Collaborations – RVArt Review

LONELY PLANET

LONELY PLANET

Sorry, We’re Closed

5^th Wall Theatre in Collaboration with the Firehouse Theatre

A Theater Review by Julinda D. Lewis

At: The Firehouse, 1609 West Broad St., Richmond, RVA 23220

Performances: November 10-26, 2023

Ticket Prices: $1 – $35

Info: (804) 355-2001 or firehousetheatre.org or https://www.5thwalltheatre.org/

NOTE: It’s just about impossible to talk about this play without giving away some of the best parts. If you haven’t seen it yet and wasn’t to be surprised, you might want to wait until after you’ve seen it to read this. But yes – do see it – and then comment if you like. I’d love to hear what you think. -JDL

Steven Dietz’ two-person play, Lonely Planet (1993) borrows freely from (as in pays homage to) Eugène Ionesco’s absurdist play, The Chairs (1952), but while there are elements of the absurd and quite a bit of humor in Dietz’ play, it is at heart neither absurd nor a comedy – it is a play about manifested grief.

Set in an unnamed American city during the 1980s, Lonely Planet tells the story of two friends, Jody and Carl, who are each in his own way handicapped by the AIDS epidemic that is raging outside the doors of Jody’s quiet little map store.

Jody copes by withdrawing into the safety of his store, where the distortions of the Mercator map become a metaphor for the distortions of the world around him. At one point Carl quotes some frighteningly high number of deaths among people they know. Where Jody withdraws, Carl feels compelled to do something.

One day a single chair appears in Jody’s shop. Then another and another, until his safe haven is cluttered with chairs – each representing a dead friend. Carl’s place is too small to hold these monuments. He describes his apartment as so small that he has only one chair – a silver kitchen chair with a turquoise seat. In the final scene, Jody – who has finally found the strength to venture back outside – arrives at his shop to find Carl’s chair in the center of the space.

An impossibly balanced jumble of chairs greets the audience on entering the space, and Daniel Allen’s set filled with racks of rolled maps and map tables and all things cartographic is stunning and immersive. Todd LaBelle’s sound design likewise lulls us willingly and unsuspectingly into Jody and Carl’s world – before we realize that this world’s foundation is grief, loss, and tragedy.

Eddie Webster brings a gentleness and vulnerability to Jody that is both endearing and authentic. Adam Turck infuses Carl with an intensity that at times leaves us breathless. The two characters appear to be polar opposites, and yet they are long-time friends. More than that, they each understand things about the other that they cannot share with anyone else. Add to that Carl’s propensity to lie about his true profession and Turck’s character takes on mythic proportions.

Carl’s manufactured occupations are just as metaphorical as the chairs. He says he restores paintings, but appears to know nothing about art. His art restoration represents a way to commemorate the memories of his friends. He says he works for an auto glass repair shop, but what he is really trying to repair are the shattered pieces of broken lives. He says he writes for a tabloid newspaper, but what he really wants to do is preserve the stories of his friend’s lives.

Just as the Mercator projection was designed to help improve navigation, at the expense of distorted shapes and sizes of all but the local or most immediate locations, these two friends have found ways to navigate through the deadly waters of the AIDS epidemic by distorting the world around them. It’s amazing that Turck and Webster, director Nathaniel Shaw, and the author have been able to pull this off and still maintain a sense of humor and humanity.

Along the way to its crashing conclusion the play is grounded by the mundane details of daily life: the yellow pages, a standard black desk phone, self-adhesive stamps, a cell phone (?) In the final scene, Jody – who has finally found the strength to venture back outside – arrives at his shop to find a silver legged kitchen chair with a turquoise seat in the center of the space.

Lonely Planet is a play that will linger long after the two actors take their final bows.

———-

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

———-

LONELY PLANET

By Steven Dietz

Directed by Nathaniel Shaw

November 10 – 26, 2023

CAST

Carl ………. Adam Turck

Jody ………. Eddie Webster

u/s ………. Alex Harris and William Vaughn

PRODUCTION TEAM

Director ………. Nathaniel Shaw

Scenic Design ………. Daniel Allen

Costume Design ………. Colin Lowrey, II

Lighting & Sund Design …. Todd LaBelle, Jr

Dramaturgy ………. Kendall Walker

Stage Management ………. Emily Vial

Production Consultant ….. Michael Hawke

Performance Schedule:

● Opening Night – November 10, 2023 at 7:30 PM

● Running Thursday – Friday – Saturday at 7:30 PM through November 25, 2023

● Running Sundays at 2:00 PM through November 26, 2023

● Pay-What-You-Will shows on November 12 at 2:00 PM and November 16 at 7:30 PM

● Post-Show Talkback on November 19 after the 2:00 PM performance

Tickets:

$1 – $35

Run time:

About 2 hours, with one intermission

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JUMP BABY

An Original Musical About War and Love

A Studio Series Production at The Lynn Theatre at Brightpoint Community College, 800 Charter Colony Pkwy, T Building, Room T112, Midlothian, VA 23114

Reviewed by Julinda D. Lewis

Performances: January 27 – February 5, 2023

Ticket Prices: $10

Info: (804) 796-4000 or email theatreinfo@brightpoint.edu

I usually don’t do much preparation prior to seeing a new show so as not to arrive with preconceived expectations. It didn’t take long before Rachel Landsee’s new musical, Jump Baby, began to feel familiar. This feeling solidified right around the time lead character Amelia West (played by Rachel Rose Gilmour) remarked that the plane banked just before she jumped out. It turns out it wasn’t the plane, hence the title, Jump Baby.

In September of 2021 I attended a wonderfully unique performance of four one-act plays at the Firehouse Theatre. Each had been written in workshop by a veteran, with one, SOAR, being penned by a female veteran. It made an impression:

The first half of the program closed with SOAR,
the only one of the four one-act plays written by a woman veteran, Rachel Landsee. Irene Kuykendall was outstanding as the military lawyer and wife, Rachel. Her husband, Adam (Dean Knight) was also an officer, and the focus of SOAR included the strains military life puts on relationships, the demands made on women, especially if they become pregnant while in service, as well as philosophical discussions of the validity of sending US troops to Iraq and
Afghanistan. For me, this was the most complex and layered of the four pieces, and its appeal is enhanced by the presence of a sort of Greek chorus meets four-part harmony a cappella group composed of four of the male ensemble members. SOAR turned out to be a mini-musical, powered by foot-stomping, finger-snapping military cadence, soulful rhythms, and the bluesy strains of Nina Simone’s “Feeling Good.”

