2016 in Review: Dance, Dance, Dance!

Hi everyone,

It's hard to convince people to join me for dance performances, but they are well worth the price of admission. Continuing my look back at 2016, here's an review of the shows I saw last year.

Bowie & Queen (The Washington Ballet) 

Wandering around the Kennedy Center before seeing a show there, I saw the Washington Ballet's poster for its Bowie & Queen show. The image was of two glammed out ballet dancers striking poses – one was clearly meant to represent David Bowie during his Aladdin Sane days, while the other was obviously meant to be Freddie Mercury. I gasped, took a photo of it, and posted it on Facebook, noting that I was getting a ticket for whatever this was. My sister responded, saying she wanted to go too!

By the time the show came around, David Bowie had died. I'd never been so upset about a famous person dying as I was when he did. I attended a few local tribute concerts before realizing I wasn't enjoying the songs as much as hearing Bowie's own voice sing them. And, it was five months before I was ready to switch my iPod from my Bowie playlist back to shuffle mode. So although this concert was planned well in advance of Bowie's death, I set the bar unfairly and unreasonably high for how good it had to be.

I had some disappointments: First, no ballet dancers were dressed up as David Bowie or Freddie Mercury, as the poster had implied. That's false advertising. Also, the show was not a mix of David Bowie and Queen music, as I had assumed it would be. The first half was a world premiere dance, titled "Dancing in the Street," choreographed by Edward Liang. It focused on Bowie's introspective side and included two obscure 1966 tunes ("Good Morning Girl" and "I'm Not Losing Sleep") along with his 1985 cover with Mick Jagger of "Dancing in the Street."  From David Bowie's vast library of amazing songs, these are the only ones the choreographer chose to use! They were intertwined with live instrumental music by Gabriel Gaffney Smith, which my sister and I enjoyed more than the unfamiliar Bowie songs. My sister even commented that some of the dancers were, at times, a beat behind in their steps.

Now that I have a handle on my grief, I appreciate the Bowie-inspired dance much more and wish I could give it another look. It attempted to tell a story, revealing the thoughtful and deliberate relationship he had with his fans, behind his personas. It was intellectual, concise, and quiet, like the man himself. I think that Bowie would have loved it because his music was used to inspire new art from a completely unexpected perspective. You can't get much better than that.

Here are some highlights from the Bowie side.

Bowie dance highlights courtesy of The Washington Ballet, 2016 

The Queen side of the show – titled "Mercury Half-Life" – was exhilarating and everything I expected the Bowie side to be. It was Queen hit after Queen hit – "Bohemian Rhapsody," "We Are the Champions," "We Will Rock You," "Under Pressure" (Freddie Mercury's duet with David Bowie) and many more. Choreographed by Trey McIntyre, the dances were exciting, the lights were bright, and the music was loud. That's all I wanted. Trey McIntyre, please create a David Bowie show next!

Here's some solo work from Mercury Half-Life.

Selection of Mercury Half-Life Solos
(Benjamin Everett Behrends, courtesy of NetworkDance, 2013)

DEMO Series (Damien Woetzel)

I went to two shows that were part of the Kennedy Center's DEMO series because of Lil Buck's involvement. I know Lil Buck, a hip-hop "jookin" dancer, from his involvement with the TV show "So You Think You can Dance." He's amazing and can be seen on TV these days in variations of this Apple commercial. Conceived by Damian Woetzel, the DEMO series explores different themes through a variety of art forms.

In April, DEMO: Places offered varied entertaining performances representing arts from around the world, including hip-hop dancing and authentic music from India, Ireland, and China. It also included some original American songs (sung by Kate Davis, who is new to me but I liked her voice and songs) and familiar classical music, like Stravinsky and Bach.

The next day at noon, I attended a Citizen Artist Event that was advertised in the playbill. It was presented by the Hirshhorn Museum and Sculpture Garden in collaboration with the Kennedy Center.  The same performers presented a similar free performance outside the museum's front doors, where we sat on the ground in a wide circle to watch them. These are the types of things that make D.C. awesome.

