ELLA AND HER FELLA FRANK:

A Match Made in Heaven

A Theater Review by Julinda D. Lewis

At: The November Theatre Arenstein Stage. 114 West Broad Street, RVA 23220

Performances: July 9 – September 12, 2021 (Preview July 8)

Ticket Prices: $58. Discounted group rates and rush tickets available.

Info: (804) 282-2620 or www.virginiarep.org

The theme for opening night was “Richmond theater is back!” The occasion was festive, with a classic Rolls Royce convertible parked in front of the November Theatre, a ribbon cutting, and after the show, a ceremonial darkening of the lights in honor of the late Randy Strawderman, who first conceived of this heavenly duo.

The word heavenly is not thrown around lightly, as the premise of this show – more a concert than a play or even a musical – is a reunion in heaven of these two real-life friends and musical collaborators. The result is a nostalgic concert of classics and favorites.

Highlights of the evening (not counting being out at a live theater event) included Desirée Roots’ skillful and confident demonstration of Fitzgerald’s signature scatting technique on Duke Ellington’s “It Don’t Mean a Thing (If It Ain’t Got That Swing) and Scott Wichmann’s nuanced and intimately articulated delivery of “One For My Baby and One More For the Road.” There was even a good-spirited vocal battle set off when Wichmann tried to sing Sinatra’s signature “New York, New York.” Roots threw every city or geographically related song she could think of at him before allowing him the pleasure of completing the song: “I Love Paris,” Girl From Ipanema,” “My Kind of Town (Chicago),” “Georgia on My Mind,” “Tale the A Train,” and more.

Roots is no stranger to the music of Ella Fitzgerald, having written and starred in a 2017 tribute, Ella at 100 (since renamed Forever Ella). Roots was both amusing and elegant, portraying “The First Lady of Song” in three elegant gowns – a blinding gold metallic number, a lime green satin ensemble, and an angelic white finale creation adorned with feathers and glitter – each with matching shoes and a color-coordinated handkerchief. Kudos to Sue Griffin and Keith Walker for the costume design. Wichmann was a natural choice for the popular singer nicknamed “Ol’ Blue Eyes.” Between the two of them, Fitzgerald and Sinatra earned 25 Grammy awards (13 for her and 11 for him), and sold somewhere in the vicinity of 200 million albums.

Seeing these two musical icons portrayed by two familiar theater stars would have been a treat at any time, but it was especially heart-warming as the inaugural show of the great re-opening. Too bad Friday night’s performance was marred by a wonky sound system. Both singer’s voices were under-amplified and at times distorted while singing, and much of their light banter was completely lost. (I understand this was not the case during the previous night’s Preview performance, and I hope it doesn’t affect any other shows.)

A live 7-piece orchestra was placed onstage – socially distanced – in a simple and elegant setting of white balloon-like globes that at times reflected different colored lights. The beautifully subtle lighting was designed by BJ Wilkinson. As at any good concert, the musicians got a chance to solo, and even the Overture (Count Basie’s “One O’Clock Jump) and the Encore (Harold Arlen’s “I’ve Got the World on a Strong”) drew enthusiastic applause. Larri Branch, the Music Director, was also the pianist – who had a single line, a long-drawn out “yep!” in response to questions like, “Are they (meaning us, the audience) real? There was even a bit of audience participation – some planned and some that I think was spontaneous.


Katrinah Carol Lewis’ direction was unobtrusive and organic – except when the two vocalists briefly paced around one another like caged cats. Their initial attempts to hug one another were hilariously rebuffed by an invisible force shield that prevented them from touching – another nod to COVID-19 conventions, yet highly unlikely to happen in heaven.

Written by Richmond-based playwright Bo Wilson and featuring nearly 30 songs, Ella and Her Fella Frank runs about 80 minutes, with no intermission. In accordance with Actors’ Equity Association COVID-19 Guidelines, face masks are required to be worn by all patrons while in the building and no food or drinks are being served at this time.

In honor of Randy Strawderman, who conceived of the original concept of this show, a moving tribute was held after the show, with Debra Wagoner singing from the balcony above the theater’s restored original entrance and a ceremonial darkening of the theater lights. A detailed tribute is available in the digital program – another COVID-19 theater convention that is likely to be around for awhile.

Ella and Her Fella Frank

by Bo Wilson

Based on an original concept by Randy Strawderman

Cast

Desirée Roots as Ella Fitzgerald

Scott Wichmann as Frank Sinatra

Direction & Design

Direction: Katrinah Carol Lewis

Scenic Design: Josafath Reynoso

Costume Design: Sue Griffin and Keith Walker

Lighting Design: BJ Wilkinson

Music Direction Larri Branch

Stage Management: Jocelyn A. Thompson

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: Aaron Sutten

Find these books by Julinda on Amazon’s Kindle Direct Publishing: https://kdp.amazon.com/en_US/bookshelf

COMPANY | E

NEXT: WARMER. An evening of performance on climate change

A Dance Review by Julinda D. Lewis

At: Dogtown Dance Theatre, 109 West 15th Street, RVA 23224

Performances: June 25 & 26, 2021.

