RICHMOND BALLET: NEW WORKS – Sleeping Cats and Distant Figures Lose Melodies in 2Rooms

RICHMOND BALLET:  Studio Two New Works Festival 2018

An Extended Dance Review by Julinda D. Lewis

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

Performances: March 20-25, 2018

Ticket Prices: $22.50-$42.50

Info: (804) 344-0906 or richmondballet.com

The Richmond Ballet first presented the New Works Festival in 2008 and the 2018 Festival is the sixth program offering new works by guest artists. Each of the four choreographers is given 25 hours to work with the company to set an original 10-minute work or portion of a larger work on the Richmond Ballet. This year, four extremely diverse choreographers created works that stretched the dancers with quirky new movement vocabularies and non-traditional choreography that challenges the audience to look at and think about ballet in new ways.

For Studio Two, four choreographers who have never created for Richmond Ballet were selected, and those who attended the Choreographer’s Club on Tuesday got to meet each of them. In order of their works on the program:

Tom Mattingly (freelance dancer, choreographer; Chicago, IL) was an apprentice with Richmond Ballet at age 17. Mattingly’s new work, Figure in the Distance is an earth-toned work set to music by Philip Glass (“Concerto for Violin and Organ”) against a backdrop of artist Taylor Am Moore’s original work, The Dancer. Deliberately ambiguous, I see it as a dance of opposition or perhaps duality would be a better word choice. There is opposition or duality in the use of the dancers’ arms and legs, in the choreography’s directional choices, and in the dynamics that shift swiftly from quick to sustained or waiting – and even in the dancers’ costumes. The women have long sleeves and short legs, the men have long legs and no sleeves.

There is even a duality in Moore’s painting, which could be figure in the distance or the pen – and energy – that drew it. There is a sense of striving and anticipation reflected in the slow deliberate walks that are graceful yet strong.

In the post-show talk, Mattingly indicated he likes a vague story line that doesn’t hit the audience over the head, but I suspect the work may be a bit autobiographical as well – a bit of a reflection of his ongoing transition from dancer to choreographer. He may be getting closer to seeing who that “figure in the distance” really is.

Bradley Shelver (born in South Africa; principal dancer with the Metropolitan Opera Ballet, NY) presented 2 Rooms, a work that depicts compartmentalized moments on segmented worlds. The first of two very quirky works on the program, 2 Rooms gives the audience options. There are alternative points of focus, provided by a set of moveable red panels that separate the space and the dancers. Dancers appear on either side of the panels, between the panels, and move around the panels. We see their feet moving below them, and they sometimes peak over the top.

Two memorable shapes are a wide-legged crab scrabble the dancers use to travel side-to-side and a waiting crouch that verges on a parody of a horror movie posture. There are also sudden falls and rolls, percussive gestures, tickling, an overly long kiss, and frantic shaking motions. There was one fall that appeared unplanned, when Elena Bello jumped onto her partner Matthew Frain, and an odd and awkward pause in the music that may or may not have been intentional. Nothing about 2 Rooms is predictable or ordinary.

Music is a big deal for Shelver, and 2 Rooms plays freely with the juxtaposition of “Ciaconna” (The Hilliard Ensemble, mixed with fragments of J.S. Bach) and “Adagio in G Minor” (R. Glazotto; Helmut Müller-Brühl/Cologne Chamber Orchestra) that complements the nuances of his quirky and fast-paced choreography. As much as I loved the quirkiness as a technique and an exercise, however, it did dominate the work, making the choreography seem somewhat unfinished. Given that this work was created in 25 hours, it would be interesting to see if a subsequent performance might have progressed to a different place in this compartmentalized world.

It’s probably just a coincidence that the first half of the program featured male choreographers, and the second half featured female choreographers.

Mariana Oliveira (born in Brazil; Artistic Director of The Union Project Dance Company, Los Angeles, CA) created My Lost Melody around the theme of falling in love, but the title, the predominantly black color palette, and the focus on some of the lesser known songs of Édith Piaf are a big clue that this is not all about the lighter side of love. Oliveira, the only choreographer of the four who said she comes to a new project with the work fully formed – right down to the costumes and lighting – created My Lost Melody on twelve dancers, with flowing permutations of three groups of four that guide the viewers’ eye across the stage.

