13, THE MUSICAL: The Second Cast; A Second Look

An Addendum to Yesterday’s Theater Review by Julinda D. Lewis

By: Virginia Rep/Cadence Theatre Company

At: Theatre Gym, Virginia Repertory Center, 114 W. Broad St., RVA 23220

Performances: October 26 – November 17, 2019

Ticket Prices: Single tickets start at $42

Info: (804) 282-2620 or va-rep.org

Yesterday (October 25) I wrote about 13, The Musical after seeing the first cast. Today (October 26) I returned for the second opening night with a different cast – except for, I think, two actors.

The original view may be viewed at:


When Cadence Theatre’s Artistic Director Anna Senechal Johnson announced that there would be two entire casts for 13, THE MUSICAL and that there would be two opening nights, I decided to attend both. The board with the actors’ headshots had to be changed, and there were two sets of programs printed. Preparation for this musical, more than 40 performers (actors and band members ranged in age from 12 to 17) required changing the headshot board and printing two sets of programs to accommodate the two casts – the Appleton and the Indiana (named for the town and state where our young leading man must move after his parents’ divorce). It must have felt like the theater company was preparing to give birth to twins.

For the first five minutes, I started to compare the performances of the two sets of  main characters, but about 10 minutes into the show I realized that the characters had taken over. While the chemistry was different, and different actors brought their own nuances, I can honestly say that the experiences were equivalent to seeing the same show twice with the same cast.

Physically, Brandon McKinney and Evan Dymon are quite different (in stature, facial structure, and more) but both portrayed lead character Evan with naivete, bravado, and compassion. Bridget Sindelar may have had a slight edge over Violet Craighead-Way as far as vocal range or power, but both made me root for Patrice and cheer her independence and self-identity.

The differences between Donathan Arnold and Cohen Steele are even more striking than the differences between McKinney and Dymon. Arnold is tall, slender, and black while Dymon looks farm-strong and he’s white.

I think Caroline Johnson portrayed a somewhat more prissy and less conceited Kendra than did Audrey Kate Taylor, while Jolie Smith and Anjali Sharma were equally strong as the mean girl. Both were able to maintain a sneer throughout a rigorous cheerleading routine, but Sharm’s tripping of best-friend-and-arch-enemy Kendra was perhaps a tiny bit more subtle than was Jodi Smith’s action for the same scene.

Ethan Dunne Stewart and Marcus Dowd, as Brett’s friends and hangers-on were a bit more outrageous, if possible, in their role as back up singers than were Owen Buckenmaier and Jake Barger, but both pairs of hangers-on were among my favorite characters.

Since much of the story line is sung, it is important that the lyrics can be clearly heard, and from my position (second row, right on Friday night and second row, front on Saturday) there where a few times that the vocals got lost for a moment or two and I never did understand the much repeated line of the finale.

My first impression remains the same: 13, THE MUSICAL: is a fun and energetic piece of theatre that is this wholly engrossing. Both casts of teens exude energy and professionalism; they make you care about what happens to Evan, Patrice, and Kendra (the bar mitzvah boy, his new friend, and the popular girl) and their friends. As if anticipating the audience reaction, the authors have the cast sing about their growth, their decisions, their triumphs and failures over the course of the school year



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


Photo Credits: Jay Paul

13, The Musical
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13, The Musical
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13, The Musical
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13, The Musical
Evan Dymon, Brenna Duffy, and John Chapman
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A Dance Review by Julinda D. Lewis

At: Dogtown Dance Theatre, 109 W. 15th 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


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Observations on the Fall Repertory Gala by Julinda D. Lewis

At: The Woman’s Club Auditorium, 211 East Franklin Street, RVA 23219

Performance: October 13, 2019

Ticket Prices: $4-$18

Info: (804) 798-0945 or http://concertballet.com/ or info@concertballet.org

The Concert Ballet of Virginia marked the start of its 43rd year of dance performances with its annual Fall Repertory Gala at The Woman’s Club on Sunday, October 13. The company operates “within the framework of a full-scale professional dance company” but is run by a “marvelous collection of unsalaried Virginians – dancers, choreographers, technicians, craft and stage people and volunteers.” The mission of CBV is to accept and promote those who are interested in performing, providing a professional company experience regardless of skill level.