Ticket Prices: In-Person Tickets: $20. Streaming Tickets: $8 to see NEXT: WARMER right from your home: https://dogtown.vhx.tv/pro…/company-e-presents-next-warmer

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

REPERTORY:

The Art of Looking Back. Choreography: Emese Nagy (Hungary). Music: Jingle Bell Rock by Bobby Helms; Rockin’ Around the Christmas Tree  and Winter Wonderland by Brenda Lee; Mandolin Concerto I  C Major by Antonio Vivaldi; A rich life with less stuff | The Minimalists  TEDxWhitefish

These Frames. Choreography: Robert Rubama (Brooklyn, NY, USA). Music: Organization: Foundation Foundation by Dylan Lambert; Frames by Robert Rubama

Current. Choreography: Maddie Hanson (Canada). Music: Midnight by Kyle Preston; Behind Every Decision by Yehezkel Raz; Dark Tension by Kyle Preston; Hibernation by Peter James Johnson

Y zero. Choreography: Ashley Lobo (India). Music: Original score by Chirag Agarwal & DWC

Passenger. Choreography: Rayven Leak (USA). Music: Original score by Clifton Brockington; additional music by Solange

Having sent out a call for entries on climate change, Company | E, under the artistic direction of Paul Gordon Emerson and Pilkington, selected works by Maddie Hanson (Canada), Ashley Lobo (India), Emese Nagy (Hungary), and Robert Rubama (USA). A fifth work, by Rayven Leak, marked the debut of the Liz Cherry Jones Memorial Commission, awarded to a current student or recent graduate, in collaboration with the Company’s partner, Howard University. All five works came under the umbrella of the title Next: Warmer, a concert of works exploring the theme of climate change and reducing the company’s own footprint in ways large and small.

Emese Nagy’s The Art of Looking Back was at once ridiculously awkward and surprisingly graceful. Dancer Horizon Miguel donned layers of clothing and flung his body around a confined space that was also home to a rotary phone, a mermaid fishtail, a belly button brush, and several boxes. Meanwhile, his partner, Kelsey Rohr, rummaged through piles of clothing and unidentifiable debris. They appeared to be a pair of hoarders reveling in – and being consumed by – years of uncontrolled consumerism.

[https://www.facebook.com/watch/?v=2236274489837111]

Robert Rubama’s quintet, These Frames, used abstract movement hung on a framework of architectural design in an ambient soundscape that was oddly soothing.  The opening solo made me think of a bird doing yoga. Rubama employed a transient center of gravity, with asymmetrical motifs and off-kilter spines that seemed physically and logically incapable of supporting the moving bodies that enveloped them. This may be his way of metaphorically addressing the larger issue of sustainable practices in architecture and construction and its impact on global carbon emissions.  I was particularly struck by a repeating motif in which the dancers placed their hands at their hip in a diamond shape and lifted them upwards. It was so simple yet so powerful to watch these earthen vessels learn to construct new earthen homes.

[https://m.facebook.com/watch/?v=1219141105185056&_rdr]

Maddie Hanson’s Current – first introduced to Richmond at the previous weeks RDF21 Weekend Two – was performed against a video background of earth, sky, and water. The dancers embodied an undulating spiraling body roll and moved as a unit, giving the impression of being part of a whole even when not touching. Our connection to the Earth and our relationship with water were the focus. Again, I felt that gravity was relative. It was fascinating how connected the various works – each by a different choreographer – appeared to be as the program progressed.

[https://www.facebook.com/watch/?v=1126442894518799]

Ashley Lobo’s Y zero examined our relationship to planet Earth and looked at the Earth as a living being. The women’s tunics were reminiscent of the ancient Greek peplos or the ancient Roman chiton, and the men’s garments reminded me of monk’s attire. Both drew the mind back in time and supported a sense of history as the dancers moved through this very grounded and immersive work. Lobo’s work seemed to be not so much about the movement as it was about the atmosphere it created.

[https://m.facebook.com/watch/?v=2895562947384103&_rdr]

The program closed with Passenger. Rayven Leak, a 2020 graduate of Howard University, crafted this movement collage of broken, boneless postures infused with hip hop and lyrical movement. A Rasta walk, smooth spins, and catwalks were all embraced by the dancers, who were wrapped in an original score by company resident artist Clifton Brockington, mixed with additional music by Solange.

It was deeply satisfying the way the five works by five different choreographers fit together into a seamless thematic movement. This is as it should be.

Photos from Company | E and Dogtown webpages. Video clips from Company | E website. Photo by Dave Parrish Photography.

ALL NEW RDF21: WEEKEND TWO!

DOGTOWN DANCE THEATRE PRESENTS THE 2021 RICHMOND DANCE FESTIVAL LIVE AND IN-PERSON

A Dance Review by Julinda D. Lewis

At: Dogtown Dance Theatre, 109 West 15th Street, RVA 23224

Performances: Week One: June 11-12, 2021. Week Two: June 18-19. Live and streamed on Dogtown STREAM.

Ticket Prices: In-Person Tickets: $20 General; $10 Students. Virtual Access $39.99 annually (Free Trial currently in effect. https://www.dogtowndancetheatre.com/dogtownstream)

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

WEEK 2 REPERTORY:

Perceived Threat by Leah Glenn Dance Theatre (Williamsburg, VA). Choreography: Leah Glenn. Music: Max Richter.

Marathon by Trybe Dance Collective (a safe space for emerging artists). Choreography: Danielle Lyndsay. Asst. Jaedyn Cameron, Daneya Celestin, Kendall Parker, Chloe Ruffin, Mia Watkins. Music: “Marathon (In Roses)” by Gem Club.

Equinox a film by Jonah Haber

Vacancy by Baran Dance (Charlotte, NC). Choreography: Audrey Baran. Music: Nicholas Jaar.