Six months later, DEMO: Heroes focused on performers and mentors who have inspired future generations. I was excited that the first dance noted in the playbill was a tribute to Gene Kelly and other dancers, but my first thought was that the list missed the opportunity to acknowledge the title of the show with a performance of one of David Bowie's signature song, "Heroes." (Yes, I am still sad.) But great minds think alike because Kate Davis kicked off the show performing this song with her acoustic guitar while Lil Buck glided around her. (In fact, this show was named after this song, inspired by the outpouring of tributes paid to artists in 2016, including David Bowie.)

I knew most of the mentors they chose to highlight in this show. Aside from Gene Kelly and Fred Astaire, they also paid tribute to dancers Martha Graham, Gregory Hines and Sammy Davis, Jr., and George Balanchine, among others. For music, they honored opera singer Renee Fleming, Stevie Wonder and Oscar Peterson (with a piano performance by 12-year-old blind prodigy Matthew Whitaker), and Leonard Cohen (with a performance by the Musicorps Wounded Warrior Band). One of the most poignant pieces was "Vision and Justice," a video collage of photographs set to segments of speeches by John F. Kennedy.

These DEMO series concerts are not only educational but entertaining, offering unexpected combinations of art forms. Prepare to be surprised and inspired! While not the same show I saw, this video is a sampling of what to expect from a DEMO show.

Works in Progress at the Guggenheim: DEMO with Damian Woetzel, 2014

The Blues Project (Dorrance Dance with Toshi Reagon and BIGlovely)

I came back to the Kennedy Center to see The Blues Project by Dorrance Dance with Toshi Reagon and BIGlovely. I was impressed by Michelle Dorrance when I saw her on The Late Show with Stephen Colbert earlier in the year.

This tap-happy show was accompanied by live blues music by Toshi Reagon and BIGlovely, who played behind the dancers. Although I hadn't heard of Toshi Reagon and BIGlovely before, some people in the audience were longtime fans. Now I'm a fan too – I liked their songs and style. This performance introduced some inventive tap moves. I liked the colorful costumes and appreciated that the dancers comprised a diverse group.

Check out this preview to get a taste of the exciting performances in The Blues Project.

The Blues Project: Dorrance Dance and Toshi Reagon and BIGlovely, 2016

Dancers are amazing athletes, and they're energy is contagious. Treat yourself to a show. It's good for your health, and you just might come away from it floating on air, just like them.

Best,






Image credits: Bowie & Queen: Jennifer Zmuda, Demo Series: Teresa Wood, and The Blues Project: Christopher Duggan

George Michael

Hi everyone,

I'm slow in tackling Illustration Friday's drawing topics this year because I've been pondering my tribute to George Michael, who died on Christmas Day. (Thanks again, 2016.) Technically, my tribute could relate to two recent topics, Tape and Sound, because most of my memories of George Michael involve dancing around my room to my Wham! (Fantastic and Make It Big) and Faith cassette tapes. I danced beyond my room when I upgraded to a Discman, which allowed me to tune into Listen Without Prejudice, Vol. 1, wherever I wanted.

MTV introduced me to George Michael. He was pretty and had style. He made great videos, had a fantastic voice, and wrote amazing songs – a vast catalogue of pop perfection with thoughtful messages. While I haven't heard all of his latest work, I grew up listening to Wham! and George Michael's first two solo albums; all those songs are still among my favorites. George Michael was always there for me, offering through his music whatever my mood needed.

In mid-December, I attended the biennial Rainforest Fund charity concert in New York, which had a seasonal/holiday theme. When Sting broke into a cover of Wham!'s "Last Christmas," I – and all the girls around me – gasped and started joyfully dancing and singing along in our seats. (George Michael has that effect on all of us!) I secretly hoped that George Michael would make a surprise appearance to finish the song himself. I wondered what he was doing now.  

After I heard the news, I spent the rest of my Christmas vacation reading more about his life. I was reminded of his bravery and humor in the face of life's challenges and whatever unnecessary details the tabloids published about them. I learned about his big-hearted generosity among friends, fans, and strangers alike. And, suddenly, I longed for that ever-present honesty in everything he did. What song should I listen to now, George Michael?

