Boston Contemporary Dance Festival 2014

Yesterday, I had the wonderful opportunity to attend the noon show of the Boston Contemporary Dance Festival.  This is my second year going, and this is the second year that my sister has had pieces in it.

What a show!  There was a diverse range of contemporary styles, from the simple and aesthetically pleasing, to the athletic and complicated.

The show started with the piece "Again, Together."  It was a collaborative work of different dancers and companies.  I understand that with collaborations, you have to make it so that the piece fits everyone.  What I wasn't thrilled with was that this piece started the show.  It made me nervous, because most of the movements I watched are movements that I've seen since college (and I attended from 2002-2006).  It was a pretty piece full of meaning, which I've now learned to not even TRY to interpret these dances, but get the feeling for what they are. The movements fit everyone because of the fact that they were so simple.  I did like the way in which they created patterns in the space.

The next piece was "Closing At the End," choreographed by Angie Conte (Angie Moone Dance).  There were 3 dancers involved in this piece (2 of which were wearing denim- good for you, but it couldn't have been comfortable!).  This piece actually sparked a small conversation between me and my mom, and me and my boyfriend.  Both my mother and my boyfriend thought it went on for too long.  In the beginning of the piece, I was thinking about how I wasn't getting it and I wasn't feeling it, but as it progressed, I found myself really liking it.  I feel as though if it hadn't progressed in the manner that it did, in the length that it did, I wouldn't have felt like the story had truly unfolded.  Again, I won't even try to interpret the story, but the way in which this dance developed, it needed to in order for it feel complete.  I liked the way in which the three dancers at the end were connected and entwined in each other's dancing.  It was different, and some of the gesture work had me captivated.

The next piece was "Goes On and On" choreographed by Jennifer Gamache-Dubilo (Eclipse Dance Company).  It was a group of girls dressed in plain colored dresses and one gentleman dressed in all black.  It was a piece that incorporated a lot of ballet technique, which to me leans more towards the commercial contemporary versus the more post-modern contemporary (which I liked!). I enjoyed the simplicity of it, but what had me going a little crazy was the intent of the piece.  I saw some girls smiling, while some didn't have any expression, while at the same time some had a look of angst on their face.  Was this piece meant to be happy?  Was it meant to be sad?  To me, the different expressions distracted from the dancing itself.

The next piece was "Hyperactivity" which was choreographed by my sister Chantal Doucett for the Urbanity Dance Summer Intensive.  I know my sister's choreography and I could immediately tell that this was her style.  It had lots of quirky gestures mixed in with some exciting music and movement on stage.  It was the first piece of the afternoon which incited excitement.  By that time, it was welcome (so many angsty pieces in contemporary dance.  Can we not find a place to be happy in the contemporary world?  Angst does not equal maturity!).  The movement was fun, and I often caught myself saying things under my breath ("werk!"  "Get it!"  "Yaaaas!").  It was great to see this constantly moving, constantly changing, always evolving piece with great music. The dancers got into the movement, and I loved the turn sequence in which one of the boys performed by himself.  The exits and entrances even had great movement to it. Perhaps I'm biased, but really Chantal did an amazing job.

Next was "Momento" choreographed by Ali Smith.  Wow.  This dancer was a talent.  I'm assuming she was young- she looked it.  

 The maturity in her dancing, though, was outstanding.  What got me about this piece was that it was a beautiful mix of something that you might see at a competition mixed with a post-college commercial company, and yet the dancer held this embodiment of innocence.  She danced very honestly, and to have that at what I'm assuming is a young age, is a gift.  The choreography moved and kept me watching and focused on the dancer, which isn't always the case in solos.  It was a great number.

"Everything Happens In Threes" came next, choreographed by Erica Ligeski-Schroder (Company Four).  Sadly, I was bored.  It didn't capture my attention.  There were no "moments" in the piece.  Personally, I need a piece to capture my eye at least once.  I need to be able to see a place where the music crescendos and the dancers go for it, or I need a moment of silence with a look to the audience that leaves you cold.  SOMETHING.  Looking back on my notes, I could barely remember the piece.  Not that it was a bad piece by any means.  I'm sure the dancers worked hard and that the choreographer had intention behind it.  But I didn't see intention. I just saw three dancers on a stage doing movements. I didn't even see purpose in the faces.  Perhaps that was the intention, but as an audience member, it just didn't hold me.  I'd be interested to see if there were other works for the company that would be more exciting. 