Kalika Stuthi by Sri Sai Dance Academy. Choreography: Sarada Jammi. Music: Satyagopal Tumuluri.

A Mother’s Soliloquy a film by Cameron Kostopoulos. Directed & written by Cameron Kostopoulos. Music: Prateek Rajagopal.

One hundred years flicker; I kiss the Snow by Jenna Beardsley (Richmond, VA). Choreography: Jenna Beardsley. Videography: Taylor Bonadies. Music: “Flora” by Elysia Crampton ft. Jeremy Rojas & “When I Rule the World” by Liz

desasosiego. by Aina Lanas (Spain). Direction, Choreography & Writing: Aina Lanas.

Retentions by CLAVES UNIDOS (Richmond, VA). Choreography: Kevin LaMarr Jones with Alyssa Frye, Diamond Hudson & the performers.

Salad Days by Sara Hook. Choreography by Sara Hook. Music: “Anfangs wollt’ ich fast Verzagan (At First I Almost Despaired)” by Robert Schumann

Canis Major an award-winning film by Charli Brissey. Direction, Choreography & Animation: Charli Brissey.

CURRENT by Company | E (Washington, D.C.). Choreography: Maddie Hanson. Music: “Midnight” by Kyle Preston, “Behind Every Decision” by Yehezkel Raz, “Dark Tension: by Kyle Preston & “Hibernation” by Pete James Johnson.

The Richmond Dance Festival came back for a second week with all-new programming. Like the first week, the program consisted of a mix of live performances and dances created on and for video. There were some truly outstanding performances, but this time there seemed to be some unevenness in genres, execution, and programming.

Leah Glenn set the bar high with the opening work, Perceived Threat. Jamal Story started standing on one leg, with the other suspended in the air somewhere in the region of his ear while he turned. It brought to mind images of Fred Benjamin and Eleo Pomare, two icons of American modern dance for those of a certain age. The work itself, a duet Story performed with partner Kylie LeWallen, is contentious and gravity-defying, and marked by some of the strongest technique I’ve seen in quite some time.

Another highlight of the program was Sara Hook’s zany and breathless duet Salad Days. The title is taken from a Shakespearean reference to the “salad days” or heyday of youth. Throughout most of the dance, Rachel Rizzuto counted aloud from 1-10, varying the tempo and accent and sometimes counting to 12. Occasionally her voice waned, her partner wearied of the pace, only to rally and rejoin the game. For some reason, at one point, Rizzuto takes off her shirt and stands topless while her partner politely averts his eyes, but humor doesn’t always have to make sense to make us laugh. The program included six more live dances and four dance films.

The Trybe Dance Collective’s group work, Marathon, featured a troop of young dancers with tight buns and purple leotards.  Though it is constructed of basic studio moves – bridges, contractions hinges – it brought to mind Balanchine’s “Serenade,” as it, too, was created as a showcase for young dancers and an introduction to the choreographer’s technique for the audience.

In Audrey Baran’s Vacancy ritual, repetition, and meditative poses were set against a soundscape of words, music, conversation, and children’s voices. A program note included the question, “How do we navigate or occupy the space and time left behind after a loss, and should we?” I wasn’t quite sure what was happening, but I couldn’t take my eyes away from the riveting motion.

Ameya King performed the classical Indian piece, Kalika Stuthi, on Saturday (Manaswi Gonela danced the role on Friday), and I found it interesting that the song sounded familiar as it was written by the choreographer’s father, Satyagopal Tumuluri. (It reminded me of a song I heard on a segment of Rhoda Grauer’s 1993 Dancing video series, but I couldn’t find any music credits for the series.) King’s long bejeweled braid and ankle bells helped accentuate the polyrhythms as each and every part of her body danced: eyes, fingers, hands, arms, shoulders, torso, hips, legs, feet – each subdued to the discipline of her craft. It was possible for one unfamiliar with the genre to follow parts of the story, even if we had no knowledge of the demands of the technique.

The second half of the program began with Jenna Beardsley’s solo, One hundred years flicker; I kiss the Snow, featuring the specter-like figure of a gauze-covered dancer on stage and a grainy black and white film on the screen behind her.  The work ends with a bizarre juxtaposition of the waif-like figure – is it human or human-like; is it living or no longer living – moving to the empowering anthem “When I Rule the World.” The unusual title comes from a line in Scottish singer SOPHIE’s song, “Is It Cold in the Water?” – the same artist who produced “When I Rule the World” – and the work is dedicated to the mysterious artist who identified as a trans woman and tragically died after a fall from a balcony earlier this year.

Kevin LaMarr Jones’ Retentions featured a multi-generational cast of women and a toddler girl dancing to music fired with the passion of Spanish guitar. The little one tentatively ventured from her mother’s arms to explore the striding steps of the other women and took a few test strides of her own. One woman moved alone, slowly traversing the back of the space, emphasizing a sense of being along but together. Like much of Jones’ work, Retentions speaks of history and geography and cultural diffusion.

The program closed with Company | E’s CURRENT, a complex work that is at once overly long, ambiguous, and committed. A section that dealt with the acquisition of an air fryer was hilarious while hammering home its point about unnecessary consumption. But I will be covering this company more in-depth next week when they return for an entire evening of works from their WARMER series.