This drawing is a true story. (I've upgraded my Discman to an iPod so don't worry, George Michael, The Kitties and I are still dancing and singing along.) Here, we're listening to "Freedom '90", one of many songs that perfectly captures a moment of honesty and growth in George Michael's life, as he sheds his early pop star image and asks to be accepted for who he really is. We could all use some more of that.

Freedom '17 (See and hear "Freedom '90" here: https://youtu.be/diYAc7gB-0A.) 

I'll miss this guy – his thoughtfulness, talent, grace, and style. I'll miss him being unapologetically George Michael.

2015 in Review: That's Dancing!

Savion Glover's STePz, Strathmore, Bethesda, Maryland (February 6, 2015)

On the STePz... © Andrea Mohin/New York Times

Savion Glover always brings something new. Unlike any other dancer, this guy makes me sit at attention and, by the end of each performance, my mouth is usually gaping and my eyes are dry from not blinking.

STePz seemed more formal than the other free-flowing Savion Glover shows I've seen. This one celebrated the history of music and dance. It paid tribute to several dance styles other than tap, as everything from classical and Latin to pop blasts through the speakers. Savion performed a moving solo honoring tap pioneer Bill Robinson during "Mr. Bojangles," where he and his shadow evoke the past with Robinson's familiar moves. On the fly after the intermission, he and the three lovely lady tappers accompanying him during the show – Robin Watson, Sarah Savelli, and Lisa LaTouche – decided to sing an acapella verse and chorus of Michael Jackson's "The Way You Make Me Feel."

The show included a few short sets of stairs (the STePz?) on which Savion and the other dancers tapped – sometimes choreographed, sometimes improvised. In one memorable moment, Savion and fellow hoofer Marshall Davis, Jr., battled it out on the steps, mimicking and adding to each other's improvisational beats. In another, the three ladies took advantage of the stairs for some choreographed tapping that saluted other dance styles, like ballet, tango, and jazz. The show ended with the whole troupe dancing to Stevie Wonder's "Sir Duke." They froze at the end in classic superhero poses with one arm punched skyward. On cue, we erupted in cheers – until we had to leave and deal with our delirium at home.

Savion Glover never disappoints me. Here's a taste of the show:

Savion Glover's STePz video © Savion Glover

Alvin Ailey American Dance Theatre, Kennedy Center, Washington, D.C. (February 7, 2015)

From "Revelations" © Gert Krautbauer

Seeing the Alvin Ailey dance troupe is always a good idea. Having said that, my heart was still beating to Savion Glover's taps from the night before when I attended this afternoon matinee, so my memory of it is vague. However, I liked this performance very much.

Whenever the Alvin Ailey company comes to the Kennedy Center, it's booked there for a few days and offers different dances at different performances. This show's dances were created over the course of more than 50 years. "Polish Pieces" first appeared in 1996, "Bad Blood" premiered in 1986, and "Caught" is from 2004. The showstopper at the end of every show this time around was "Revelations," a dance created in 1960 and set to traditional, spiritual music.

What I always remember about Alvin Ailey dance shows is the bodies – how the dancers hold their alignment with precision and move in inventive ways. The music informs the movements, and the costumes accentuate the emotion. "Revelations," for example, sweeps you up as the dancers in full colorful skirts twirl across the stage in unison. Alvin Ailey American Dance Theatre gives you a full experience that touches all the senses through movement and leaves you with something new to talk about afterward. This afternoon's inspiring performance had us singing along, cheering, and clapping for encores.

It's a coincidence that I saw a story about the Alvin Ailey dance troupe on PBS Newshour last night. Correspondent Jeffrey Brown talked to Artistic Director Robert Battle about his aim to take the company in a new direction while honoring its storied past. Check it out:

Historic Dance Company Prepares for New Steps video © PBS Newshour  

Twyla Tharp 50th Anniversary Tour, Kennedy Center, Washington, D.C. (November 13, 2015) 

From "Yowzie" © Kevin Parry

Although I've always known her name, I'd never seen Twyla Tharp's dances until this 50th anniversary performance. "Long ago, I made the choice to mark this point in my career not with events celebrating the past, but with new dances showing what I had learned and some of what I had experienced during this working life," Tharp explains about the show. A short fanfare piece introduced each half of the the program, and while the two halves couldn't have been more different in style or music, they somehow made sense together.