The 2019 Fall Repertory Gala differed from previous galas in that the program, consisting of a half dozen works ranging from classical to contemporary, incorporated the Diane Hale dancers, including a work choreographed by their instructor, Lindsay Rhyne Hudson, a CBV alumni.

One thing CBV does very well is scenery and set design. The French Scenic Reproduction of a glamorous manor house and lawn for “Biedermeier Waltzes” was donated by Wilton House, but the décor for “The Hunt,” and the trio of purple arches and blue panels for “Litany” were designed by deVeaux Riddick, a creative team member and long-time Technical Director for Ballet Impromptu, the Richmond Ballet, and then Concert Ballet of Virginia until his passing September 7, 2019.

The quintet of dancers in Biedermeier Waltzes” appeared to be the least experienced, as demonstrated by the simplicity of their choreography, soft shoes (no pointe work), and several stumbles. The lighting – or the dancers’ placement – often left their faces unlit, which was a bit of a distraction. But things picked up with “The Hunt,” a lively number featuring dancers dressed in clever red hunting jackets and black riding boots. The dancers prancing in a circle and forming a Rockettes-style kick line drew applause from the audience.

Ilie Davis, the soloist for the slightly dark, introspective and contemporary styled “Dysmorphic,” demonstrated clean lines and an enticing ease on stage. The four women in “Litany wore long-sleeved aubergine-colored dresses reminiscent of Martha Graham. Their movements were also reminiscent of classic modern dance: sustained; low dynamic; and repetitive, ending in a reverent tableau vivant. “Full Moon and Empty Arms” similarly ended in a tableau, although the latter was a classical ballet, with four ballerinas wearing black classic tutus, and a lead dancer in an ivory tutu to match Scott Boyer who partnered all of them. These were apparently the more experienced or advanced dancers, as this piece included pointe work.

The Concert Ballet of Virginia is as much – or more – about the experience than the dance technique. It is a family-friendly affair, with hand-crafted items for sale in the lobby boutique and cabaret style tables where desserts, coffee, tea, wine, and lemonade are served.

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


Photo Credits: Concert Ballet of Virginia webpage

Concert Ballet of VA


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RICHMOND BALLET: Contemporary Classics Ushers in New Season & Says Good-bye to Popular Ballerina

RICHMOND BALLET: Contemporary Classics

A Dance Review by Julinda D. Lewis

At: Dominion Energy Center for the Performing Arts | Carpenter Theatre | 600 E. Grace St., RVA 23219

Performances: September 27-29, 2019

Ticket Prices: $25-$125

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

I had forgotten how beautiful the ballet “Carmina Burana” is. Choreographed for the New York City Opera in 1959 by John Butler, the ballet is based on a collection of thirteenth century songs and poems discovered in a monastery in Bavaria. The songs were composed and arranged by Carl Orff in three highly dramatic sections – Spring, In the Tavern, and The Court of Love – that are intended to be performed by a collaborating team of orchestra, chorus, and dancers.

The Richmond Symphony Orchestra, under the direction of Erin Freeman and a chorus of about 100 singers composed of members of the VCU Commonwealth Singers and the Richmond Symphony Chorus, divided into four groups on two levels of the theater provided what my daughter described as “surround sound.” Tenor Andrew Sauvageau, Baritone Jeffrey Grayson Gates, and Soprano Zarah Brock stood onstage and wore monastic black for their solos. At one point Brock held an impossibly long note.