By far, my favorite of the films was Aina Lanas’ desasosiego (Restless). Lanas, described in the program as a “reference for urban/contemporary dance in Spain,” provided an immensely entertaining film featuring four women in deconstructed suits entertaining themselves – and their audience – by playing with and tasting lemons. At some point, their jackets and pants fall away, and there is even a moment of flamenco, of course. [https://vimeo.com/486618048]

Jonah Haber’s film, EQUINOX, featured a woman wearing a black dress walking in a geodesic dome. The work is filled with many structures and has a sci-fi feel. Cameron Kostopoulos’ film, A MOTHER’S SOLILOQUY, was a depressing tale of addiction. A crumbling room of mirrors and broken glass reflected a woman’s rapid deterioration, and I was outraged that this film closed out the first half of the program. Near the end of the second act, Charli Brissey’s award-winning animated film, CANIS MAJOR, explored a writer navigating through a severe case of writer’s block with the help of their dog. The writer contemplates the relationship between dancing and surviving the end of the world. [https://www.charlibrisseyisananimal.com/canis-major-2019]

All-in-all, Weekend Two was marked by diversity and variety, yet it lacked the visceral and artistic impact, the “wow” factor of Weekend One. 

RDF21:

DOGTOWN DANCE THEATRE PRESENTS THE 2021 RICHMOND DANCE FESTIVAL LIVE AND IN PERSON

A Dance Review by Julinda D. Lewis

At: Dogtown Dance Theatre, 109 West 15th Street, RVA 23224

Performances: Week One: June 11-12, 2021. Week Two: June 18-19. Live and streamed on Dogtown STREAM.

Ticket Prices: In-Person Tickets: $20 General; $10 Students. Virtual Access $39.99 annually (Free Trial currently in effect. https://www.dogtowndancetheatre.com/dogtownstream)

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

WEEK 1 REPERTORY:

Affected | Karar Dance Company | Choreography by Kara Robertson | Music: Original Score by Ryan Davis | Costumes: Damian Bond

En el Vació (In the Vacuum) | Choreography by Eric Rivera | Music: “Una Palabra” by Carlos Varela and “Contrastes” (La Periferia feat. Renzo Baltyzzi) by Damian Verdun | Costume: Johan Stegmeir

when you are looking, what do you see? (FILM) | Dogwood Dance Company | Choreography by Joanna Chocklett with collaboration from performers | Music: “Epilogue” by Olafur Arnaulds

Collective Fortitude | RADAR | Choreography by Megan Rivero | Music: “Outro” by M83

Fiscal Relations (2018) | Choreography by Julianna Raimondo | Music: “Between Water and Wind” by Colin Stetson

Exhale (FILM) | Directed by Moniek van der Kallen

Tribal (Improvisational Belly Dance) | Ajna Tribal Belly Dance Troupe | Choreography & Performance by Stephanie Wagner, Missy Moore, Lois Milone, Alicia Hagy | Music: “Land Back” by A Tribe called Red, “Trøllabundin” by Eiver, “Pow Wow” by A Tribe Called Red

Personal Tea Ceremony | Human Landscape Dance | Choreography by Malcolm Shute | Music: “Meditation” by Jules Massenet

DRY ONE’S EYES (FILM) | Directed by Botis Seva & Ben Williams

Two’s Too Much | Choreography & Performance by Luisa Innisfree Martinez & Kayla Xavier | Music: “Put Your Head on my Shoulder” by Paul Anka & “Little Story” by Janusz Wojtarowicz, Motion Trio

Ulrichs 1867 (FILM) | Directed by Sven Niemeyer

Malong Dance and Fan Dance | Sayaw! Diversity | Choreography by Dhol Tuason | Music: Kapa Malong-Malong & Philippine tribal music dance

The Richmond Dance Festival is back, and the dance community has obviously been starving for live dance. Dogtown Dance Theatre welcomed a full house (that’s about 80-ish people), and masks are optional if you are fully vaccinated. People seemed comfortable with the mix of social distancing accented with elbow bumps and a few actual hugs. The joy of being back in the theater for a live performance enhanced a dynamic and diverse program consisting of 8 dances and 4 films. (There will be an entirely new program for the second week. See below for details.)

Highlights of the program included Ajna Tribal Belly Dance and Sayaw!, Eric Rivera’s solo, and the film by Seva and Williams.

It’s hard to believe that the smoothly synchronized poly-rhythmic movements of Ajna Tribal are improvised. The quartet of women mesmerized with heads, shoulders, hips, and hands all moving to different rhythms simultaneously. Two of them even did this while balancing curved swords (scimitars?) atop their heads. The finger cymbals, colorful costumes, and music used in this American Tribal Style belly dance seemed to represent a fusion of cultures: Middle Eastern, Asian, African, and more.  What a way to end the first act!

The final work, Malong Dance and Fan Dance, was no less impressive. Dhol Tuason presented two traditional Philippine dances. “Pagapir,” performed with glittering fans is a royal court dance of the Maranao people and from the Lake Lanao area, features elegant movements of the large fans while the women’s feet take tiny steps emphasizing their prominent family background and good manners. “Malong” is the name of the gorgeous tubes of fabric worn by the dancers and gracefully manipulated from skirt to shawl to mantle, alternately covering and revealing. As beautiful as the fans and fabric were the women who represented a wide range of ages from youth to elders, a gentle reminder that dance is for everyone.