The first half explored Bach's preludes and fugues through balletic moves. During these short piano pieces, the dancers, who were dressed in plain but bright one-color costumes, personified the notes being played. Each entertaining piece was different in the number of dancers and their stories. All were infused with surprising funny moments told through dance. The second half showcased "Yowzie," a performance set to a series of 1920s jazz tunes, many of which I didn't recognize, though I knew the composers, like Jelly Roll Morton and Fats Waller. For these dances, the performers were dressed in bright, patterned costumes and accessorized with headbands or hats. They never stopped moving and sometimes looked like jelly bouncing into and off each other in joyful, controlled chaos.

The innovation Twyla Tharp's choreography is a thrill to watch. I love most that the humor and joy she finds through her work is evident and contagious with every step. Here's a snippet of the show:

Twyla Tharp 50th Anniversary Tour video © Twyla Tharp

Dancing is good for the soul, even if you're just watching. So, go treat yourself to a performance and you might find yourself dancing your way home. 

Savion Glover

Hi everyone,

If you think you're not a fan of tap dancing, Savion Glover will change your mind. I first became aware of Savion Glover in the late '80s and '90s when he showed up dancing in Coke commercials. He became more well known after meeting mentor Gregory Hines and winning a Tony for his choreography for the Broadway show Bring In 'Da Noise, Bring In 'Da Funk. You can even find him in some films like Tap, costarring Gregory Hines, and Bamboozled, directed by Spike Lee. If you want to hear more about his life and work, check out this video, in which he talks about his start and mission.

Savion Glover dances like no one else and to see him perform in person is always an unforgettable experience. By now, I've seen him a few times in the D.C. area. He once performed at Howard Theatre with jazz pianist McCoy Tyner accompanying him. After Trayvon Martin was killed, Savion Glover provided an intense, emotional performance at Warner Theatre that commented solely on that tragic event. Most recently, I saw him in two equally amazing, entirely different shows.

Savion Glover, Howard Theatre, Washington, D.C., August 23, 2014

Yeah, I was this close.

For this general admission show, I arrived about an hour ahead of time. Those of us who were early and waited in line in the lobby for the doors to open were treated to hearing Savion Glover practice his routines up to two minutes before the doors opened. 

Because I arrived so early, my seat was in the front row, center, flush with the stage. I'd never been so close, looking up at the dancer as he stares into space and sweats like an athlete. Savion Glover gets in the zone! When he first came out, he picked up a microphone to welcome us but instead started to dance. He continued for at least 20 minutes, holding on to that microphone. When he finally stopped, he greeted us with, "I guess I should say something now." 

During another piece, he and the drummer battled. The drummer played increasingly complicated beats and Savion Glover repeated them perfectly through tap. Another tapper, Marshall Davis, Jr., joined him once in a while during this show, but for the most part, Savion Glover danced solo.

I shared my table with some friendly fellow fans who somehow talked their way into meeting and getting photos with the man! Can you believe I was in with that cool crowd?

         

STePz, Strathmore, Bethesda, Maryland, February 6, 2015

Six months later, on February 6, 2015, Savion Glover performed at Strathmore in Bethesda, Maryland. For this show, titled STePz, my seat was about six rows from the stage. While the other show seemed more improvised, this show felt slick and polished. Set to a variety of recorded music, each piece covered different dance styles, such as jazz, tango, and ballet, and nodded important moments in dance history, including tributes to Bill Robinson and Michael Jackson.

Photo © Lois Greenfield

Compared to the previous show, this one more prominently featured other tappers Marshall Davis, Jr., Lisa LaTouche, Robyn Watson, and Sarah Savelli and group performances, some of which didn't even include Savion Glover at all.

Toward the back of the stage, a center platform with three steps leading up to it was flanked by two pyramid-style steps on either side. In one piece, Savion Glover and Marshall Davis, Jr., took on the pyramid steps, having a conversation through their taps. In another piece, the ladies saluted Broadway and jazz in glittery costumes with a routine featuring the stairs. Savion Glover shined during his solo tribute to Bill Robinson, during which he mimicked the hoofer's signature dance moves and walk. During another piece, he and the other dancers stood in a line spanning the stage while dialogue played on the stereo, he tapped with one foot at warp speed without moving the rest of his body. (It wasn't until at least half way through that I realized who was doing the tapping.) The show culminated with the entire group dancing to Stevie Wonder's "Sir Duke" in a routine that ended with all of them in a super-hero pose – one arm stretched high, punching the air and striving for higher ground.  