Birds flying
high, you know how I feel

Sun in the
sky, you know how I feel

Breeze
driftin’ on by, you know how I feel

It’s a new
dawn

It’s a new
day

It’s a new
life for me…

https://wordpress.com/post/jdldancesrva.com/2727

Nearly 18 months later, SOAR has grown into – or provided a foundation for – a full-fledged two-act musical with an original score by Mark Messing. The a cappella quartet has doubled in size and this iteration features a full ensemble of cast members who play multiple roles, sing, and dance. The military cadences are still there, but now there is a list of a dozen songs and a trio of live musicians, under the direction of Cassie Cipolla. The story of Amelia and Jack has been placed in context, providing more of a backstory and fleshed out relationships.

There’s Jack and Amelia’s marriage, their struggle to understand the role of war and justice, the place of women in the military, and more. At one point, all the women are pregnant, opening the door to but leaving unanswered questions about sexuality, sexual harassment, and sexual assault in the military. Kerrigan Sullivan’s deft direction – and Kayla Xaiver’s choreography – keeps everything and everyone moving at a nice clip that echoes the military cadences.

The inaugural production of the Lynn Theatre’s new Studio Series, Jump Baby is a collaboration involving the development of new work by underrepresented voices (Rachel Landsee, a female veteran and military attorney), professional actors (Rachel Rose Gilmour and Adam Turck), and students (onstage and behind the scenes). It has catchy tunes, cadences, a logical story line, and humor. The minimalist set of boxes and graded planes studded with rivets provides an appropriate and versatile background, especially when creatively lit in a kaleidoscope of colors – or in red, white, and blue. Little touches, such as having the ringing of a cell phone voiced by an actor instead of a recording of an actual cell phone demonstrate a commitment to the process.

I fully expect to see and hear more of this project. “You can do so much with music that you can’t do with words,” Landsee said during the closing show talkback. “Musicals are a fantastic way to express an American way of life.” I don’t think Landsee is finished yet, and it’s been a pleasure to see the growth and development to date. The production closed February 5, but I think I heard from a friend that you may be able to see a streaming version if you contact The Lynn Theatre.

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

———-

JUMP BABY

Written by Rachel Landsee

Music by Mark Messing

Directed by Kerrigan Sullivan

Cast:

Amelia West: Rachel Rose Gilmour

Jack West: Adam Turck

Staff Sergeant Michaels/Soldier: Jay Bynum

Deputy Big Boss/Jumpmaster/Soldier: Conner McGowan

Branch Chief/Soldier: Mac Owens

Acting Deputy Big Boss/Jumpmaster/Soldier/Assistant
Director: Russell Paulette

Big Boss/Soldier: Harrison Phillips

Soldier: Mahala Redden

Missy/Soldier: Ariana Silva

Military Doctor/Soldier: Julianna Velasquez

Band:

Pianist: Justin Lee

Trumpeter/Auxiliary Percussionist: August Redden

Percussionist: Elliot Loucks

Song List:

War Game

Homicide Rhymes with Lullaby

Jumping Hollywood

Death from Above

Undone

Called Away

59 Days and a Wakeup

Christmas Bells

On the Daily

Run, Gun, and Done

Mail Call

Green Light Go

Production Team:

Producing Artistic Director/Director: Kerrigan Sullivan

Playwright/Lyricist: Rachel Landsee

Composer: Mark Messing

Musical Director: Cassie Cipolla

Choreographer: Kayla Xaiver

Creative Team & Designers:

Production State Manager/Lighting Designer/Master Electrician: Alleigh Scantling

Scenic Designer/Technical Director/Properties Master: Hailey Bean

Sound Designer: Grace LaBelle

Costume Designer: Lindsey Ladnier

Assistant Stage Manager/Spot Operator/Costume Shop Supervisor: Claire Bronchick

Marketing Manager/Graphic Designer/Photographer/Videographer/Website Designer: Ian Glass

Assistant State Manager: Michelle Rubinstein

Sound Engineer: Lillian Foster

Crew:

Sam Richardson, Casey Allen, Sadie Tucker, Kenya Saunders

Performance Schedule:

Friday, January 27, at 7:00 p.m.

Saturday, January 28, at 7:00 p.m.

Sunday, January 29, at 2:00 p.m. (Talkback with the playwright follows the show)

Thursday, February 2, at 7:00 p.m.

Friday, February 3, at 7:00 p.m.

Saturday, February 4, at 7:00 p.m.

Sunday, February 5, at 2:00 p.m. (Talkback with the playwright follows the show)

Run Time:

About two hours with one intermission

Tickets:

General admission tickets are $10. Military and veteran tickets are $5. Current Brightpoint students may get their tickets for free with a Brightpoint Student ID. To purchase tickets, go to https://www.brownpapertickets.com/event/5692705

Photos: Ian Glass

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PAGE TO STAGE II

STARR FOSTER’S CROSS-DISCIPLINARY DANCE PROJECT

STARR FOSTER DANCE: Page to Stage II

A Dance Review by Julinda D. Lewis

At: The Firehouse Theatre, 1609 W. Broad Street, RVA 23220

Performances: December 1-3, 2022

Ticket Prices: $15-$25

Info: (804) 304-1523; www.starrfosterdance.org, www.facebook.com/starrfosterdance, Instagram/starrfosterdance

THE PROGRAM

Choreography by Starrene Foster

Lighting Design by Michael Jarett

Costumes by Starrene Foster

Spirits

Inspired by a story by Patricia Smith

Original Music Composition by Daniel Deckelman

Dear Me

Inspired by a poem by Tonyehn Verkitus

Music by DJ Williams Shots Fired; Iron Fist

~~Sisterhood~~

Inspired by a story by Judith Bice

Music by Mike Lazarev; When You Are

FeeJee Mermaid

Inspired by a story by Clay McLeod Chapman

Original Music Composition by Daniel Deckelman with narration by Brent\

Costume Concept Design by Johann Stegmeir, Constructed by Starrene Foster

About Us

Inspired by a story by Mary Lou Hall

Original Music Composition by Daniel Deckelman

Sky Burial

Inspired by a poem by M. C. Boyes

Music by Roger Goula; Looking Back to Self Awareness

Things That Fit Tight Around the Ribs

Inspired by a poem by Molly Todd

Original Music Composition by Daniel Deckelman

I think I have seen most of Starr Foster Dance’s Richmond performances since the company was born in 2001. I have been stunned, enthralled, mesmerized, puzzled, amused, and I have even teased Foster about her seeming preference for lighting on the darker side of the lumens scale or lux meter (or however you measure brightness). The point is, Foster has a unique style, one that most often presents women in a powerful light (no pun intended), and dares to stretch outside any semblance of a comfort zone – whether her own, the dancers, or the audience,

Foster’s latest project, two years in the making – or waiting – due to the restrictions of the pandemic, Page to Stage II, is a collection of seven short dances inspired by seven short stories, excerpts, and poems by local writers. Not only do the dances span a wide range of emotions, but the program is an actual book that contains all of the written works – the pages that found their way onto the stage – that the audience can take away to keep.