Eric Rivera’s intense solo, En el Vació,was performed by Alisha Agrawal, in a fiery red dress that boldly reflected a flamenco influence. The work, which in English translates to In the Vacuum, incorporated horizontal rolls on a wide bench. It is described as an exploration of the sense of urgency surrounding the return to normalcy – something that has been on our minds recently. Do we cling to the past, or move ahead into an uncertain future? En el Vació does not answer these questions, but it certainly makes contemplating them more interesting. Rivera is a prolific choreographer, having spent 13 seasons with Ballet Hispanico of New York where he created or helped to create more than 20 original works.  He has also performed with Minnesota Ballet, Ballet Teatro Municipal de San Juan, P.R., and in the European tour of West Side Story.

The beautiful brown bodies and clear eyes of the women and girls in the film Dry One’s Eyes seem to be on a journey in search of identity. Close-ups of faces beautifully devoid of makeup, and one inexplicably masked in white powder (does it represent oppression or tradition?) are arranged in stark contrast to tortured and sometimes invasive movements and situations (as when gloved hands roughly explore one’s teeth) and the presence of a black Barbie doll is at once innocent and ominous. This is the sort of art that relies equally on the movement and the film – a delicately balanced and perfect marriage of mediums. Dance artist Botis Seva often uses hip hop and autobiographical experiences to propel his narratives and the results are compelling and cutting-edge.

While these were my personal favorites of the evening’s dozen offerings, the rest of the program was outstanding.

The program opened with Karar Dance Company’s duet, Affected. The work has extraordinary use of energy, from sustained and to lyrical to robotic and ritualistic. Karar presented their first evening length work, Circadian, and at Dogtown in 2019 – in the “before” times – and has presented work, including Affected in Philadelphia in collaboration with the NYC’s Vanessa Long Dance Company. Karar Dance Company is definitely a company to watch.

RADAR’s Collective Fortitude, first presented in 2016 as part of the company’s evening length work, beingHUMAN, employs majestic music and tense movement in an exploration of human connection and relating to others. Washington, D.C.-based Human Landscape Dance is contemporary company whose work often focuses on human struggle and relationships and each of their dances is framed by some sort of container (such as a box or an egg) or employs foundational props. Julianna Raimondo’s Fiscal Relations is populated with monstrous possessions, poses from classic hip hop album covers, and dancers wearing jackets, irregularly buttoned shirts, and lots of noise! Raimondo’s work reflects an eclectic background, having worked with DanceWorks Chicago, Matt Pardo, and Urban Bush Women, among others,

Personal Tea Ceremony, a beautifully intimate and gentle work performed by Alexander Short and Malcolm Shute, is an exploration of an experience Shute had while traveling in Japan. “I encountered a Japanese man who spoke as little English as I speak Japanese,” he said in a Dogtown spotlight, “and offered me a ride to a remote location. After I took my photos, he led me to a temple for a tea ceremony. The event forged a bond between us, despite our differences.” The leaves and petals on the floor and on the dancers’ shirts could represent tea leaves or the flora of the remote location where the tea ceremony took place.

Two’s Too Much, choreographed and performed by Luisa Innisfree Martinez and Kayla Xavier, was by far the most amusing work on the program. The piece involved two women, a rug, and a bottle of wine, and carries the brief but poignant descriptor, “What’s mine isn’t yours…” Like Personal Tea Ceremony, the work makes use of props and explores relationships, and delightfully displays Martinez’ focus on women’s characteristics and mannerisms and using tangible objects to disrupt space.

Other films shown included Dogwood Dance’s when you are looking, what do you see? – a mostly black and white interlude set in a wide field, it addresses the ways in which we categorize and compare, how we take in the world. Do we really look? Do we really see? It is a beautiful first film by Joanna Chocklett, a Richmond native and graduate of the JMU dance program.

Hailing from the Netherlands, Moniek van der Kallen’s Exhale is another emotionally impactful film that seems to be about drowning and rebirth – or some sort of resurrection. It is beautifully filmed, in and under water. Last, but certainly not least, was German dancer and filmmaker Sven Niemeyer’s documentary-like film, Ulrichs 1867. Raw and heart-wrenching, it deals with violence against the LGBTQ community.

A dozen pieces is a lot. I normally would call it overkill, but in this case Dogtown artistic director Jess Burgess outdid herself in selecting works that all stand out in their own right and that worked together to create a festive atmosphere for this first RDF21 program. But wait, there’s more. June 18 and 19, Weekend Two will have a whole new repertory:

Perceived Threat by Leah Glenn Dance Theatre (Williamsburg, VA)

Marathon by Trybe Dance Collective (a safe space for emerging artists)

Equinox a film by Jonah Haber

Vacancy by Baran Dance (Charlotte, NC)

Kalika Stuthi by Sri Sai Dance Academy

A Mother’s Soliloquy a film by Cameron Kostopoulos

One hundred years flicker; I kiss the Snow by Jenna Beardsley (Richmond, VA)

desasosiego. by Aina Lanas (Spain)

Retentions by CLAVES UNIDOS (Richmond, VA)

Salad Days by Sara Hook

Canis Major an award-winning film by Charli Brissey

CURRENT by Company | E (Washington, D.C.)

My only complaint: Since re-opening, the risers have not been set up, so if you’re sitting beyond the second row, it’s hard to see. Several people chose to stand at the back of the theater to see better.

WALLED IN WITH WALDEN

a new play by Andrew Gall with material adapted from Henry David Thoreau’s Walden

At: The Firehouse Theatre, 1609 West Broad Street, RVA 23220

Performances: May 27-June 26, 2021, live and streamed. May 27-29, previews. June 3 Premiere. June 18-20 live & live stream.