The dancers moved through a range of human emotions using a stylized vocabulary of movement that seems to have been inspired by the figures on the Wheel of  Life or perhaps the characters illustrating a deck of tarot cards. The music is structured in three major sections, beginning and ending with the familiar “Fortune, Empress of the World,” for which the dancers don monastic black robes and rush about with determined steps and postures. But having seen all that occurred between the Prologue and the Finale, these same movements and garments have vastly different connotations at the end than at the beginning. [Link to “Fortune Empress of the World” – https://youtu.be/PG8U2vast6k]

In between we see two couples seemingly caught up in a web of sexual betrayal reminiscent of the story of Othello and first one man and then a group of women wearing costumes that bare – or use flesh-toned fabric to skillfully mimic baring – half their bodies and much more. Although the movement is not tied to any narrative it is easy to find familiar story lines.

While the four main dancers and corps of 6 couples were uniformly dynamic, this weekend’s performance hold special significance for 13-year company member Maggie Small who is retiring her pointe shoes after her final performance of “Carmina Burana.” Like the Wheel of Fortune that inspired this work, Small’s career has come full circle, as she closes her performing career with the ballet that marked the start of her professional career. [Here’s a link to a Richmond Times Dispatch article about Small’s career and retirement: https://www.richmond.com/entertainment/art/richmond-s-homegrown-ballerina-maggie-small-set-to-retire-with/article_e5c1067b-703f-5549-bb3a-c957fd177da3.html. And another from Style Magazine: https://rvamag.com/art/dancetheatre/with-contemporary-classics-richmond-ballet-says-goodbye-to-maggie-small.html.]

Small’s long-time partner, Fernando Sabino, will retire in the spring, and it looks as if Ira White, now in his fifth year with the company, is ready to step up and into Sabino’s shoes. White, who like Small, came up from the company’s Minds in Motion program (for fourth graders) and the trainee program before joining the company, has shown tremendous growth and maturity as a dancer over the past two years, and shows promise of contributing a high level of professionalism as well as charisma to the current season.

The Contemporary Classics program marks the start of the Richmond Ballet’s new season and opens with the stunningly beautiful Theme and Variations by George Balanchine. Set to the final movement of Tchaikovsky’s “Suite No. 3 for Orchestra in G major, Op. 55,” “Theme and Variations” is a grand ballet, traditionally styled with white tutus, a series of pas de deux by the lead couple, and a grand procession or polonaise for all the dancers to show off their technique and gorgeous lines. As I watched the dancers move through the intricate patterns, I thought this is one ballet I’d prefer to see from the balcony, which affords a bird’s eye view of the design. My daughter, who arrived a little late after hunting for parking, did get a chance to see “Theme and Variations” from the balcony and confirmed my suspicions. She said the experience of seeing the ballet from above was the silver lining to arriving late.

“Theme and Variations” was staged by Jerri Kumery with Sabrina Holland and Anthony Oates dancing the lead roles. “Carmina Burana” was staged by Malcolm Burn featuring partners Cody Beaton and Ira White and Maggie Small and Fernando Sabino. The Balanchine classic was first performed in 1947 while the Butler opus premiered in 1959, yet both remain fresh and engaging to today’s audiences. The final performance of this short run will take place Sunday afternoon, September 29, at 2:00pm. The season continues with Studio One performances November 5-10, featuring Artistic Director Stoner Winslett’s “Ancient Airs and Dances” and a World Premiere by popular choreographer Ma Cong.

Here’s an excerpt of Maggie Small’s bio, from the Contemporary Classics program: Maggie Small, a native of Richmond, Virginia, began dancing at the School of Richmond Ballet. She completed the trainee, apprentice, and Minds in Motion programs before joining the company. In 2012 she was featured on the cover of Dance Magazine as Richmond’s “Homegrown Ballerina.”