In addition to the seven writers, Foster invited six guest performers to dance with her core company of four women: Taylor-Leigh Adams, Fran Beaumont, Anna Branch, and Molly Huey. The six guest performers, Sophia Berger, Charlotte Bray, Shannon Comerford, Elena Dimitri, Keeley Hernandez, and Mosca Mavrophilipos-Flint were a perfect fit, blending easily with Foster’s core dancers and providing the needed enhancement for the stories. To my surprise and delight, I discovered that one of them had been a student of mine when I taught elementary school.

Previous performances of Starr Foster Dance took place in the intimate space of TheatreLab’s black box space, The Basement, but Page to Stage II (the sequel to a 2015 production) was performed at The Firehouse Theatre. The Firehouse seats about 4 times the number of people who fit into The Basement (sadly, TheatreLab shuttered operations at the end of the 2022 season) – and every performance was sold out! This is great for Foster and company, but it also speaks to a growing hunger for contemporary dance in RVA.

Several works on the program stood out above the others for various reasons. The opening work, Spirits, inspired by Patricia Smith’s story of the same name, explores the intentions of spirits, ancestors, and the associations we make with them. Accompanied by strings and the sounds of flowing water, the dancers, dressed in soft pats and matching tops with hems died to look muddied, move like water sprites. They seem to rise and return to a watery grave, evoking images of fictional willies (e.g., the Willis in the ballet Giselle represent the spirits of women left at the alter) as well as the spirits of all whose dreams were cut short before they were fulfilled. The nine dancers seem to float, rise up, and at the end return to their watery grave, still reaching for life – theirs? Or ours?

My absolute favorite was Dear Me. A solo, the work was performed on Friday night by Fran Beaumont. I loved Beaumont’s energy, the lackadaisical way she kicked her leg up to the side and over her head, the motif of running backwards, and even her simple, dark jumpsuit. Funny, assertive, and sassy, the solo, set to a dynamic funk rock score by DJ Williams and Shots Fired, reminded me of the jazzy and dramatic solos of the late American modern dancer, Daniel Nagrin. (If you are not familiar with him, dig back into dance history and find a video of him performing Strange Hero or Man of Action (1948).

FeeJee Mermaid is funny and creepy and deliciously weird. Set to an original score that is reminiscent of circus music and a narration of Clay McLeod Chapman’s fictitious lecture on how to make a FeeJee Mermaid. Some people are terrified of the circus, clowns, and sideshows. FeeJee Mermaid does nothing to allay these fears. Based on a real-life hoax perpetrated by P.T. Barnum and others, Chapman’s work – and Foster’s kinesthetic interpretation – is an instruction manual on how to construct a horrible taxidermist’s nightmare: a fake mermaid created by attaching the torso of an ape to the bottom half of a large fish. Foster’s quartet of dancers, clad in flesh-toned leotards dyed in a fish-scale pattern do not actually construct a FeeJee Mermaid, but their circus antics, and Daniel Deckelman’s music are sufficiently creepy to leave a lasting impression. Oh, and one of the remaining examples of a “real” FeeJee Mermaid has been in residence at Harvard’s Peabody Museum since 1897. Look it up – if you dare.

About Us is a story by Mary Lou Hall that tells of a mother who left her family (physically and/or mentally) in order to save herself. In Foster’s dance, Molly Huey (on Friday night) was supported and surrounded by a quartet of dancers who seemed to represent the various versions of her inner self. Huey danced, often with her eyes closed, moving her hands in a repetitive gesture that seemed designed to clear away the cobwebs that both clouded her vision and restricted her movements. It is a very intimate dance, one that breaks the usual rules by focusing inward rather than outward. The supporting dancers move in a very unexpected way, deliberately not drawing attention to themselves, trying not to stand out, but instead focusing on the main character – and the main character is. . .you/us.

I could find something special about each of the dances in this series. The dark dresses of Sisterhood echo the darkness of the theme that seems to be a prelude to a true-crime story about two sisters whose lives are unhealthily entwined. The women in Sky Burial interact with one another like two people feeding each other with long-handled spoons. Then there is the poignancy and steely sharpness of the pointing finger in Things That Fit Tight Around the Ribs. Like many good books, and all poems, Stage to Page II should be seen again and should definitely be discussed. What did YOU see? What did YOU feel? What did YOU take away? This is Starr Foster Dance at its finest.

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

———-

Photo Credits: Douglas Hayes.

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UPROOTED DANCE: The Ascension Project

Dogtown Presenter’s Series 2022

A dance review by Julinda D. Lewis

At: Dogtown Dance Theatre, 109 W. 15^th Street, RVA 23223

Performances: May 20-21, 2022

Ticket Prices: $20 General Admission; $15 Students & Military

Info: (804) 230-8780 or https://www.dogtowndancetheatre.com

THE PROGRAM

The Ascension Project: An Indie-Rock Dance Opera

Choreography: Kiera Hart-Mendoza & Uproot Dance Cast Members

Music: Sufjan Stevens, Ascension Album

Director: Keira Hart-Mendoza

Assistant Director: Carrie Monger

UpRooted Dance Cast Members: Rachael Appoid, Ashayla Byrd, Raeanna Grey, Brittney Leasure, Carrie Monger, and Julianna Raimondo

Community Member Dancers in Act II: Lexie Hays, David Monger, Lea Monger, Maria Carmina Parong, Honey Lyn Savage, Dhol Tuason, Belle Villanueva

Original Projection Art and Design: Nitsan Scharf

Celestial Headpiece Design: Margie Jervis

Lighting Design: Kaylin Corbin

Scenic Design: Ken Hays

This may seem like a strange start, but stick with me. I promise it will make sense. I have memories of people skipping church when they knew the senior pastor was away. They apparently attended church for a personality, rather than to worship God. Some people just don’t like the unknown and unless the guest speaker was a well-known personality, many showed no interest. This is the thought that ran through my mind when I attended The Ascension Project by Uprooted Dance at the Dogtown Presenter’s Series on Friday, April 20. My partner and I seemed to be the only attendees in the approximately 150-seat theater who were not staff members or family or friends of the performers. There were fewer than 20 people in the seats.

Now, I was not familiar with Uprooted Dance, a Metro D.C. – area based company that is committed to presenting interdisciplinary collaborative work that tells thought-provoking stories and community engagement. That is exactly why I wanted to see them. What a great opportunity to see a new-to-me company without having to travel several hours and spend money on gas. Well, that’s my take on the situation, but I know that’s not going to fill empty seats, so without further ado – or diversion – here’s my take on The Ascension Project.