I can pick more adjectives, like spectacular, exhilarating, magical, and awesome, but you have to see this guy for yourself. While video can barely capture the energy in the room when experiencing Savion Glover in person, here's a taste of STePz:

YouTube video, © Savion Glover Productions, Savion Glover's STePz: https://youtu.be/EDC8U0k1nNg. 

What are you waiting for? Go see Savion Glover when you can! He'll change your life for the better.

Best,

2014 New Moves: Symphony + Dance Festival

Hi everyone,

Last year, an email from The Kennedy Center caught my eye. It advertised an upcoming National Symphony Orchestra (NSO) performance that included music from Leonard Bernstein's On the Town and On the Waterfront, complete with dancers. On the Town is one of my favorite Gene Kelly movie musicals about three sailors on 24-hour leave in New York City. This performance was one of three that comprised the Kennedy Center's two-week New Moves: Symphony + Dance Festival. By the end of the night, I had decided to attend all three of the New Moves performances. Here's how they went.

NSO Concert #1. William Shuman, Marc Neikrug, and Leonard Bernstein (May 8, 2014)
For this performance, I got a cheap seat in the front row of the first tier's right-side balcony and had to lean forward to see more of the stage. I couldn't see some of the performers because of the extreme angle of my seat. Note to self: next time, pick a seat on the floor in the center for a straight-on, full view.

My first surprise of the night was that the dancers only performed during selected pieces of the choreographers' choosing. The first half of this show was music only.

William Schuman's "New England Triptych" was a collection of interesting sounds without much melody. It used lots of horns, making it seem very patriotic at times. I liked parts of it, particularly the second movement but, as a whole, it was too modern for my taste. The next piece, "Bassoon Concerto" by Marc Neikrug, had more promise from what I read in the program notes: The composer tried to steer the instrument away from its comical reputation, it explained. Soloist Sue Heineman was great at playing the bassoon, but I still couldn't take its sound very seriously. The bassoon makes me think of cartoons.

The second half included the music I came for and the dancing. The three dance episodes chosen from On The Town were randomly selected from the Broadway show. Although not the same as the movie that I know so well, I recognized and was excited by the music they played.

My second surprise was that the dancing was nothing like Gene Kelly's choreography, a revelation that disappointed, confused, and pleased me all at once. As in the musical, six dancers (from Keigwin and Company) – three girls and three boys – portrayed the sailers and their newfound girlfriends, but that's where the similarities ended. The barefoot dancers were full of New York energy and used the entire length of the 16-foot-by-80-foot extension of the stage in front of the orchestra. It was real-life Cinemascope. (This is where my skewed view became problematic.) I liked the On the Waterfront dance even better, probably because I was less familiar with the music and had no dance routines already memorized.

My third surprise came after the show ended. The performance I chose to attend was followed by a free "After Words" session, a discussion and question-and-answer opportunity moderated by NSO Director of Artistic Planning Nigel Boon with the guest conductor Tom Wilkins, composer Marc Neikrug, bassoon soloist Sue Heinman, choreographer Larry Keigwin, and Kennedy Center Director of Dance Programming Meg Booth.

Learning from choreographer Larry Keigwin (who choreographed Broadway's If/Then) that the Bernstein family and trust forbid copying of any of On the Town's original Broadway show or movie musical choreography made me appreciate his work more. "It was freeing, in a way," Mr. Keigwin said of the restriction. The biggest challenge, however, was rehearsing in a 30-foot long New York studio for a performance in an 80-foot long space. "But I had the dancers go through it five times when they got here," he shrugged. Discussions with such creative people always inspires me, so I made a point to attend the festival's next two performances, including the "After Words" for each.