Control and direction seem important in Oliveira’s work. A duet for Abi Goldstein and mate Szentes (in their fourth and third years with Richmond Ballet, respectively), reminded me of Fred Astaire, but rather than Ginger Rogers, Goldstein’s role was given a humorous twist that completed her phrases with a frivolous fold-over rather than an elegant fanfare. One brief trio (in white) was performed to the sound of rain. The darkest of the four works, My Lost Melody was also the most dramatic, and the one that came closest to telling a story.

Francesca Harper (Artistic Director of The Francesca Harper Project, NY) explored the role of gender and specifically strong women in The World of Sleeping Cats, set to the music of hip hop violinist Daniel Bernard Roumain. The movement is infused with bold walks and, like the work of Shelver, more quirky and breathtakingly unexpected phrases, while the music is infused with bold drum-line beats and electronic sounds that suggest we are in new and uncharted territory.

This work also uses a black color palette, distinguished by hilariously ridiculous wired tutus. Elena Bello’s tutu is the first to come off – where it occupies an unceremonious position in the spotlight, center stage. A work for ten dancers – five couples, The World of Sleeping Cats is nontraditional but grounded in tradition. The dancers wear toe shoes, but the partnering doesn’t follow traditional gender assignments. Harper’s title is intriguing. Sleeping cats make you think of softness, but cats have claws. Sleeping cats may alert and spring into action at a moment’s notice.

One acquaintance who tried to get me to talk about the performance shared that she was excited about this piece because it addresses gender issues. A long-time Richmond Ballet supporter, William (Billy) Hancock (Campaign Director and Major Gifts), shared that the New Works Festival is his favorite Studio production because, to paraphrase his words, where else can you see all this original work in one place?

The choreographers themselves gushed about their experience with Richmond’s dancers, calling them brilliant and easy to collaborate with as well as passionate and dedicated.  While the company was excellent overall, special notice is due to dancers Elena Bello and Matthew Frain, Abi Goldstein and Mate Szentes, and Bello with Fernando Sabino who were featured in the new works. Lighting designer MK Stewart and costume designer Emily DeAngelis also earned well-earned kudos. For Artistic Director Stoner Winslett, the New Works Festival is not about competition, but about making The Richmond Ballet a safe place to be open and vulnerable – the best place to create a new ballet.

Keep in mind – these are not polished, full-fledged works. They are not meant to be finished and perfect. That is part of the appeal. All are different and challenging. All bring out the best in the dancers. All are worth seeing and talking about – but you can only do that if you go see them:

Tuesday, March 20th at 6:30pm (Choreographer’s Club) $65-$100
Wednesday, March 21st at 6:30pm
Thursday, March 22nd at 6:30pm
Friday, March 23rd at 6:30pm and 8:30pm (Club 407/Young Professionals) $35*
Saturday, March 24th at 6:30pm and 8:30pm
Sunday, March 25th at 2pm and 4pm

Club 407 For Young Professionals – Richmond Ballet is excited to offer discounted tickets, special events, and more through our new Club 407. Designed for a premiere group of ballet enthusiasts and novices alike under the age of 40, Club 407 provides exclusive experiences for Richmond’s young professionals. We invite you to become more involved with Richmond Ballet by attending performances, networking opportunities, and special behind the scenes access!

Studio Series – Club 407 tickets for our Studio Series shows include a pre-performance happy hour with food and drinks (cash bar) at Wong Gonzalez’s Beauty & Grace Room, a performance in the intimate Richmond Ballet Studio Theatre, and a post-performance beer and wine reception with the dancers.

 

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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Photo Credits:

Sarah Ferguson

 

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HELEN SIMONEAU DANSE: Land Bridge

HELEN SIMONEAU DANSE: Land Bridge

A Dance Review by Julinda D. Lewis

 

At: Virginia Commonwealth University School of the Arts W. E. Singleton Center for the Performing Arts, 922 Park Avenue, RVA 23284

Performances: March 3, 2018

Ticket Prices: $20 Adults; $15 Students

Info: (804) 828-2020 or http://arts.vcu.edu/dance/

Virginia Commonwealth University’s Department of Dance & Choreography is hosting the 2018 Mid-Atlantic South Regional Conference of the. American College Dance Association March 4-7, 2018. More than 400 students and faculty from college and university dance programs around the region and the nation are expected to attend the four days of adjudicated performances, master classes, scholarly research presentations, and myriad opportunities for student and faculty exchanges both in and outside of the studio. Build around the theme of Bridging Community, the conference will celebrate “dance as a means of forging empathy and connection through inquiry and effort.”