The Ascension Project was inspired by the events of the past two years: the COVID-19 pandemic, civil unrest, social justice, the flattening of personal space as represented on a Zoom screen. Arranged – remember, this is a dance opera – into a prelude and three short acts, The Ascension Project is a journey through time and space that begins with isolation in small spaces, explores identity, trauma, and loss, and concludes with a transcendent journey. So, what does this look like?

The “Prelude,” described in the Director’s notes as “a bright, bold, big dance number” has the company of six dancers performing warm up movements in brightly colored casual clothes against a wall of brightly colored projections that include videos of the dancers performing the “Prelude.” For all the clever moments, including the dancers passing and sharing up close with the audience signs bearing messages such as “I missed you,” “Can you see me,” “Sit back and relax,” and “Enjoy the show,” and an attempt to create a satirical replica of a Zoom dance class experience, the sum total of all the components of the “Prelude” was remarkably subdued.

The dancers spend most of Act 1, the “Dream Sequence” on the floor in uncomfortable positions, rolling and restless as the background of colorful mandalas spins and regenerates at a sometimes dizzying pace. In one mesmerizing section the dancers log roll upstage, walk back downstage, and repeat the sequence, each time at a faster pace until finally they are running. Black and white projections and earth-toned costumes segue into colorful blooming flowers for the ”Circle of Life” section where the dancers move in a clockwise rotation, briefly holding hands and wrapping their arms around one another, ending the nightmare of illness, death, war, and famine.

The focus – and tone – shifts again in Act 2, “America,” when the company members are joined by members of the Sayaw! Philippine cultural dance group and community dancers, including a lone man and two little girls. The focus of “America” is culture and identity and features a power fist pump, a cultural dance, taking a knee, and saluting the flag (background) with a hand over the heart.

Finally, Act 3, “Blast Off,” contemplates what the future holds. The dancers start off as astronauts, in silver suits and a cleverly designed spaceship – a blend of physical and video components – that takes them to future new worlds where race and politics and nationality no longer exist, no longer separate and segregate. After experiencing weightlessness – and planting their flag – the dancers become transformed into celestial beings with lighted constellations headdresses. The lighting and dark costumes obscure their individuality, such as race, hair, skin color, creating a minimalist effect that harkens ack to the beginning.

Make no mistake, like most operas, this one needs a synopsis to help an unfamiliar audience navigate the strange new terrain. Extensive program notes were provided in the printed program but before each new section, Artistic Director Kiera Hart-Mendoza provided a verbal map to guide the uninitiated.

Honestly, The Ascension Project has the look and feel of a work-in-progress. Sometimes, it’s good to get in on an emerging work and follow its development. I suspect this is very much the case with The Ascension Project,” as its name implies. The Ascension Project is an interesting and evolving work that did not quite reach its full potential, but hopefully will continue to evolve and reach an appropriate and appreciative audience.

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

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A CHRISTMAS KADDISH

A World Premiere Holiday Play

A Theater Review by Julinda D. Lewis

At: Richmond Triangle Players at the Robert B. Moss Theatre, 1300 Altamont Ave, RVA 23230

Performances: November 17 – December 18, 2021.

Ticket Prices: $10 – $40.

Info: (804) 346-8113 or rtriangle.org. Richmond Triangle Theater has returned to full-capacity seating and requires proof of vaccine or recent negative PCR test results for entry. See the theater’s website for their COVID-19 precautions, digital programs, and more.

For more years than I can remember, the Christmas season has been heralded by the return of The Nutcracker ballet and a unique holiday-themed play by Richmond Triangle Players. This year’s RTP Christmas production took a new twist with the world premiere of a new musical conceived, created, and directed by the creative team of Levi Meerovich, Nora Ogunleye, and RTP Artistic Director Lucian Restivo.

To make the twist even twistier (I know, convoluted would be a better word choice, but, you know, candy canes and all), one half of a queer couple wakes up in a hospital on Christmas day, having spent four days in a coma. Instead of contemplating presents, Jay and Leigh are contemplating matters of life and death and come to blows when Jay considers signing a DNR.

Taking a page from A Christmas Carol, Jay has flashbacks to previous Christmases – a Groundhog Day style reunion with their parents, the first meeting with Leigh – each preceded by a staticky segue partially unintelligible (or partially intelligible, if you prefer) voices from an ambiguously unidentifiable entity.

To assist with the otherworldly visitations, there is a long runway style ramp where the center aisle would normally be located. This is where Claire Bronchick (Jay) begins the show and the site of several entrances and other-worldly encounters.

The cast, a dynamic quartet consisting of Emily Berry (Leigh), Bronchick (Jay), Amber Marie Martinez (Dr. Martinez), and Eddie Webster (Rabbi Aaron Edelstein) is energetic and have ear-pleasing voices that partner well with Levi Meerovich’s music and lyrics. Indeed, during their first encounter, Leigh jumps up and admonishes Jay, in their characteristically snarky voice and aggressive attitude, not to sneak up on strangers and start harmonizing with them.

There is obvious love between Jay and Leigh, more powerfully demonstrated when Leigh sings, “I Will Care For You” while Jay sleeps that in any spoken words. But Jay’s unnamed illness – some sort of cancer, it seems – is like an intrusive third party in their relationship. Jay easily balances talk of DNR forms with jokes that slide easily off the tongue, much to Leigh’s chagrin. They are both, it seems, grieving Jay’s imminent departure, but in diametrically opposed ways. When Jay wails, “When you’re dying on Christmas, Christmas doesn’t seem so great,” there is a hint of humor, but when Leigh screeches, “you want to un-alive yourself,” it feels desperate. There is a lot of door slamming, and I hope the set can hold up to the trauma for the duration of the run.

Leigh rebuffs all attempts to help, brazenly insulting Dr. Martinez and ordering Rabbi Edelstein to get out of the room. And that brings up another question. What, exactly, is the deal with the spiritual elements of A Christmas Kaddish? There’s more than just the obvious Judeo-Christian background and conflicts, by the Christmas decorations that adorn Leigh’s large private hospital room and the persistence of Rabbi Edelstein, who so graciously persists in the face of Leigh’s escalating anger. There’s a third spiritual element, but I don’t want to spoil the fun, so after you see the show, comment here on this blog, and let us know what it was.