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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CAMILLE A. BROWN & DANCERS: Celebrating Black Identity in the Arts

Reflections on a Performance Art Experience by Julinda D. Lewis

At: Alice Jepson Theatre, Modlin Center for the Arts at University of Richmond, 453 Westhampton Way, Richmond, VA 23173

Performance: September 27, 2019 at 7:30pm

Ticket Prices: $40 General Admission; $32 Subscribers; $20 Students

Info: (804) 289-8980 or modlin.richmond.edu

When Camille A. Brown & Dancers (CABD) comes to town (from NYC) it’s worth rearranging your schedule to make sure you see them. It’s been five years since Richmond was last graced by CABD and the dynamic company’s recent visit to the River City culminated in one-night of performances at the Modlin Center for the Arts. One night is not enough.

The program consisted of a trilogy of CABD’s work on black identity: Act I of the evening-length work “Mr. TOL E. RAncE” (2012); an excerpt of  “BLACK GIRL: Linguistic Play” (2105); and excerpts of  “ink” (2017). “Mr. TOL E RAncE” was performed in its entirety when the company performed at VCU’s Grace Street Theater in 2014, and if memory serves correctly, it has changed and evolved since then. (A link to my review of that 2014 performance is attached, below.)

“Mr. TOL E RAncE” is a complete theatrical event all on its own. In the beginning, CABD highjacks the usual pre-show housekeeping message, using the performers’ voices to remind people to turn off their cell phones and pointing out the locations of the exit doors. Animation by Isabela Dos Santos provides a humorous and historic homage to black entertainers and artists from the early days of minstrelsy to recent television shows featuring black actors – mostly sit coms. There a projection of a red theater curtain as animated figures with over-sized heads of the likenesses of Dave Chapelle, Moms Mabley, Flip Wilson, Amos and Andy, Whoopie Goldberg, Sherman Helmsley, Richard Pryor, and many more usher the audience into the world CABD has created for us.

And what a world it is, full of color, and rhythm, resonating with sound and movement and history. The piece moves in the vocabulary of minstrelsy, tap, soft shoe, jazz, even children’s games. We catch glimpses of JJ Walker and the Carlton Dance. On at least two occasions the dancers break out into song, jamming to the themes of “The Jeffersons” and “The Fresh Prince of Bel Air.” And in case you had forgotten – or never knew – there was also “Living Single,” “The Cosby Show” and more before “Black-ish” or “Insecure” ever hit the small screen. Mr. TOLE E RAnCE is both commentary on the stereotypes of minstrelsy and a celebration of the resilience of black artists.

“BLACK GIRL: Linguistic Play,” performed by Catherine Foster and Camille A. Brown, is a celebration of Black Girl Magic, filled with hand-clapping games, rhythmic sassiness, double dutch, stepping, and tap. And there are distinct, if fleeting, glimpses into the African roots of it all.

Finally, “Ink” began with a similar perspective of Black Boy Joy, as two of the men from the company performed a duet that carried us from the carefree days of childhood to the complexities of discovering you are a Black man in America. The rapid interplay of rhythm in collaboration with live musicians brings new life to old rituals and moves into the Afro-futurism of superheroes with superpowers. The exercising of superpowers, we realize with a jolt, is the normative operating mode for black people in America.

Brown and her dancers – most of whom are also choreographers and many of whom are conversant in visual and spoken arts as well – are not just dancers. They are actors. They are musicians. They are consummate artists whose work is not just a reflection of their lives, but whose work is a mirror that reveals our own lives. Artistically, Brown’s work most reminds me of the work of Dianne McIntyre and her former group, Sounds in Motion. (If you are not familiar with the work of this phenomenal artist, then look her up!) The music is such an integral part of the work, with Kwinton Gray remaining onstage the entire evening, playing the piano that sometimes provides a resting place – or a hiding place – for the dancers.  There is no separating the movement, the music, the word, the costumes, the lighting, the animation. This work is restorative. It is refreshing. It is healing. It is exhausting. It is art.