The next piece, however, grabbed me and held me the whoooooooole time!  "Wrong Way" choreographed by Brian Washburn was another piece that was exciting.  It was full of athleticism and control.  It was almost a mix of dance and martial arts.  I will admit, for the first part of the piece, I was fascinated with the hairstyle of one of the gentlemen.  He had this really cool mohawk-esque style that I just kept taking glances at!  The dancing was phenomenal though.  There was evident struggle in the intention of the movement.  The only thing that drove me a little up the wall was the back flip.  To me, where does one cross the line from dance to acro?  I understand that if it works for the piece and the dancers can do it, then maybe it seems right to the choreographer.  I just felt as though the back flip was so jarring in this piece that it almost ruined it for me.  Almost.  I really loved the strength that was shown by both men, as well as the fact that each of them truly brought their own style to the piece.  It was definitely one of the most memorable of the afternoon.

After the intermission, the show started back up with "Suffocated Pulses" choreographed by SkooJ CorE-O (Boston Community Dance Project). This piece had its moments.  Some of the dancers to me at times were too angsty and too over the top.  There is a way to do angst and a way to subtely progress it so that the dancers show it.  I thought some seemed frantic at times and it seemd jarring.  I'm all for making dancers look almost "ugly" in their dancing when there is a reason behind it, but either I don't know the reason, or the reason behind the dancing was over interpreted.  Seeing the line up of music they chose, I was wary, but it honestly worked for the piece.  I did notice that a lot of the time my eyes drifted from the different soloists to the corps dancers in the back.  Sometimes the movement in the back was more captivating than the frantic dancing in the front.

The next piece was "Torrent" choreographed by Meghan Anderson for Urbanity Dance Summer Intensive. A very cool and exciting piece.  You can tell that. Meghan was a competition dancer, just as you can tell my sister was, too.  The piece is exciting filled with entrances and exits and fun movements that incite excitement.  It helps, too, when there is that bright pop of color onstage (again, more color in the contemporary world please!  Gray, black, and white does not equal maturity!).  The music was definitely a driving force behind the dancing and the dancers really threw themselves into the movement.  It was definitely a fun piece.

The piece that followed was probably the most intriguing of the whole show.  "But first, let me take a..."  choreographed by Jessica Muise (Intimations Dance) was captivating.  It started with a man controlling the music onstage with the dancers.  The dancing started and all of a sudden, you hear a dancer call "STOP!" After I caught on to what was happening, I realized that dancers were controlling the dance.  Commands like "stop" "continue" "faster" "jump higher" "lower" etc were prevalent throughout.  There was a clear message to the piece, and the dancing was great.  I usually tend to be very uncomfortable watching experimental styles like this onstage, but this really worked for me, and I really really enjoyed the way in which they controlled who was dancing what and how, and how partners switched and stopped and continued.  It was flawlessly executed.

Next was "Dust" choreographed by Danielle Pastuszak and Ryan Valente.  What a beautiful female dancer.  Strong, pretty feet, and held my attention.  The lighting in the beginning was different from what a lot of the other dances had incorporated, and the way that it came down from the back corner was almost haunting.  The choreography wasn't overly complicated, but I enjoyed the partner work and the beauty of its simplicity resonated with me.  Some of the lifts were strongly done and the gentleman was great base for her. 

The piece to follow was called "Noire" choreographed by Cayley Christoforou (Extensions Dance Company).  As I watched the piece I kept thinking "oh this is so angsty.  Oh we've all seen the wipe-the-makeup-off-our-face-and-show-how-much-turmoil-this-causes-us.  Oh this choreography is so predictable."  Honestly, though, the dancers were FIERCE.  I loved the costuming choice of black lace top, purple skirt on the bottom, and the buns.  I wanted to judge this piece, but the dancing was great, and the ferocity of the dancers was captivating.  How could I not respect that?