The cast’s voices and Meerovich’s music and lyrics are supported by an unseen musical quartet: Kim Fox, Mike Goldberg, Joy Lubman, and Bea Kelly. Nia Safaar Banks designed the costumes, and there were some interesting nuances for Leigh (lots of fishnet and cutouts), and a particularly interesting mini dress ensemble for Jay during one of their time-traveling encounters, but it was the costumes and hair (designed by Luke Newsome) for the extra, largely unnamed characters including Jay’s parents and the Rabbi’s deceased daughter, that really demonstrated creativity. Sometimes it was the costume, sometimes it was the total transformation of the character that was most captivating.

There are many moving parts to A Christmas Kaddish, and the production had a lot of wonderful moments even on opening night, but for me, some of these moments didn’t hit the target. I suspect that I might come away with a different overall feeling if I saw this same show later in the run, when the cast and all the elements have had a chance to bond more and develop that distinctive character that distinguishes each show and each cast. Looking at the extensive and talented creative team, I wonder if the individual contributions of each has yet to meld into a cohesive unit – maybe it just isn’t done yet. For now, it was a pleasant night of live theater in one of the most comfortable venues in the region, but I suspect – and hope – that the production will grow and become better than simply good. After all, this is the annual RTP Christmas Show, and Rabbi Edelstein has prayed really hard for it.

A CHRISTMAS KADDISH

Conceived by Lucian Restivo, Levi Meerovich, and Nora Ogunleye

Book by Nora Ogunleye and Levi Meerovich

CAST:

Leigh – Emily Berry

Jay – Claire Bronchick

Dr. Martinez – Amber Marie Martinez

Rabbi Aaron Edelstein – Eddie Webster

CREATIVE TEAM:

Directed by Lucian Restivo and Nora Ogunleye

Music and Lyrics by Levi Meerovich

Scenic Design by Lucian Restivo

Costume Design by Nia Safaar Banks

Lighting Design by Austin Harber

Sound Design by Share Barber

Hair and Make Up design by Luke Newsome

Properties Design by Tim Moehring

Assistant State Manager: Nathan Ramos

Production Stage Manager: Lauren Langston

Orchestra Prepared and Conducted by Kim Fox

Musical Director: Levi Meerovich

Photos:

UPDATED TO INCLUDE Photos by John MacLellan

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MOVING MONOLOGUES

KDance Shorts, Eighth Edition

A Dance-Theater Review by Julinda D. Lewis

Presented by: KDance, the Resident Dance Company at The Firehouse Theatre

At: The Firehouse Theatre, 1609 West Broad St., Richmond, RVA 23220

Performances: November 7-9, 2021

Ticket Prices: $25

Info: (804) 355-2001 or firehousetheatre.org.

After eight years of presenting the annual Shorts program, Kaye Weinstein Gary still has new tricks up her sleeve. This year’s program, MOVING MONOLOGUES, was a collaboration between Gary (choreographer, director, performer), Adam Turck (actor), and Irene Ziegler (playwright). While previous Shorts programs have been marked by innovative storytelling combined with movement, this is the first time the stories were all connected.

What a treat it was to reconnect with Kitty, the potty-mouthed fourth-grader introduced by Gary in her most recent YES! Dance Festival (April 2021, https://jdldancesrva.com/2021/05/01/k-dance/). Here, Ziegler has written additional monologues that introduce Kitty’s mother, grandmother, and dad, all of whom are embodied by Gary and Turck, after a brief introductory warm-up set to Erik Satie’s Piano Works #7, Nocturne II. The “Prologue” also introduces the program’s main prop: a pair of crystal clear “ghost” chairs that magically reflect and refract the light and create stunning visual effects.

“Thank you, sensei, for showing me the way.”

-Kitty

“Kitty” has been enhanced to point to connections with the new monologues. Against a background of Ana Roxanne’s non-melodic, ambient soundscape (it sounds like what your mind would sound like if you could record the sound), Kitty moves through postures of dejection and defiance – until she discovers the “superpower” of her imagination. “I have a superpower. Holy shit!” Oh, I did mention she’s been sent to her room because of her vocabulary, didn’t I? Dressed in purple leggings and white coverall shorts, Gary delightfully embodies the spirit of the fourth-grader.

But it just keeps getting better. Next up is Adam Turck as Kitty’s dad, Rodney. Dressed in shorts and carrying a gym bag, Turck, drops the bag just as the beat drops, and it’s MC Hammer’s Too Legit to Quit. Turck, a real-life certified personal trainer, moves through the paces of a man-twerk, slaps himself on the butt, and begins to record a hilariously awkward online dating profile.

“The best you can hope for is to find someone

whose baggage doesn’t clash with yours.”

-Rodney

After a bit of shadow play with a fabric veil, we get to meet Martha, Rodney’s mother. It isn’t clear whether she is in the early stages of dementia, or just lonely. When she receives a package from an unseen delivery man (a potential fourth character for a potential sequel) she drags out their interaction as long as possible. “Can you see me?” Martha asks. “I thought I was made of vapor.” Martha smells like loneliness and goes on eBay at night to order hope. Oh, and that package? It contained the cremated remains of her late husband.

The final monologue in this iteration of Moving Monologues has Rodney talking to his dad’s ashes and returning to the lake house where he spent time with his family when his father was alive, and his mother didn’t feel invisible. Is it just coincidence that the current occupant of the house is named Manny – the same as the delivery guy? The door has been left open to continue this series, much like a serial novel in words and movement.

Ziegler’s script make no direct mention of the pandemic, but Martha’s need to know that she exists feels very much like post-traumatic pandemic syndrome (I don’t know if that’s a real thing or not, but there is such a thing as Pandemic-related PTSD). It’s actually quite remarkable to watch Gary transform from the hopefulness of Kitty to the giddy despair of Martha. She does both so well, adapting her posture and movement dynamics to the character. The words and the movements are measured out teasingly, revealing just enough to keep the narrative flowing, but not enough to answer all our questions. A post-show discussion revealed just how much latitude there was for personal interpretation.

There were so many layers in this short piece, and multiple perspectives played out simultaneously – the same story told by different characters who are all connected. There was a through line, but the sections were not necessarily linear or chronological. In fact, I would be curious to see what would happen if these same five scenes were performed in a different order.

As for the cast, Gary is a dancer who is extremely comfortable with speaking and acting, and it was great to see Turck, an actor, moving with such abandon. MOVING MONOLOGUES is not fully dance and not fully theater but a hybrid niche that Gary claims as her own. While the piece could be performed by a cast of four (Kitty, Martha, Rodney, and Manny – or the Ghost Chair), I think it’s highly effective and serves the multi-layered effect to have it performed by just two. It was such a delight to see and hear these stories on stage, in person. Sometimes less really is more.