Here’s a link to my review of Camille A. Brown & Dancers in Richmond in 2014:



Here’s a link to my preview and interview of Camille A. Brown for the company’s 2019 Richmond program:



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


Photo Credits: Christopher Duggan, Whitney Brown, Modlin Center for the Arts website



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A Dance Review by Julinda D. Lewis

At: Grace Street Theater, 934 West Grace Street, RVA 23220

Performances: September 20-22, Friday and Saturday at 8:00pm, Saturday and Sunday at 3:00pm

Ticket Prices: $20; $15 for students

Info: (804) 304-1523, https://www.brownpapertickets.com/event/4331425

Starr Foster Dance presented six works, including two premieres and one Richmond premiere. A highlight of the program was a purposeful and compelling new work, HERE, part of the company’s domestic violence initiative.

Piercing lighting design by Michael Jarrett and dramatic music by Eighth Blackbird (“Doublespeak”) and Snowflake, Wolf Sebastian & Spinning Merkaba (“Orc March”) guides the movement and the narrative from the mundane to the explosive. In the beginning, dancers remove their button down shirts. In retrospect, what started off as innocently as Mr. Rogers removing his jacket and exchanging it for a sweater is much more ominous. In the context of domestic violence, it becomes the passing along of a generational curse, normalizing the abnormal. The almost hypnotic intersecting chains of movement phrases become the links that bind victims of domestic violence like vines that start off gently winding around a trellis and eventually chokes all other growth and pulls down the entire wall. The piece ends in a brilliant, explosive outburst.

HERE, the dance, and HERE, the project, were created by Foster and company under the mentorship of domestic violence survivor Lisette Johnson to share information and resources. As part of the project, Foster’s company has initiated a program to collect gas, grocery, and cell phone gift card to distribute through the YWCA. For more information on HERE, visit Starr Foster Dance https://www.starrfosterdance.org/heredetail and for information about domestic violence, visit Lisette Johnson’s website http://shamelesssurvivors.com/.

A second premiere, Land Shadows, is set to apprehensive music by Teho Teardo (“Wake Up the Bear” and “A Bit About Ghosts” ). Foster’s musical choices are original, intricate, and have deep psychological impact. Land Shadows, a work eight dancers, is an intriguing interplay of balance, weight, and dynamics in a three-dimensional setting made of shafts and cones of light, enhanced by a bit of smoke. The dancers’ lime green and teal tanks and matching briefs are unobtrusive yet attractive and add a surprising touch of color to this world of shadows.

I’ve often remarked how dark many of Foster’s works are – both in content and visually, but this show seemed brighter than many in the past. Ironically, this was true even of  At Your Darkest, a duet performed on Saturday by Caitlin Cunningham and Fran Beaumont (and by Cunningham and Erick Hooten on Friday and Sunday). The two dancers begin in separate shafts of line, move into a shared space in the middle of the work, and end up entwined and rolling downstage. Helping to lighten the darkness of this Richmond premiere was Elvis Presley’s “Can’t Stop Falling in Love with You” and Anne Muller’s “Walzer fur Robert.”

The program also included Saltwater Bones, a beautiful solo performed by Erick Hooten against a backdrop of ripping water (film by Douglas Hayes and original music score composed and performed by Joey Luck). Hooten, who is topless, manipulates yards and yards of white fabric in a diaphanous white skirt. The skirt is both costume and prop, and creates fascinating images: a cloud, a comforter, a wedding dress, an entrapment, and more.

Saltwater Bones was part of Foster’s January 2018 program at TheatreLAB The Basement, Spitting Image, a collaborative series of eight dances inspired by the works of eight photographers.  On that program, however, Saltwater Bones was performed by Heather Rhea O’Connor, and I wrote:

The second half of the program began with what turned out to be one of my personal favorites of the evening, a voluminous skirt solo, Saltwater Bones, inspired by the underwater photography of Cristina Peters. O’Connor’s white skirt, designed and constructed by Foster, performed doubly duty as costume and prop. Sometimes it billowed out gracefully, other times it appeared to entrap her. At the end, I found myself releasing the breath I did not realize I had been holding.