NSO Concert #2: George Gershwin, Samuel Barber, James Oliverio, and Duke Ellington (May 13, 2014)
Another reason I decided to attend the remaining two performances was that the lineup of this second concert sounded even better than the first. The promise to play selections for orchestra from George Gershwin's Porgy and Bess and a few others tunes by Duke Ellington was enough to convince me. This time, I bought a pricier ticket for a better view on the ground floor in the center section, about 10 feet from the stage.

The only music I recognized at this concert was George Gershwin's, but I liked everything I heard. The excerpts from Gershwin's Porgy and Bess had me singing the songs in my head. Next, Samuel Barber's "Souvenirs" was a series of pieces that explored dance styles, including the waltz, tango, and two-step. I wanted to see dancers with it, but that's not what the choreographer chose.

The final piece of the first half of the show was Timpani Concerto No. 1, "The Olympian," featuring NSO's principal timpanist Juavon Gilliam. Through this concerto, composer James Oliverio wanted to create a piece where the timpani deserved a place in the front as virtuoso soloist. "I wanted to stretch the instrument," he said. So, those giant drums that typically stay in the back of the orchestra were now spotlighted up front. The hardest thing for the musician was finding all the drums he needed to perform the piece; some were his, some were borrowed, and some belonged to the NSO.

Perched on a swivel chair, Mr. Gilliam was surrounded by eight drums of different sizes. He maneuvered in his chair as if it were an amusement park ride, constantly hitting pedals with his feet and tuning the instruments while he banged on them, sometimes to carry the melody of the piece. It was a sight to see from 10 feet away, a great showcase for an instrument that's usually relegated to the back and only assigned a few notes during high-impact moments. Mr. Gilliam practiced this piece for months in the Kennedy Center basement. He even brought in a TV so that he could catch some basketball games while he worked, yet he downplayed how effortless his performance seemed: "I'm just trying to hit the right notes at the right time."

The second half of the show was all about Duke Ellington. "Giggling Rapids" from The River was a wonderful, fast-paced whirl of a song, after which guest conductor Tom Wilkins – who conducted all three of these concerts – turned to us to let us know when we could start clapping, "That's all we got," he nodded. (This conductor, from Nebraska, was cool! You could tell because he wore black socks with bright, wiry vertical stripes. He told us that he'd wanted to be a conductor since he was 8 years old.)

Two pieces from Three Black Kings followed, "King of the Magi" and "Martin Luther King." While unfamiliar to me, they were unmistakably Duke Ellington's. The final piece, called "Harlem," included dancers from the New Ballet Ensemble in Tennessee. The New Ballet Ensemble is a youth development program that provides arts education after school and beyond for kids who can't afford it. The nine dancers representing the company on stage were of all ages. Inspired by a New York performance she saw of Martha Graham's dance for "Appalachian Spring," choreographer Katie Smythe had the performers portray different personalities through dance styles to paint a diverse portrait of the Harlem scene. She gave the dancers some leeway to improvise at times and noted that using live music makes all the difference. "It gets in your blood and your bones and your heart and the goosebumps on the top of your head," she explained. "You can't do that with recorded music."

No one in the room could help being inspired and humbled by the New Ballet Company's mission and exhilarated by the joy and exuberance of these dancers and the music. Not only was this my favorite concert of the three, but this was my favorite performance. When planning the evening's program, conductor Tom Wilkins said that he and NSO Artistic Director Nigel Boon knew they found a combination of pieces that worked really well together: "We were walking out of the building last week going, 'We're geniuses!'"

NSO Concert #3. Michael Daugherty, George Walker, Aaron Copland, and John Adams (May 16, 2014)
This concert was the great unknown. I was unfamiliar with the composers, but I bought a ticket anyway, confident that they wouldn't let me down. This time, the Kennedy Center emailed me a coupon to access the most expensive seats in the house at a cheap-seat price. I'll take it!

Michael Daugherty's "Red Cape Tango" from Metropolis Symphony was the first and my favorite piece, capturing the comic-book death of Superman. I could see it happen thorough the dramatic sweeping sounds, complete with church-bell chimes. "Sinfonia No. 4 (Strands)" by George Walker is modern and a little frantic. "Appalachian Spring" by Aaron Copland, which is probably the most popular piece of the bunch, easily sparks the imagery its title suggests.