MOVING MONOLOGUES

Written by: Irene Ziegler

Cast:

Kaye Weinstein Gary

Adam Turk

Production Team:

K Dance Artistic Director: Kaye Weinstein Gary

Lighting Designer/Scenic Consultation: Matthew Landwehr

Assistant Lighting Designer: Casey Walsted

Production Stage Manager: Ginnie Willard

Assistant Stage Manager: Jason Wineberger

Sound Designer/Production Manager: Todd Labelle

Sound Operator: Emily Vial

Webmaster/Social Media: Emily Gerber

Graphic Artist: Douglas Fuchs

Run Time:

About 45 minutes with no intermission

Performance schedule:

Sunday, November 7 @3:00PM

Monday & Tuesday, November 8 & 9 @7:30PM

”Everyone who enters Firehouse must be fully vaccinated and wear a face mask.”

Tickets:

$25

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NEVERMORE!

Edgar Allan Poe: The Final Mystery

A Theater Review by Julinda D. Lewis

Produced by: CAT (Chamberlayne Actors Theatre)

At: Atlee High School (indoors), 9414 Atlee Station Rd., Mechanicsville, VA 23116 & Gayton Kirk Presbyterian Church (outdoors), 11421 Gayton Rd., Henrico, VA 23238

Performances: October 8-10, 2021, at Atlee High School & October 15-16, 2021, at Gayton Kirk

Ticket Prices: $24 General Admission; $20 Seniors

Info: (804) 262-9760 or https://onthestage.tickets/chamberlayne-actors-theatre

Many individuals and companies went into the pandemic not knowing what to expect from these unprecedented times and came out strong. For CAT, the Chamberlayne Actors Theatre, self-tagged as “Richmond’s professional theater with the community heart,” things are, well, complicated. Prior to the lockdown, CAT had been in delicate negotiations with the owners of their long-time home on No. Wilkinson Road in Henrico County. Now they are producing their first show in 18 months under the banner “stray CATs,” and a hobo stick has been added to their logo kitty. The temporarily homeless theater company good-naturedly bills their 2021-2022 season as a “touring” season.

CAT has long had a tradition of producing an annual mystery, and this year’s opening show is based on a real-life mystery. On September 27, 1849, Edgar Allen Poe boarded a ferry in Richmond, VA, headed to New York. He never made it to New York. He was found wandering around Baltimore, MD, October 3, delirious. He was hospitalized and died a few days later, on October 7, without ever regaining full cognition. They say truth is stranger than fiction; who could make up something like that?

Julian Wiles’ NEVERMORE!: Edgar Allan Poe: The Final Mystery (1994) enlists Poe’s own life, poems, and stories to explore what might have happened during the final five days of Poe’s life, which remain an unsolved mystery. A full-length play in two acts with one intermission, NEVERMORE! is being performed as a collaboration between CAT and the Atlee HS’s Raider Players, many of whom have worked with CAT as interns, actors, or crew members over the years. Further strengthening this tie, CAT’s Executive Board President, Charles A. Wax, is also a Drama teacher at Atlee HS.

NEVERMORE! has a cast of four principals: Mark Lacy as Edgar Allan Poe, John Marshall as his friend Jeremiah Reynolds, Paige Reisenfeld as Capt. Nimrod aka Satan/Lucifer, and Caitlin Nolan as Poe’s mysterious love interest, Annabel Lee. There is also an eight-member Ensemble made up of both professional and student actors: Sandra Clayton, William Henry, Mary Huhmann, Barbara Johnson, Maddie Moralez, Carter Mullen, Audrey Sparrow, and Camden Sparrow.

The play’s synopsis is promises to be interesting, and the script calls for a number of attention-grabbing magic tricks and the cast approached the production with enthusiasm. But there were several impediments to the successful execution of this show.

First, due to COVID-19 and the protocols of the venue, a Hanover County public school, everyone had to wear masks – including the actors. They all wore the ones with clear windows, so we could see most of their faces and watch their lips move, but the sound was still muffled, and the masks were distracting, giving a kind of sci-fi or horror-movie look to what would otherwise have been a classic traditional mystery.

Second, the uncredited set design was a rough-hewn affair consisting of three platforms of varying sizes and heights, with a few steps, and a sheet or sail stretched across the middle platform that was used to project the background scenes. The screen appeared to get swallowed up in the vastness of the stage.

Third, the company was unable or chose not to execute all the magic tricks as described in the script. To be clear, they did include a couple of disappearances or character switches and one attention-grabbing return from the dead. Overall, given the blended cast, the location, and the very real challenges of a new space, a blended cast and crew (many of whom played multiple roes or wore multiple crew hats) and an on-going pandemic that led to last minute cast changes, NEVERMORE! looks and feels more like a high school production than a professional one. The actors appeared to occupy the space, rather than own it and given the short run in two different venues, I really don’t see a way for this production to meet its own or the audience’s expectations.

NEVERMORE! Edgar Allan Poe: The Final Mystery

Written by Julian Wiles

Directed by Charles A. Wax and Jon Piper

CAST:

Mark Lacy as Edgar Allan Poe

Paige Reisenfeld as Captain Nimrod

John Marshall as Reynolds

Caitlin Nolan as Annabel Lee

ENSEMBLE: Mary Huhmann, Sandra Clayton, William Henry, Maddie Moralez, Audrey Sparrow, Barbara Johnson, Carter Mullen, and Camden Sparrow

CREATIVE TEAM:

Stage Manager: Sue Howells

Assistant Stages Manager: Drake Leskowyak

Lighting Design: Jason Lucas

Sound Design: Jenn Fisher

Costume Design: Alison Eichler

Lights Operator: Jason Lucas

Sound Operator: Jenn Fisher

Program and Graphics:: Jason Lucas

Photos provided by Ann Davis

Performance Schedule:

Friday, October 8 at 8pm – Atlee High School (inside)

Saturday, October 9 at 8pm – Atlee High School (inside)

Sunday, October 10 at 2:30pm – Atlee High School (inside)

Friday, October 15 at 8pm – The Gayton Kirk (outside)

Saturday, October 16 at 8pm – The Gayton Kirk (outside)

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The COMMON wealth & The COMMON debt

Stories in the Soil by The Conciliation Project

Observations on a Research-based Performance by Julinda D. Lewis

At: Pre-recorded at the VCU’s ICA (Institute for Contemporary Art) and on location in Richmond; live-streamed on YouTube

Performance: Sunday, November 15, 2020 at 3:00 PM; available for a limited time thereafter (see link below)

Ticket Prices: free

Info: https://youtu.be/yrbIGTA0WYg

There is no getting around the fact that 2020 has been a most unusual year. It has brought unprecedented challenges to our arts. Yet, as history confirms, art always prevails. Theater and dance has found new ways to exist and mined new ways to create.