The second to last piece was "Reckless Secrets" choreographed by Heather Budinscak (FreeFall Contemporary Dance Company).  There was a clear hint of "see no evil, hear no evil, speak no evil."  I liked the beginning and the end with the gestures that incorporated that hint.  It was different and intertwined the dancers in an interesting way.  The red costumes popped, and the dancers strong.  

The final piece of the show was another of my sister's- "Visceral Affairs."   It was a dance to Ave Maria and it was my favorite costume of the night for sure.  Beautiful maroon crop tops with lace on the shoulders and white lace high-low skirts.  Gorgeous.  The choreography for the 3 dancers was exquisite.  It was soft to go with the music, yet at the same time held a strength and almost underlying force to the dance.  Chantal has a talent for making dancers do something but in a way that you wouldn't necessarily have thought to make them do.  It was a very pretty piece to end the show.

Overall, I loved the show.  I'm hoping in the next few years to make a day of it and go to all three shows.  I would have loved to see what other companies outside of Boston have to offer.  I will say, though, Boston holds its own in the dance community.  A few years ago, you never would have been able to see the kind of talent that I saw yesterday.  You wouldn't have even known it existed.  Boston is finally starting to find its dance voice, and I'm glad that Betsi Graves, who is the director of this event, is driving it.  

Well done Boston!

Hope

For today, I am going to take a break from talking about dance.  I am not typically one to write out my thoughts about current events.  For one time, though, this is too important.

By now, the whole world has heard about the bombings that took place at the Boston Marathon.  It is incredibly tragic.  People who died, children who lost limbs, people who are still in the hospital with traumatic brain injuries.  It's horrific to think that someone would want to do that to people.

And today, even as I type this, there is a massive manhunt going on after one of the two suspects has died, and one is on the run. 

I grew up in a town about 20 minutes north of Boston.  I went on school field trips there.  I went there for theater and dance events.  After college, I spent evenings enjoying the nightlife it has to offer.  I worked in Boston for 4 summers.  I have gone into to Boston just to hang out.  I have attended Red Sox games, Bruins games, and Celtics games, all right in Boston.  Boston is practically my home turf.

I have gone through a vast amount of emotions.  I started out scared for the people I knew that were in Boston for the marathon.  After finding out that my friends and family were safe, my fear turned to sadness.  At points, I felt angry.  I remember watching the video footage of it for the millionth time on Monday, and just crying out "WHY?!" to the air.  Mostly, though, I felt that heavy hearted sadness that can only come with knowing that so much innocence has been ripped away from a city I love so much.

In the days after this circus has started, I have come to terms with the sadness.  Yes, I still have moments of tears, and I will not lie- I feared for many friends this morning who I knew were affected by the lockdown.  What has scared me the most, though, has been the outcry of hopeful violence on this second suspect on the loose.

I can't tell you how many Facebook or Twitter statuses I saw that spewed hate.  "Let's kill this [expletive] and make him pay!"  "We should tear this guy's legs off as punishment!" So many many more were similar.

In times like these, I am disappointed in humanity.  In the wake of the bombings, the world watched as people ran towards the bombs and towards the victims to help.  Marathoners ran to the hospitals to donate blood.  The people who were there saw the carnage and the desperation of the victims.  They are not the ones who are sitting on their computers typing messages of hate.  Those people behind their computers are sadly an influence in this social-media-obsessed age, and it saddens me that they are not focusing on the good that people are doing.

What I want from this tragedy is not for this 19 year old boy who is a suspect to be found dead.  I want him to be found alive, and for him to cooperate.  If he was coerced by his brother, or he had found some kind of hatred in his own heart to turn on a country that had taken him in, I want him to live. 

This is my reasoning.  I want him to be convicted.  I want the family of Richard Martin to be able to look into his face and know that it's over.  I want the family of Krystle Campbell to forgive him for his sickness.  I want all of the families that have been affected in one form or another to know that he is one against billions.  I want this 19 year old to see that in wake of this darkness and pain and hurt that life continues.  Life grows, and that our hearts as a community grow.