Ticket Prices: In-Person Tickets: $33 in person & live stream

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

What is more appropriate as we emerge from more than a year of pandemic restrictions than a play based on the experiences of a man in prison (Andrew Gall’s fictional Lester Franklin) reading a book about a man who spent two years living in isolation in the woods (the American transcendentalist writer Henry David Thoreau)? Andrew Gall’s new play, Walled In, is, indeed, a play on Thoreau’s Walden, and while Gall liberally utilizes Thoreau’s words, his character, a MAGA-hat wearing Republican corporate lawyer who is in jail “taking one for the team” and wondering what happened to his promised pardon is very much a man of the twenty-first century. White, privileged, on the far side of middle age, Franklin is an angry, foul-mouthed, entitled creature whose own wife and daughter seem eager to sanitize their hands of his particular brand of filth. Whew. If that seems wordy, it’s just a hint of what to expect when you see Walled In.

“The mass of men lead lives of quiet desperation. What is called resignation is confirmed desperation. From the desperate city you go into the desperate country, and have to console yourself with the bravery of minks and muskrats. A stereotyped but unconscious despair is concealed even under what are called the games and amusements of mankind. There is no play in them, for this comes after work. But it is a characteristic of wisdom not to do desperate things…” – Henry David Thoreau

The exact details of how Franklin landed in prison are not necessary. We first meet him having a hissy fit after being assigned to clean the prison toilets. It doesn’t take long for him to be assigned to a prison education program where his class is assigned to read and journal about Thoreau’s two-year social-spiritual experiment, Walden; or, Life in the Woods. Thoreau spent two years, two months, and two days living in a cabin he built near Walden Pond, a far shorter sentence than what our friend Franklin might expect.

Doug Blackburn plays the role of Franklin in this one-person play (although two other actors lend their voices as the unseen Instructor (Todd Labelle, who is also the Production Designer) and Hicks, a prisoner in an adjacent cell (Rudy Mitchell). I could say Blackburn is a strong presence, but the playwright doesn’t really give him any other option. Franklin is an angry man. He strings together lines of expletives as if he were training for an Olympic competition in obscenities. (The program includes the “WARNING: This play contains very strong language that some may find offensive.”) It comes as no surprise when Act One ends with Franklin collapsing on the floor after yet another round of screaming into the wall phone – a phone to which he apparently has unlimited access. But there are also beautiful if rare poetic interludes, as in the description of an old unwashed coat that smells of Old Spice and bonfires.

Act Two begins with Franklin lounging on his cot reading. Hicks, the closest thing he has to a friend, refers to him endearingly as Heart Attack, and the bean plant he had tossed into the toilet is inexplicably flourishing on his nightstand. Yes, Hicks says he replanted it, but how did he retrieve it from the toilet and get it onto Franklin’s nightstand? Hmm? I do not consider it a SPOILER to tell you that Franklin’s journey of self-discovery while reading Thoreau does not result in a magical transformation. It does not make him any more likable. In the end, he is not redeemed but instead released on house arrest after Hicks dies of COVID-19, which Franklin refers to as the “China virus.” The point is not the destination but the journey. There is a lot of kicking and screaming; the two hours (with an intermission at the 80-minute mark) must be exhausting for Blackburn. It certainly is not an easy ride for the audience. Still, it is timely and raw and for some, seeing the character Franklin, who represents so much of what we hate about politics and privilege, in prison and no longer able to call the shots, is smugly satisfying. In a recent interview with Jerry Williams on the “Curtain Call” podcast, Gall described Lester Franklin as “a sort of Ebenezer Scrooge,” yet I doubt Franklin achieved any real redemption. Lester Franklin is an awful person; Doug Blackburn is a wonderful actor (assuming he is nothing like Franklin).

Gall relocated to RVA from North Carolina during the pandemic, and this is his first offering as part of the local theater community. Gall wrote and directed Walled In. Blackburn has been seen previously in the Firehouse production of Wrong Chopped. The lights, projections, and sound score for Walled In are fabulous. Production Designer Todd Labelle and Composer/Sound Designer Mark Messing have created a simple set (a wall phone, a cell featuring a toilet, night table, and cot, and a single wooden school desk) that is beautifully enhanced with a soundscape featuring train whistles and bullfrogs, owls and whippoorwills and other sounds. Lights and projections effectively transform the bare walls into the woods surrounding Walden Pond, adding depth and dimension to an otherwise flat space.

Walled In is not the kind of play you leave smiling and telling everyone how much you liked it. It is a play that makes you angry. It makes you think. And you leave feeling that things have got to change. Redemption isn’t just for individuals; it’s for systems.