The Conciliation Project is a Richmond-based social justice theater company under the direction of Dr. Tawyna Pettiford-Wates (Professor of Graduate Pedagogy in Acting and Directing at Virginia Commonwealth University) and Dr. Ram Bhagat (educator, peace-builder, community healer, and co-founder of Drums No Guns). With heavyweights like these at the helm, it should come as no surprise that The Conciliation Project offers research-based programming that reveals, examines, and demands a response to racial stereotypes and racial injustice.

The script for “The COMMON wealth & The COMMON debt” was developed from conversations with Richmonders, with a focus on the history-defining events of 2020: the COVID-19 pandemic and the racial (in-)justice protests that resounded around the world in the weeks and months following the murder of George Floyd.

“The COMMON wealth & The COMMON debt” is not a play in the traditional sense. It is reminiscent of Ntzoke Shange’s self-described “choreo-poems” or the eye-opening work I saw as a teen-ager at what was then the mecca of Brooklyn’s Black culture, The East. (For a description of The East, look at https://en.wikipedia.org/wiki/The_East_(Brooklyn) and http://www.corenyc.org/omeka/items/show/320). In other words, this is work that exists to educate and enlighten as well as to entertain.

Conciliation: The process of winning over from a state of hostility or to gain the goodwill of. The building of bridges to connect two points that are distant, and/or disconnected from one another.

Among the topics presented by the voices in “The Common wealth & The Common debt” are the definition of the word “commonwealth,” diverse perspectives on the history of the Commonwealth of Virginia (the middle passage, slave markets, Jim Crow and other racial injustices), the value of Richmond monuments, the Civil War, racism, power, segregation, urban farming, and more. In one moving scene, Keaton Hillman has a conversation with an ancestor, Callie, a woman sold into slavery and later freed. “Help break the cage for someone else,” she says before returning to the ancestral plain. The next scene shows a group of protesters marching in cadence to “no justice, no peace.”

Against the backdrop of a chain link fence and passing traffic, masked performers sing, “We Wear the Mask.” Contemporary voices blend with traditional fables, history, and storytelling in a non-linear way that the modern western mind might struggle to comprehend. Experiencing “The COMMON wealth & The COMMON debt” is a bit like being inside the production while watching it; similar to the way one might dream and awaken to wonder where the dream state ends and reality begins.

“I think we could definitely do a better job at creating monuments that glorify actual heroes instead of being used as an intimidation tactic, which is what they were originally put there for.”

The creative team organized a solid ensemble consisting of Calie Bain, Juliana Caycedo, Keaton O’Neal Hillman, Zakiyyah Jackson, Dylan Jones, Jamar Jones, Todd Patterson, and Mariea Terrell. The acting ensemble is supported by Drummers lead by Ram Bhagat and dancer Alfumega Enock. In a live post-performance discussion, we learned that the stories and interviews were collected by the Graduate Applied Theatre Class at VCU as well as members of the Ensemble, with support from the ICA. “The COMMON wealth & The COMMON debt” should be accessible for the remainder of the week of November 15. Catch it, if you can.

PHOTO CREDITS: The Ensemble and Scenes from “The COMMON wealth & The COMMON debt” from The Conciliation Project social media pages.

RICHMOND BALLET: GRACE IN THE RIVER CITY – A REVIVAL & A PREMIERE

RICHMOND BALLET STUDIO ONE: GRACE IN THE RIVER CITY

A Dance Review by Julinda D. Lewis

At: The Richmond Ballet Studio Theatre, 407 E. Canal St., RVA 23219

Performances: November 5-10, 2019

Ticket Prices: $26-$46

Info: (804) 344-0906 x224 or etix.com

chiaroscuro
noun
chiar·oscu·ro | \kē-ˌär-ə–ˈskyu̇r-(ˌ)ō\

pictorial representation in terms of light and shade without regard to color
a: the arrangement or treatment of light and dark parts in a pictorial work of art
b: the interplay or contrast of dissimilar qualities (as of mood or character)

merriam-webster.com

The Richmond Ballet opened its 2019-2020 season (19/20 for short) with the theme “Grace in the River City.” The Studio One program, held at the company’s Canal Street studio, included Artistic Director Stoner Winslett’s “Ancient Airs and Dances” and Ma Cong’s “Chiaroscuro.”

“Ancient Airs and Dances,” set to three suites of 17^th and 18^th century Italian and French lute songs by Ottorino Respighi, was revived in honor of Winslett’s 40^th anniversary with the Richmond Ballet. The work for four couples was Winslett’s first work for the professional company. Dressed alike, but in different colors (navy, purple, aubergine, wine) the four couples begin with a formal promenade, tracing figures on the floor. At the end of the introductory movement, they toss away their masks and begin to reveal their separate personalities.

First is Ira White and Eri Nishihara (purple). They appear to be the playful couple, moving lightly, teasing and skipping offstage. Next up, Abi Goldstein and Anthony Oates (aubergine) who present themselves as the romantic duo. They are more dramatic, and Goldstein is very strong, demonstrating a freedom of physicality as when she rolls across Oates’ back. When Cody Beaton and Mate Szentes (navy) dance, the woman’s skirt and man’s vest have been shed and the movements seem more contemporary and exploratory, less formal, and finally Melissa Frain and Marty Davis’ (wine) dance seems to be about reconciliation and commitment or longevity as they seem to linger in one another’s presence and movements. In the final section, the four couples gather in a folk dance and each couple briefly reprises their duet before ending in a rotating figure like a carousel, with the women held aloft, parts of a whole.

During her tenure at Richmond Ballet, Winslett has commissioned more than 75 works, by more than 35 choreographers (facts she revealed during her Tuesday evening Choreographer’s Club curtain talk). For Studio One, she brought back Ma Cong for his fifth new work in ten years.

“Chiaroscuro” is a collaborative work, with choreography by Ma Cong, Music by Ezio Bosso, costumes and set by Emma Kingsbury, lighting by Trod Burns, and photography by Sara Ferguson. The nine dancers – 4 women and 5 men – move through Bosso’s music illuminated by Burns’ lighting with Ferguson’s larger-than-life black and white images of themselves projected onto Kingsbury’s set. It might be a rock, or a cliff, but wait – what is that long, thin thing sticking up out of middle of it? “Nothing’s perfect,” was Kingsbury’s enigmatic response when questioned about it.

Images change subtly; where there were hands there is now a face; where there was a face, there are now two, no three! The costumes, in shades of black and gray, echo the chiaroscuro effect – the contrast of light and dark, the constantly shifting light and the movement of human sculptures. Hmmm, a Chinese choreographer; an Italian composer; an Australian designer; an American ballet company – was this, too, part of Cong’s vision, or was it serendipity?