On Saturday the North Carolina-based contemporary dance company of Helen Simoneau offered a pre-conference concert for one night only. Simoneau’s first evening length work is aptly titled “Land Bridge,” and is based on an investigation of heritage, assimilation, and identity as seen through the lens of a herd of caribou. (This makes sense once you realize that Simoneau is a native of Québec, Canada where caribou, also know as reindeer in this part of the world are a threatened species – that’s a step down from endangered.)

Simoneau’s diverse troupe of eight dancers is sublimely athletic and it is mesmerizing to watch them move through this piece. The work begins with the dancers moving in slow procession to the beat of a drum. They sink majestically into a one-legged plié, as if trudging or migrating unhurriedly through deep snow. The silhouette of the dancers’ bodies, with heads bowed and shoulders and upper torsos rounded also suggests those pictures of the evolution of man.

“Land Bridge” is about cycles and repetition. The opening processional repeats several times before the herd changes direction and the movement reappears in abbreviated form later in the hour-long work. At one point all eight dancers connect and spin apart like a centrifuge, then balance on one leg with both hands held at the sides of their heads, fingers pointing up, suggesting antlers. A tandem crawl, with one dancer face up atop the back of the other, suggest the communal nature of this work and at the same time is a typical tableau. Another is a bottoms-up posture with the head on the ground – a reference, no doubt, to the caribou’s manner of digging into the snow in search of food, and to the etymology of the French-based word “caribou” which can be translated to mean “snow shoveler.”

In a post-show talk, Simoneau elaborated on how her work often focuses on the individual within the group and the many ways in which the dancers’ connections reflect variations of locking antlers, sharing weight and power. This is especially clear in a section where two men meet center stage and fall into one another, forcefully dragging and tossing one another in a great display of power. “Land Bridge,” in which the patterns and cycles of animals and humans merge and become one is set to an original score by Nathalie Joachim that blends human and electronic sounds.  Chanted sighs and percussive gurgles cycle and repeat while the lighting by Carrie Wood at times makes the dancers look as if they were lit from within.

Dancer Burr Johnson, now in his eighth season with Helen Simoneau Danse, is a VCU Dance alum. It’s always a pleasure to see successful students return to show off their results of their hard work. Personally, I can hardly wait for this company to return to Richmond for another public performance – hopefully for more than one night.

 

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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Photo Credits:

Company photos by Peter Mueller; Helen Simoneau’s portrait by Todd Turner Photography

 

Richmond Ballet’s THE SLEEPING BEAUTY

Richmond Ballet’s THE SLEEPING BEAUTY

A Dance Review by Julinda D. Lewis

At: The Carpenter Theatre at Dominion Energy Center, 600 E. Grace St., RVA 23219

Performances: February 9th @ 7:00pm; February 10th @2:00pm and 7:00pm; February 11th @2:00pm

Ticket Prices: Start at $25

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

The Richmond Ballet’s large-scale production of the timeless fairy tale, The Sleeping Beauty, staged by Malcolm Burn is simply beautiful. From the classical choreography by Marius Petipa, with additions by Burn, paired with the music of Peter Ilyich Tchaikovsky to the stunning technical execution by the dancers to the elegant three-dimensional set by Michael Eagan, The Sleeping Beauty is a masterful piece of theater. The music is played live by The Richmond Symphony under the direction of Resident Conductor Erin Freeman.

The work, onstage at The Carpenter Theatre at Dominion Energy Center for one weekend only, features company members Cody Beaton as Princess Aurora, Marty Davis as Prince Florimund, Lauren Archer as The Fairy of the Lilac (Wisdom), and Mate Szentes as her Cavalier. Petite Elena Bello dances the role of Carabosse, the Wicked Fairy, with Peter Elverson as King Florestan and Ballet Master Jerri Kumery in a rare character role as his Queen. Another character role, that of The Nurse, is filled by faculty member Susan Israel Massey, and Richmond Ballet II member Khaiyom Khojaev is featured as Puss ‘n Boots.