Production Team:

Written and directed by Andrew Gall

Performed by Doug Blackburn

Featuring the voices of Todd Labelle and Rudy Mitchell

Sound Designer – Mark Messing

Costume Designer – Colin Lowrey II

Production Designer – Todd Labelle

Assistant Director – Grace Brown

Production Associate – Claire Bronchick

Stage Manager – Kasey Britt

Performance Schedule:

Thu, May 27 @ 7:30pm / invited preview

Fri, May 28 @ 7:30pm / invited preview

Sat, May 29@ 7:30pm / invited preview

Thu, June 3 @ 7:30pm

Fri, June 4 @ 7:30pm

Sat, June 5 @ 7:30pm

Sun, June 6 @ 3:00pm

Thu, June 10 @ 7:30pm

Fri, June 11 @ 7:30pm

Sat, June 12 @ 7:30pm

Sun, June 13 @ 3:00pm

Thu, June 17 @ 7:30pm

Fri, June 18 @ 7:30pm (live + live stream)

Sat, June 19 @ 7:30pm (live + live stream)

Sun, June 20 @ 3:00pm (live + live stream)

Thu, June 24 @ 7:30pm

Fri, June 25 @ 7:30pm

Sat, June 26, 7:30pm

Tickets:

$33 live and live stream 

RICHMOND BALLET: STUDIO SERIES/MAY

BALLET CLOSES SEASON WITH GUEST CHOREOGRAPHER

A COVID-conscious Pandemic-appropriate Program

A Dance Review by Julinda D. Lewis

At: The Richmond Ballet, Canal Street Studios, 407 East Canal Street, RVA 23219

Performances: May 11-23, 2021, live and streamed.

Ticket Prices: In-Person Tickets start at $25 [most performances sold out]; Virtual Tickets $20. [NOTE: On the evening of Sunday, May 23rd, virtual ticket buyers will receive an email with information on how to access the performance recording, which will be available to stream for one week. Virtual tickets for Studio Series: May must be purchased by 11:59 PM on Saturday, May 22nd.

(Please note that due to music rights restrictions, we may be unable to stream this program in its entirety.]

Info: (804) 344-0906, etix.com, or richmondballet.com. See the Richmond Ballet’s website for their COVID-19 precautions and more.

REPERTORY:

some kind of peace

Choreography by Levi Philip Marsman

Music by Ólafur Arnalds and Nils Frahm

Costume Design by Emily Morgan

Lighting Design by Christopher Devlin Hill

World Premiere: May 11, 2021, Richmond Ballet Studio Theatre, Richmond, Virginia

sweet bitter love

Choreography by Carmen de Lavallade

Music sung by Roberta Flack and Donny Hathaway

Costume Design by Geoffrey Holder

Lighting Design by Chenault Spence

Costumes courtesy of Alvin Ailey American Dance Theater

World Premiere: December 7, 2000, Alvin Ailey American Dance Theater, New York City Center, New York

Richmond Ballet Premiere: May 7, 2019, Richmond Ballet Studio Theatre, Richmond, Virginia

excerpts from who cares?

Choreography by George Balanchine

Music by George Gershwin Adapted and Orchestrated by Hershy Kay

Staging by Jerri Kumery

Costume Reconstruction by Tamara Cobus after Original Design by Karinska

Original Lighting Design by Richard Moore

World Premiere: February 5, 1970, New York City Ballet, New York State Theater, New York, New York

Richmond Ballet Premiere: November 14, 1986, Carpenter Center for the Performing Arts, Richmond, Virginia

            Concluding its ground-breaking pandemic season, The Richmond Ballet premiered a new work by its first and only guest choreographer of the year. Levi Philip Marsman, Artist-in-

Residence at the Boston Arts Academy, created Some Kind of Peace in response to the loneliness and isolation of 2020. It is a ballet about hope and connection, and the first two sections are fueled by a sense of anticipation and undergirded by the faint sound of a ticking clock. Much of the music comes from Ólafur Arnalds’ recent project of the same name, some kind of peace, and the rest was composed by Nils Frahm.

            The cast members all wear leotards in various shades of blue with darker blue sheer overlays. The women’s have slits that allow them to open partially before being shed entirely by the final section. I found the more awkward and less refined movement of the first half more interesting than the smoother, more lyrical phrases that evolved at the end. The social distance and quick stops of the ensemble in the “Personal Space” opening section and Khalyom Khojaev’s solo, “Panic,” which expresses the complexities of being home alone for an extended period of time, were directly influenced by the events of 2020.  One audience member summed up the work as being “impactful.”

Marsman’s work was followed by Carmen de Lavallade’s Sweet Bitter Love, conceived initially as a solo for the choreographer to a song by the same name sung by Roberta Flack. De Lavallade later added a song performed by Donny Hathaway, “For All We Know,” to incorporate the male perspective. This transformed the dance into a duet, and she then added and closed with a third song, also sung Flack, “Until It’s Time for You to Go.” Dramatically sustained movement and endless jazz hinges add visual interest to this tale of two lovers who were never meant to be. Cody Beaton and Trevor Davis met the challenge of this non-traditional duet. At times Beaton arched backward until she appeared to be folded in half, and the couple mastered movements initiated from a hip, an elbow, a wrist instead of from the core. But as visually striking as the movement vocabulary may be, the piece is tormentingly sad.

It was both a relief and somewhat jarring to move from two sober and introspective works to George Balanchine’s Who Cares? Balanchine choreographed this jazz ballet to 16 songs composed by George Gershwin between 1924 and 1931, and Richmond Ballet presented ten of them.  Bright and fun, the piece opened with the women dancing to “Somebody Loves Me,” followed by the men stepping up with “Bidin’ My Time.” There was a fun duet performed by Eri Nishihara and Ira White and some heel and toe action by Marty Davis before the ensemble finished up with “I’ve Got Rhythm.”

For the first time since returning to the stage last September, some of the dancers were allowed to take off their masks, thanks to vaccinations and the easing of some pandemic restrictions. Yes, it was wonderful to see some smiling faces, but I also felt what seemed like weariness or heaviness. Whether it was from the psychological impact of the first two dances or the physical strain of social distancing and dancing with masks for the past eight months, this program moved me, yet I left feeling oddly weighed down, connected yet concerned.