The cast – Cody Beaton, Elena Bello, Melissa Frain and Eri Nishihara, Marty Davis, Trevor Davis, Fernando Sabino, Mate Szentes, and Ira White – seemed to enjoy performing this piece as much as the audience enjoyed watching it.

“Chiaroscuro” begins with Fernando Sabino (who has announced his retirement at the end of this season) o the floor. As he rises, his movements are strong, emotive, not all lightness and grade. As the other dancers enter, the women are lifted in swirling arcs, tracing figure eights in the air. When the men arc backwards, they turn their knees inward. This ballet is not technique as usual. A diagonal line turns inward and wraps around like a spiral segment of DNA. Dancers unite and separate. Elena Belo is lifted about a cluster of men and held aloft in a running pose. Three men intertwine, heads popping out and leaping through hoops made of arms like a game of whack-a-mole.

On the screen, a large white rose emerges; but the end of the dance it has wilted. On the stage, a white parasol weaves its way across the stage. I somehow felt the rose and the parasol were connected. Partnering in “Chiaroscuro” is intriguing. In one section the women shed their skirts, becoming de-sexualized. Dancers morph into oddly intriguing positions, finding new ways to connect. One may be held by an ankle, a toe, or back of the knee. Dancers’ arms and legs become hooks from which to suspend bodies and legs and thighs become step stools leading to higher dimensions.

Like previous works by Cong, “Chiaroscuro” encourages the viewer to explore new perspectives of human emotion, as he did with “Lift the Fallen,” a 2014 work in which he deals with the loss of his mother. But “Chiaroscuro” is even more immersive, more compelling. It is a beautiful work that elevates both the dancers and those watching them.

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

———-

Photo Credits: Sarah Ferguson

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KARAR DANCE COMPANY PRESENTS: CIRCADIAN, an evening-length work

019 DOGTOWN PRESENTER’S SERIES: KARAR DANCE COMPANY

A Dance Review by Julinda D. Lewis

At: Dogtown Dance Theatre, 109 W. 15^th Street, RVA 23224

Performances: October 18-26, 2019

Ticket Prices: $20 General Admission; $15 Students

Info: (804) 230-8780 or dogtowndancetheatre.com

Circadian is a mesmerizing evening-length work for five dancers. The creative offspring of Kara Robertson, Artistic Director of Karar Dance Company, Circadian was inspired by a series of black and white photographs by Fan Ho (1931-2016), an award-winning Chinese photographer, film director, and actor who was known for his mastery of light and shadow. An image of his work entitled Approaching Shadow first caught Robertson’s attention some three years ago, and after much research, and some six months of intensive work with her company of dancers and collaborators, resulted in a 40-minute dance inspired by Fan Ho’s body of work captured in his book, Hong Kong Yesterday. [Hear the choreographer explain how her movement was inspired by the photographs: https://www.facebook.com/KARARDANCECOMPANY/videos/397277210947427/]

Fan Ho photo — Fan Ho image, Approaching Shadow

The first thing that strikes you about Circadian is the space; it is performed in the round, with two rows of seating on each side of the dance space. The second thing you might notice is the light; there are bright lights at each of the four corners of the dance space, and Weston Corey has designed numerous special effects, some quite subtle and some deliberately startling. This four-sided performance space with this moody, atmosphere-changing lighting, creates a world all its own that pulls and lulls the audience so that one loses track of time. A wooden lattice-work frame – the work of Crux Scenica – hangs above the dancers; I was so caught up in their motion and the mood of the lights that both surreptitiously and overtly direct our gaze, as well as by the sometimes hypnotic, sometimes dynamic original score by Ryan Davis that I didn’t notice it until near the end. It came as a total surprise that we had watched 40 minutes of uninterrupted dancing – and that the 5 dancers had been onstage moving for all that time.

Circadian begins with a simple walk. Dressed in simple but elegant two-piece black garments (kudos to designer Damion Bond) with wrap-around pants and cropped athletic tops that remind of yoga, meditation, and other healthy, healing practices, the five navigate the circumference of the space with measured and deliberate steps, articulating each action of the foot. Their arms are not yet engaged as they complete this counterclockwise procession with frequent interruptions of the precise cycle as one dancer then another breaks the formation by changing position, cutting across the space, widening or closing the gap between dancers, or moving into the center for a solo. These diversions only increase the mesmerizing power of the deliberate cycle.

Company dancers David Alexander Deegan, Caroline Echevarria, Amy Mulder, Amy Perkinson, and Haley Wall worked well as an ensemble, taking their cues from one another’s breathing or a fleeting glance, the briefest eye contact and seeming to move from a shared pool of energy. This synergy is most palpable and powerful when the music pauses, seeming to take a breath of its own so that the dancers and audience can experience the power and natural rhythm of silence.

Gradually the patterns become more complex, the movements engage the arms and the entire body, often using a position from a Fan Ho photograph to initiate a movement phrase or transition from one section of the dance to another. The precision and focused intent of the walking is countered by softer shapes in the center, rounded spines and shoulders, a gentle firmness when they make contact that feels safe and secure yet daring at the same time.

There are spaces for the dancers and the music to breathe, only to continue as if the silence and stillness were natural parts of the cycle, of the circadian rhythm. They end on the floor, face down, as if taking a collective breath. I liked everything about Circadian and it is even more special to see such high caliber work from a small, young, local company. If time permits, I will see Circadian again, and choose a seat on a different side of the room to see if that substantially affects the viewer’s experience of the piece.

Karar Dance Company is a young organization; the company debuted in 2017 with a goal of becoming a collaborative conduit for artistic expression and a commitment to things homegrown. Kara Robertson as well of 4 of her 5 dancers – David Alexander Deegan, Amy Mulder, Amy Perkinson, and Haley Wall – are all graduates of the VCU Department of Dance and Choreography. Caroline Echevarria is also local – a native of Richmond and a graduate of Elon University’s department of Dance Performance & Choreography.

The presentation of Circadian was made possible by Dogtown Dance Theatre’s Presenter’s Series. Now in its fourth year, the Dogtown Presenter’s Series (DPS) annually places the spotlight on an independent artist or Richmond-based organization, producing a two-week series that provides the artist with all the major resources needed, including rehearsal space, technical production, marketing, public relations, and a stipend. The goal of the DPS is to introduce Richmond audiences to choreographers who reflect the rich cultural diversity of the city, and I hope more people in Richmond and the surrounding counties find or make the time to visit the Manchester neighborhood and support our local artists.

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

———-

Photo Credits: Michael Keeling – Karar rehearsal photos; Fan Ho – Approaching Shadow image