All three of these pieces have been paired previously, and some famously, with choreography. So, choreographer Jessica Lang chose to work with her dancers on John Adams's "Violin Concerto," which had no such familiar connections. Her modern, unique creation began in the chorister seats above the stage. The nine dancers moved among the rows, sometimes in unison and other times not, at a slow pace while violin soloist Leila Josefowicz frantically played her instrument as if it were a race to the finish. She told us later that she's played the concerto so many times now that people have started asking her why she continues to revisit it. "If we said that about Beethoven of Brahms," she countered, "we'd never have any performances." Well played.

The dancers made their way down to the stage after the first, 15-minute-long movement, continuing with random sculptural moves that only dancers can achieve. It was so impressive that many of us, mesmerized by the performers in front of us, lost track of the music.

During the "After Words" discussion, some audience members complained that the dancers, while amazing, distracted them from the music and musicians. But composer Tom Wilkins advised, "Don't cheat yourself out of a new experience just because you like one more than the other. Just treat it like dessert." One audience member had another solution, "Come back tomorrow and see it again." I was all for that idea.

The goal of the New Moves: Symphony + Dance Festival was to mix things up. While sharing the diversity of American music, it brought the performing arts of music and dance together. The festival erased categorical lines and instead embraced connection and collaboration. One audience member summed up our enthusiasm about this experiment well: "I'm excited that the Kennedy Center is fusing the communities, taking time out of your normal schedule – normal for the Kennedy Center – and painting a door for that child..."

Just inspiring one person to think outside the box would make this festival a success, but I can attest that it inspired many. Here's to the next New Moves: Symphony + Dance Festival, whenever that may be. See you there.

Best,


Credits: NSO Concert #1 dance photos © Kyle Manfredi; photo of Juavon Gilliam courtesy of Kennedy Center; NSO Concert #2 photo © Scott Suchman; NSO Concert #3 photo © Takao Komaru 

Let's celebrate Gene Kelly!

Hi everyone,

As you may know--especially if you read my post about attending last month's screening of Singin' in the Rain--Gene Kelly is one of my most favorite people no longer on the planet.

I can't remember exactly when I fell in love, but my first memory of him was watching his "Heather on the Hill" dance with Cyd Charisse in Brigadoon when I was  11 or 12. However, he was also in Xanadu, a movie I was completely obsessed with when I was 6! I had no idea who he was at the time--clearly mesmerized solely by that movie's combination of Olivia Newton John, roller skating, and catchy songs that I sang along to every time. But maybe it was really in Xanadu that Gene Kelly tapped into in my subconscious.

So, you could say that Gene Kelly's been in my life for most of it. And I can't image it without him. I joke that I must have fallen on my head when I was 12 because I seem to have never passed that celebrity-obsessed teenybopper stage. When I was 12, my life was about my three heroes: Johnny, Sting, and Gene!

After Brigadoon, I had to see every Gene Kelly movie I could find and read all about him. He's a really important figure in dance and film history, having invented a whole new dance style and making it accessible to everyone. But I never really thought of Gene that way: In my eyes, he was confident and handsome and romantic and smart and funny--and he danced on air!

Today would have been Gene Kelly's 100th birthday, and I've been contemplating how to celebrate it. Last night, I was still in the throes of brainstorming! What's the best way to spread the love to you about a guy who hit his prime in the early 1950s?

While pondering this question, I watched "So You Think You Can Dance," my summertime obsession! The weekly dance competition, which is working its way toward finding America's Two Favorite Dancers (one guy and one girl),  is down to its Top 10 contestants. This week, the group opened the show with a Gene Kelly tribute choreographed by Tyce Diorio. The dance, a kaleidoscope of Gene's famous dances and movie moments, began with the camera focused on Cyrus (my Favorite Guy) snapping a film clapperboard with Gene Kelly's name written on it. I gasped at the sight of it and beamed smiles as I recognized each familiar character and move.

That's it! Nobody makes me smile like Gene Kelly. Last week, Julie and Liam gave me a customized iphone case that's decorated with three photographs of Gene. I don't even own an iphone yet, but the case makes me smile whenever I look at it.

But what really sends me over the moon is the dancing. Gene shared pure joy with every step.