The scale of this production involves just about every company member (Ira White, recovering from an injury, was helping out at the box office on Friday night, and Maggie Small was absent recovering from a recent injury) as well as members of Richmond Ballet II, the Richmond Ballet Trainees, and students from the School of Richmond Ballet along with students from the Ballet’s Minds in Motion outreach program. Imagine the sheer power generated by twenty or thirty dancing bodies or more sharing the same stage.

The Sleeping Beauty is Tchaikovsky’s longest ballet, running nearly 4 hours, with intermissions, when performed full length – including a prologue and three acts. The Richmond Ballet production has been pared down to two acts and runs two hours, including one intermission. If that is still too long for the youngest members of the audience, they might be kept interested by frequent appearances in the second act of characters such as Puss ‘n Boots and his paramour The White Cat (Abi Goldstein), or Little Red Riding Hood and the Wolf (Savannah George and Thel Moore, III). Even the four little boys who portrayed the Trees – Carter Bush, Oliver Gardner, Hart Isacoff, and Zachary Owen – received an ovation from one gentleman in my row, and I don’t even think he was related to either of them.

The highlight of the ballet remains the Grand Pas de Deux, performed by Cody Beaton and Marty Davis. Beaton brought beauty, grace, resilience, and a touch of humor to Princess Aurora. Davis was technically crisp, noble in demeanor, and confident as Prince Florimund (originally named Prince Désiré) – as he should be after restoring the lovely Princess to life and earning her hand in marriage after a century’s long nap due to the spell cast by Carabosse on Aurora’s 16th birthday. Beaton dances with precise abandon, flinging her torso first to one side then the other, and obvious enjoyment, now leaning forward to watch the play of her arms. The couple makes the simplest choreography, like synchronized little hops backward, look beautiful, and the audience pleasing dips, lifts, and extensions look elegant and easy.

There are far too many dancers and characters to make mention of them all, but I would be remiss not to mention the lovely Eri Nishihara – a first year member of the company, she stands out as a quick, lithe, and powerful dancer in her role as Princess Florine in Act II.  Khaiyom Khojaev brought confidence and sass to his role as Puss ‘n Boots, making the most of his featured moments with nuanced tilts of his masked head and eerily authentic feline swipes of his paws – I mean hands. The Sleeping Beauty ballet is a treat for the eyes, ears, and soul.

 

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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Photo Credits:

Sarah Ferguson

SPITTING IMAGE: A Collaboration of Dance and Photography Featuring Choreography by Starr Foster

“Saltwater Bones,” a voluminous skirt solo, turned out to be one of my personal favorites of the evening.

SPITTING IMAGE: A Collaboration of Dance and Photography Featuring 8 Works by Starr Foster Dance Project with Music by Joey Luck

A Dance Review by Julinda D. Lewis

At: TheatreLAB’s The Basement, 300 East Broad Street, Richmond, VA 23219

Performances: Friday, January 12th @8pm. Saturday, January 13 @3pm, 5pm, 7pm. Sunday, January 14th @ 3pm, 5pm.

Ticket Prices: $15 General Admission. $25 Opening Night Performance and Reception with Artists. Order tickets @ http://www.browpapertickets.org

Info: (804) 304-1523 or http://www.starrfosterdance.org



As part of an ongoing mission to collaborate with other artists, Starr Foster Dance Project (SFDP) has started the new year with a unique collaboration with eight photographers whose work inspired the eight short dances that share their titles. Eight intriguing and very different photographs by photographers both local and long distance hung in the lobby of TheatreLAB’s The Basement, and on opening night six of the eight lens artists were on sight to share their work and experience with the dancers and audience.

Undulating Reflections, a work for six dancers, was inspired by a photograph by Dennis Lieberman.  Set to the somewhat anxiety-provoking music Surveillance by Canadian industrial band Noise Unit and with gorgeous deep blue costumes (tank tops with briefs for the men and ruffled skirts for the women) designed by Johann Stegmeir, Undulating Reflections lingers sumptuously in weight sharing, leaning, moments of touching and almost touching.