Last night, I attended a candlelight walk in honor of those affected by the bombings.  2,500 were reported to have shown up.  We stood on the Salem Commons with flags and candles in our hands.  We listened to the speakers (including John Young) and stood silently.  I have never been prouder than last night to not only be a part of something so big, but something so loving.  There was SO much love being sent out into the universe.  To look around the Commons and see the flickers of light in the dark was such a powerful and hopeful moment for not only the community, but the country.

I want who is responsible to see the amount of love in the communities across the world that this has spawned. I want them to see that these families that he has broken will be put back together.  I want him to see that this is not tearing our country apart, but pulling us together.  I want him to see that even though it seems that he tried to attack the spirit of an international event held by one of the greatest cities in the world, our spirits are stronger than ever, and our convictions are more positive.  I want him to see that he failed. 

I want him to see that in darkness, there is, and always will be, LIGHT. 

I urge anyone who reads this to go out there and do GOOD in the world.  Be kind.  Be hopeful.  Help those in need.  Our world has seen so much tragedy in just one week, not just from the bombings, but from the Texas explosions that has caused more casualties, that we all need to continue to bring the light to our  own lives, and to others. 

Whether you go about it through religion, politics, or just helping a friend or stranger out, send your love out into the world.  We need it.

Within the Lines with Urbanity Dance!

On a recent Sunday night, I was sitting at the Red Fez in Boston having a cocktail and chatting with my boyfriend.  There was a slight buzz of excited anticipation in the air.  Suddenly we were called to join a woman who introduced herself as our “Time Troll.”  We gathered around, and suddenly we were being thrown into a journey that I know I will never forget.

This was the start of Within the Lines- the creative dance experience put on by Urbanity Dance, and created by their artistic director Betsi Graves.  My sister, Chantal Doucett, is a company dancer, and I was so glad that she asked me to come see this show.  It was unique, it was creative, it was thought-provoking, and even better- it was aesthetically beautiful. 

Our “Time Troll” was played by Judith Kalaora.  She was FANTASTIC!  I’m not sure if she’s a professional actress, but she truly was unique.  The role of the time troll was to be our guide through the journey of the performance.  When I say “journey” I mean it.  Our group was first ushered to a gallery where we met Constance (danced by Kayla Skerry) and her family portraiture consisting of Lucy (danced by Emily Sulock), Eleanor (danced by Lara Park), and Abigail (danced by Chantal Doucett- my beautiful sister!).  The four were framed in time as a family.  The diversity in movement was wonderful.  It ranged from serious to quirky and even had a “traditional” type dance.  Constance desires to break away from the family and move outside her family portrait and we began to follow her on her journey…

Our time troll brought us to the next gallery where we were told we would be facing our fears.  As we shuffled into the space, a lone dancer stood statuesquely in the middle of the room encompassed by a long, beautiful black and red cape, glowing sinisterly in a red lighting.   This is Vanilicious ( danced by Danielle Pastuszack).  She began to move slowly, and suddenly hands were emerging from the cape (truly frightening, if I might add; like something out of a horror flick).  As the dancer moves, the hands disappear but then are revealed as more dancers, or fears.  Constance timidly walks in to the space to face her fears by facing off with Vanilicious.  The dancers were intense.  The corps work was danced well, but I couldn’t keep my eyes off Danielle.  Her dancing and intense gaze drew you in.  It was no wonder that Constance was tempted to follow here- I would have!  But Constance managed to defeat her fears and move on to the next section.

The group was next led to another gallery where we were in a moment of time where we would experience both being old and being young at the same time.  A group of “nanas” were dancing as young girls dressed in sparkly sequined dresses.  As Constance is taken aback by the feisty little old ladies, their moments are interrupted by young children who are dancing as though they were the old ones.  They were dressed in simple outfits in dark colors.  The juxtaposition of old and young was fascinating and was shown through Constance’s curiosity.  In truth, this was my least favorite part of the show.  The choreography for the first whole part didn’t seem to work for me.  It was as if someone else a little younger and a little more inexperienced had put it together.  While I understood the reasoning behind the sparkly cocktail dresses, I found them extremely distracting, and all I could think about was how miraculous it was that the sequins hadn’t caught and messed the dancers up.  This section was redeemed when the children danced, and the ending part showed maturity in both the dancing and the choreography.  The nanas left, and so did Constance, and we followed her to the next section.