So, here's to a year of Gene Kelly celebration! I haven't yet figured out a schedule, what I'll call it, or what I'll draw, but The Kitties are already in rehearsal and auditioning for the starring role of our tribute. (Don't worry, I'll let you know when I figure out all the details.)

While The Kitties and I don't plan to feature his entire filmography, we will honor our favorite Gene Kelly dances from most of his musicals--with a few surprises thrown in as extra treats. I'll also be sure to include videos of each dance so that you can see the inspiration. May they give you the same glorious feeling I get every time I see them. It's kind of like this....

Our Gene Kelly Tribute is coming soon, so stay tuned.... In the meantime, don't forget to catch some of Gene's movies today on TCM. His wife, Patricia, is hanging out with host Robert Osborne this evening, starting at 8 p.m. Good movies, amazing songs and dances, and trivia--Talk about treats!

Enjoy,

Image copyright credits: Brigadoon: MGM; Xanadu: Universal Pictures; Gene Kelly still: unknown; Singin' in the Rain: MGM.

Nobody does it quite like Fred.

Hi everyone,

Last week, the Smithsonian put me in the clouds with Gene Kelly at the Museum of American History. This week, they offered a date with Fred Astaire at the Hirshhorn Museum. Thursday night, Fred Astaire: Dancing with Genius, offered a mix of lecture by fan/Fred expert Christine Bamberger with film clips and recordings to explore the dancer's life and work. 

Fred Astaire's name inevitably came up in whatever I read about Gene Kelly. People like to compare them because they were the two giants of dance at the time, but I never understood the comparison: Their styles are completely different. 

Growing up, I saw most of Fred Astaire's movies. But, unlike the instantaneous adoration that hit me with Gene Kelly, my love for Fred Astaire was more gradual. At first, I thought he was clumsier than Gene Kelly: To me, Fred always seemed to tap too hard and fast; I worried that he might fall over at any second. In my eyes, Gene just floated on air. 

As I got older, I realized that Fred Astaire would never fall over. He could do whatever he wanted with his feet, and everything would always be precise, elegant, and perfect. Someone who knew Fred said his body oozed dance, even when just walking down the street. I believe it!

The lecturer sounded just like me – if you replace Fred with Gene: She fell in love with Fred when she saw That's Entertainment! at 13.  She's a writer/editor for a government contractor, but she watches classic movies all the time. And, by now, she's learned so much about Fred Astaire that she can serve as an expert resource on the topic. 

I wouldn't call myself an expert on Gene Kelly, and I'm definitely not an expert on Fred Astaire: I haven't even read any books about Fred Astaire (yet). So, I was excited to go to this event to learn more about the other giant.

To my surprise, I knew most of what was highlighted in the lecture. I was amazed to find out, though, that Fred Astaire primarily thought of himself only as an entertainer and nothing much more. Always humble, he didn't consider or care much about being remembered for his talent. Instead he stayed focused on moving forward and trying new things. 

Well, Fred Astaire was entertaining! What I love most about him is his musicality; he always made his songs distinctly his own. In fact, songwriters of the day, such as George Gershwin and Cole Porter, asked him more than any other entertainer to introduce their songs in his movies. Fred Astaire had his own style of singing and seemed to play instruments with ease--talents that, I learned, he just "picked up along the way." As Christine said after we watched Fred play an elaborate tune on the piano, "It's not fair, is it?"

Ultimately, the lecture made me want to watch Fred Astaire dance. So, here's one of my favorites, "A Shine on Your Shoes," from 1953's The Band Wagon.

This dance makes me so happy! Of course, Fred is amazing. (You'll see what I mean about his musicality here.) This song was written in 1932 by Arthur Schwartz and Howard Dietz, and this is a wonderful version of it. But, for me, the shoe-shiner practically steals the show – I love this guy! He's beaming! His name is Leroy Daniels, a real-life dancing shoeshine man they found in Los Angeles. Check it out: 

Copyright: MGM

I suppose, if Fred Astaire showed up at my shoeshine stand, I'd be that happy too – especially if I had remembered to wear my pink socks.

Dance

(Illustration Friday: June 16, 2006)

Look! The Kitties are dancin'!