Elizabeth Whitson’s single flower, Beauty in the End, was the inspiration for a duet, performed Friday night by Erick Hooten and Heather Rhea O’Connor, to an original score by Joey Luck. Hooten, large and muscular, and O’Connor, deceptively delicate-looking, sustained an ethereal, floating quality throughout, supported by what I think was a cello that anchored Luck’s somewhat somber score. They remained connected and intimate, even with people watching from two sides as the black box space was set up as a traverse or corridor stage. The final image was of the two dancers stretched out on the floor, Hooten’s face hoovering slightly over O’Connor as the two seemed to share the same breath. The blue theme was continued with O’Connor’s long, soft dress and Hooten’s matching tank with solid long pants, both designed by Foster.

The mood changed considerably with Find the Light, a work inspired by Clare Midock’s photo, which featured a chair and her young daughter. Anna Branch, O’Connor, Angela Palminsano, and Brittany Powers initially took turns dancing on and around a sturdy wooden chair, each revisiting and modifying the phrases of her predecessor.  They draped themselves over the chair, hung over the back, slithered under it, sat near it, focused on a mysterious mission as a blinding bright light focused on them. Find the Light is set to a hauntingly beautiful cello solo by Peter Gregson, and Johann Stegmeir designed the orange ombre jumpsuits.

The first half of the program closed with the delightful, somewhat humorous Searching, inspired by Henrietta Near’s optical illusion photograph of people taking pictures in Maymont Park under the watchful eyes of a superimposed cat. Returning to the blue and black color scheme (with costumes by Foster and original music by Luck), the six dancers explored variations of searching. One moved a chair close to and stared directly at a member of the audience. Others sought out new spaces, sitting in chairs along the wall with the audience in the all-too-brief snippet of choreography.

A brief intermission provided a welcome opportunity to revisit the photographs for the upcoming choreography. (It would have been helpful to have a moment of lighting between each dance to give the audience a chance to check the titles and connect them with the photographs as well.)

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. Luck also created original music for this solo.

Angela Douglas’ photograph Flock (yes, it is a photograph of birds) manifested as a bouncy quartet (Davis, Hooten, Palminsano, and Powers) filled with quick, sharp movements in stark contrast to the sustained phrases of preceding dances. The accompanying music is, somewhat ironically, titled Nature Fights Back, performed by prepared pianist Hauschka (nee Volker Bertelmann). Foster designed the black tank tops and blue/teal pants for this delightful dance thin which the rhythm and flow was briefly interrupted by somewhat awkward preparation for a group lift.

Pas de Doe proved to be a delightful play on words, a duo inspired by Mike Harrell’s photo of two deer. Branch and O’Connor (who appeared I six of the eight dances on the opening night program) started off like two bulls sizing up one another in the glaring side lights, but by the end they were dancing in unison and looked as if they were about to take flight. Stegmeir designed their soft salmon-colored tunics and white pants, and the pounding music, Hephaestus, was by Chris Cutler and Thomas DiMuzio.

The program closed with Hanakapai Falls, inspired by a stunning painting of a Hawaiian waterfall. Rachel DeFrank’s deep colors, marked by shades of blue, green, and purple, were printed on a metal plate.  Branch, Davis, and Hooten resurrected Foster’s tilting movements, seen earlier in Undulating Reflections, with hints of classical lines and use of space in the partnering. Stegmeir’s blue gray pallet and the music, Sequence (four) by Warren Zielinski Magdalena Filipczak, Laurie Anderson, Richard Harwood and Peter Gregson, both supported and enhanced the concept of waterfall, making for a beautiful and satisfying conclusion to an evening of contemporary dance in Richmond.


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


Photo Credits (clockwise, starting at top left):

  1. Dancers Erick Hooten, Anna Branch and Ryan Davis leap in a new work Inspired by Rachel DeFrank’s photograph of “Hanakapai Falls” Photo Credit: Doug Hayes
  2. Dancers Heather Rhea O’Connor and Erick Hooten in a duet inspired by Elizabeth Whitson’s photograph, “Beauty in the End” Photo Credit: Doug Hayes
  3. Dancer Kate Neal descends in a new work inspired by Cristina Peter’s photograph “Saltwater Bones” Photo Credit: S. Foster
  4. Dancers Heather Rhea O’Connor and Erick Hooten share an embrace in “Beauty in the End” inspired by a photograph by Elizabeth Whitson Photo Credit: Doug Hayes

‘THE LATIN BALLET OF VIRGINIA: LEGEND OF THE POINSETTIA 2018’

This is the post excerpt.

