sites Video/photos for upload Deposit for equal 1/3 of payment

Filed Under: 4dancers, 4teachers, Editorial Tagged With: ballet dancer, black swan, choreography, dvd, mao's last dancer

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