In the next room we were introduced to the Pristinellas- ice goddesses that were allowing Constance, and our group, to be a witness to their ceremonious dance.  Our time troll had told us that winter was on its way (my boyfriend and I turned to each other and said “Winter is coming” as she described that.  Yep, we are Game of Thrones nerds).  The four dancers that play the Pristinellas were tall, long-legged, and beautiful.  They were dressed in nude tops and bottoms, and were “exposed” to show their vulnerability.  The floor was scattered with paper “snow”.  It was absolutely beautiful.  I was completely enchanted by the graceful and solemn movement.  I fought back tears as the girls extended their legs and pointed their toes and temps de fleched into the air.  I was truly touched that these ice goddesses (the so-called “ballerinas” of the company perhaps?) had allowed us to witness their world.  Even Constance just sat and watched in awe and wonder.  To be touched through dance like that is what I look for in performances, and I’m so glad we got to see that.

After our journey through winter, we were told it was time for a commercial break.  How fun!  We were ushered into a little smaller space for what must have only been a few minutes to watch 2 male dancers in Urbanity-wear dance and show us that there were tank tops on sale!  What a unique way to promote!  I thought it was very fun, and creative way to get our attention.

Next we “stumbled” upon a group of dancers in a playground.  A group of younger dancers monk eying around in a playground.  It was so much fun!  They were dressed in coats and leggings and boots (good job for keeping those kids warm!).  This was a great site specific piece.  The kids used the swings, the slides, the seats that spun, etc.  It was even set up that they pulled an “unsuspecting” member of the audience into their playtime (it was soon revealed that he was part of the show.  After a rollicking 5 section version of “Gangnam Style” he revealed a t-shirt that said something about living, and proceeded in blowing bubbles from the slide).

Our final stop brought us into the Urbanity studios.  2 screen projectors were set up and Constance danced between them as images of her in rural scenery flashed on the screens.  The added multi-media effect really impressed me.  Personally, I’m not a big fan of multi-media dance performances, but this fit very well, and got the point across.  Our Time Troll then had a volunteer help her move the screen projectors to reveal a paisley wall.  I’m pretty sure my great-grandmother had a wall similar to this!  As the music started, hands protruded from the wall (again, something out of a horror flick!).  Two dancers emerged (Brian Hernandez and Sindy Katrotic) and began to dance and climb and do unimaginable feats on the wall!  I was amazed by Brian’s strength, and even more impressed by Sindy’s ability to keep up with him!  Their bodies moved and flowed with the design of the wall (they were dressed in costumes that matched the design!  Flashback to the shirt scene in the movie “Garden State”).  They were dubbed as “wallflowers” in the program. 

In the end, Constance returns to the family portraiture a changed woman, and although she didn’t seem to fall back into line, she was able to return and yet keep her new found sense of self.  The choreographer and dancers took their bows, and I was honestly a little sad to have it end.  We were invited to head back to the Red Fez or to go on our merry way.

Overall, the performance was enchanting and captivating.  Even my boyfriend, who has a theater background, but doesn't often go to dance shows, enjoyed it!  I was thoroughly impressed with the level of dancing overall.  The choreography was complex, but not overdone.  It was refreshing to see Betsi’s sense of musicality fit the choreography.  Often times I feel as though choreographers try too hard to match the music, or try too hard to go off beat.  Betsi found the sweet spot.  Not to mention her choice in music was fantastic! 

If all of Urbanity’s shows are this fantastic, you can count me in to be there for every single one from now on!  Bravo dancers, Betsi, and everyone who was involved!  I highly suggest you all check them out at www.urbanitydance.org, or on Facebook or Twitter.  I follow them myself!