‘THE LATIN BALLET OF VIRGINIA: LEGEND OF THE POINSETTIA 2018’

A Dance Review by Julinda D. Lewis

Where: The Cultural Arts Center at Glen Allen, 2880 Mountain Road, Glen Allen, VA, 23192

When: January 7-10, 2018

Ticket Prices: Children 6 years and younger FREE; Military/Seniors/Students with ID $15; General Admission $20

Info: (804) 356-3876 or http://www.latinballet.com


Many of us have holiday traditions. For some it is a special meal, or a decorating ritual. For others it is a trip to see The Nutcracker ballet. For a growing number of Richmonders, it seems to have become an annual trip to see The Latin Ballet of Virginia’s annual production of The Legend of the Poinsettia. A nearly full house on a cold winter day when the temperature remained stubbornly in the teens bears witness to the lure of this production.

I have seen several incarnations of this annual feast of dance, music, pageantry, and cultural immersion, but did not realize that 2018 marks the seventeenth year of this uniquely Richmond gem. Under the direction of Ana Ines King, the choreography, costumes, and setting have been somewhat modified or tweaked over the years, and of course the cast has changed, but some things – especially the sentiment – remains the same.

The Legend of the Poinsettia tells the story of Little Maria (portrayed on Saturday afternoon by a very confident Emery Velasquez, and to be played on Sunday afternoon by Daniela Wheeler), who, after the sudden death of her mother, finds herself in need of a gift to present to the Baby Jesus on Epiphany Day. [NOTE: January 6 is Three King’s Day or Dia de los Tres Reyes Magos, which celebrates the 12th day of Christmas and the legend of the three Wise Men bringing gifts to the Christ Child.] It is also the story of “the true spirit of giving,” as well as a history, of sorts, of how the poinsettia came to be a symbol of Christmas.

In the hands of King and the performers of The Latin Ballet, The Legend of the Poinsettia is an all-inclusive festival featuring the dances, music, and costumes of Mexico (the origin of the legend and of the poinsettia plant), Colombia (King’s birthplace), Venezuela (the home of the gaitas or festive songs), the Dominican Republic (home of the bachata, a mixture of Cuban bolero and son), and Spain (home of flamenco and the Christmas novenas).

This year, performers ranged in age from 4 years old to 98 (special guest artist Frances Wessells, Professor Emerita of VCUDance, appears in her recurring role as Abuelita/the grandmother). Antonio Hidalgo Paz, of Spain, and artistic director of Flamenco Vivo, has become a staple figure, partnering King in a flamenco duet and taking on the role of Papa. Marisol Betancourt Sotolongo, currently the director of the LBV Junior Company, first appeared in The Legend of the Poinsettia at age 4, has appeared in every production – meaning all 17 years!

It is always a treat to witness the chemistry between King and Paz. This year, the company also boasts a quartet of strong male dancers: DeShon Rollins; Nicolas Guillen Betancourt Sotolongo, who, like his sister, has practically grown up in the company; Roberto Whitaker; and Jay Williams. Each has a distinctive style, with Whitaker and Williams coming from a hip hop infused background and Rollins exhibiting the strength and technique of Joffrey Ballet training.

The Legend of the Poinsettia is a family-friendly production that offers something for everyone. During intermission, I overheard two women chatting about the beauty of the production and the stamina of the dancers. They had some kind words for Wessells, who embodies my personal motto (borrowed several decades ago from the Urban Bush Women): I don’t know, but I’ve been told, if you keep on dancing, you’ll never grow old. Personally, I was struck by the color, the energy, and the genuine joy.  I could put on my critic’s hat and note that the music could have been louder, and sometimes the chorus of village children were not quite in sync, but none of this dampened the fire. As an added treat, the cast lines up in the lobby to greet you after the show. If you get a chance, catch the final performance on Sunday afternoon. It will warm your heart, and the constant smiling and clapping along might even warm the rest of you.


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