I think I found it even more beautiful and more powerful when performed by Hooten. (See my full review of that program here: https://jdldancesrva.com/2018/01/13/spitting-image-a-collaboration-of-dance-and-photography-featuring-choreography-by-starr-foster.)

The program was rounded out with the mysterious ripples of movement in Stray and the rituals of Falling to Earth. All choreography is by Starrene Foster, with lighting by Michael Jarett. This season the company of dancers consists of Fran Beaumont, Anna Branch, Caitlin Cunningham, Kylie Hester, Kierstin Kratzer, Shelby Gratz, Erick Hooten, Cristina Peters, and Mattie Rogers.

If you’re reading this Saturday night or Sunday morning, there is one more chance to see this fulfilling program, Sunday afternoon at 3:00pm.

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


Photo Credits: Starr Foster Dance by Starr Foster and Douglas Hayes.


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CHRISTINE WYATT: Affirmative Reactions

PROVOCATIONS PERFORMANCE: Christine Wyatt | Affirmative Reactions

Observations on a Performance Art Experience by Julinda D. Lewis

At: ICA (Institute for Contemporary Art), 601 W. Broad Street, RVA 23220

Performances: September 20 & 21, 2019 at 4:00pm

Ticket Prices: FREE

Info: (804) 828-2823 or ica@vcu.edu

Stepping off the spacious and artistically designed elevator at the ICA into the soaring space of the third floor True Farr Luck Gallery on Friday afternoon was a transformative experience. The open airy space is filled with Rashid Johnson’s installation – a modern yet historically and culturally evocative structure ironically titled Monument. Constructed of steel, it is simultaneously modern architecture and ancient temple. It invites the viewer/participant to sit in quiet contemplation or to walk around and through its structure and absorb the rhythms of long-forgotten memories.

Both calming and energizing, it is provocative, and on this occasion, the space was being activated by an Africanist dance ensemble led by choreographer Christine Wyatt. A libation was poured, and  ancestors acknowledged. Some of the participant/observers joined in, others were shy or unfamiliar with the custom. Six dancers and three musicians – although these are both artificial and arbitrary labels, as the musicians move through the space and the dancers sing and speak – then began to move around Johnson’s structure, first walking in silence, gradually adding gentle movements that hinted of ritual and blood memories.

One woman activated our heartstrings, pulling a bow across her violin. Soon, the space was activated with childhood stories of constructing and playing Chinese jump-rope, the soul-stirring strains of spirituals, and the wordless and universal communication of scat. At one point, the energy rose, the dancers moved faster, slicing through space and time. Some of us rose from our seats to follow their movement while others remained seated in quiet contemplation, as wave after wave of movement was birthed. Both responses were correct and necessary. At one point, the dancing women removed their royal blue dashiki-patterned caftans, stripped down to white tank tops and black leggings. They built a pyramid – that echoed the Johnson’s structure – only to collapse in laughter. The gathered in a circle on a rug – sharing a moment of unity, sharing this time of contemplation and collaboration. Their final act was to gather quietly in the center of the space and just. . .breathe.

Provocations offers a new/old way of experiencing art. It is not visual art or sculpture or music or dance. All the elements, sight, sound, movement – even smell, as I was taken back in time by the aroma of Florida water from the libation – united to create a life-affirming experience. “Affirmative Reactions” is a much-needed reminder to breathe, to take time to remember who and where we come from, to recognize and honor our ancestors and each other. It connects the past, the present, and the future.

It is a liberating experience and if you have the time and ability to get to the ICA on Saturday, please go. “Affirmative Reactions” starts promptly at 4:00pm and runs for about 30 minutes.

ADDENDUM: The cast of “Affirmative Reactions” includes Amena Durant, Lani Corey, MiKayla Young, Mary Manzari, Christina Collins, Jaylin Brown, Kenneka Cook, Reyna Pannell, and Christine Wyatt.

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


Photo Credits: Julinda D. Lewis & additional photos courtesy Christine Wyatt



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