DOGTOWN PRESENTER’S SERIES: THE DANIEL NAGRIN CELEBRATION

Five Men, Six Dances:  A Concert of Solos by the Rebel of Modern Dance

A COVID-conscious Pandemic-appropriate Dance Review by Julinda D. Lewis

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

Performances: On Stage April 30 & May 1, 2021.  Streaming beginning May 7, 2021.

Ticket Prices: $20 General; $15 for Students (no tickets sold at the door as part of COVID-19 precautions).

Info: (804) 230-8780, dogtowndancetheatre.com or www.dogtown.vhx.tv. See the theater’s website for their COVID-19 precautions.

I love watching the look on my undergraduate dance history students’ faces when I show them videos of dancers I watched and loved when I was their age — more than four decades ago. One that usually gets their attention is a video of solo dance artist Daniel Nagrin performing his signature work, “Strange Hero.” Created in 1948, the work is a caricature of and homage to the American gangster.

“Strange Hero” was the opening work of the Daniel Nagrin Celebration Concert at Dogtown Dance Theatre last weekend. Matt Pardo, an assistant professor of dance at James Madison University, performed the piece, dressed in all black, minus the tight-fitting, broad-shouldered blazer Nagrin often wore when performing it. Pardo seemed less menacing than I remember, but at the same time seemed to exhibit more technical control than Nagrin – if that is even physically possible. The dangling cigarette (unlit), the hand that mimics a gun, the syncopated stabbing motions, and the juxtaposition of smooth, sharp, and elongated movement phrases may be employed in reconstructing a dated stereotype but the solo is as compelling now as 73 years ago. “Strange Hero,” is, like many of Nagrin’s solo works, a deeply reflective character study that explores the human condition, and much, perhaps all, of his work reflects a love of rhythm, jazz music, and jazz dance. “Strange Hero” features music by Stan Keaton and Pete Rugolo, while “Man of Action” has music by John McCoy and Count Basie.

“Man of Action,” another work created in 1948, was performed by Shane O’Hara.  A professor of dance at JMU, O’Hara has worked closely with the Daniel Nagrin Foundation and has an intimate knowledge of Nagrin’s work. Dressed in a shirt, tie, slacks, dress shoes, overcoat, and hat, O’Hara adeptly demonstrated the humor and drama of Nagrin’s artistic vision. The work mines the simple beauty of walking, running, leaping, and skipping, but suddenly the dancer is suspended in the air, and you’re not sure how he got there. There is even a delightful resurrection of that old trick where someone pretends to walk down invisible stairs.

On a side note, O’Hara brought the Virginia Repertory Dance Company, a pre-professional ensemble made up of select JMU dance majors, to Dogtown a little more than a year ago. They were the last live company to perform there before the big shutdown. How appropriate that O’Hara would be instrumental in Dogtown’s return to live performances.

Another of Nagrin’s popular dances, “Spanish Dance” (1948), a nod to Flamenco, was performed by Donald Laney, a faculty member in the Department of Theatre and Dance at Western Illinois University and dance instructor at WV Governor’s School for the Arts. Chest thrust forward, arms lifted, Laney embodied the controlled power of the Flamenco dancer, in a black tank top and bare feet. Laney was the last dancer to learn “Spanish Dance” from Nagrin, who died in 2008 at age 91 after half a century in dance.

The second half of the program included some works that were new to me. Paul Dennis, a graduate of the Juilliard School and a former member of the José Limón Dance Company, performed “Indeterminate Figure” (1957). One of Nagrin’s works from that decade dedicated to finding self, “Indeterminate Figure” is filled with ambiguity and juxtaposition. For starters, the dancer wears a pair of silky pajamas that resemble military fatigues, and the sound score is filled with a variety of sounds from rain to exploding bombs, from footsteps to the sounds of a beating heart. The soloist sometimes dances gracefully with an invisible partner, sometimes moves as if scrambling to safety from the effects of a crumbling foundation. Nagrin’s evolving signature style is evident in the dance’s gestures and the use of core strength that smoothly lifts the dancer from a kneeling position and seamlessly returns him, all without using his hands.

“Path” (1965), performed by local artist and member of the RVA Dance Collective Desmin Taylor, is a rare minimalist work. Performed without music, the soloist traverses a diagonal path carrying a long wooden pole or beam perhaps 10 feet in length.  Step, step, cou-de-pied­, pas de bourree, pause, repeat. Step, step, cou-de-pied­, pas de bourree, pause, repeat. “Path” is simple and mesmerizing – the kind of piece where you find yourself exhaling at the end, not realizing you had been holding your breath.

On an interesting side note, I came across a contract housed in the Library of Congress that is signed by Bill T. Jones, but not Nagrin, granting Jones performing rights to this solo. Mysteriously, two conditions of this contract state that “the dancer will never divulge the inner meaning(s) of Path as confidentially represented to him by the Choreographer to anyone,” and “the Dancer will never divulge his personal thinking as to the meaning(s) of Path to anyone.” I don’t know whether Nagrin ever signed this contract, but Jones has choreographed several works for the Daniel Nagrin Dance Theater.

The Celebration concert closed with “Wordgame: A Cartoon” (1968), also performed by O’Hara, with a sound design by Nagrin. Created from the full-evening work “Peloponnesian War,” about the conflict between Sparta and Athens, “Wordgame” was made as a commentary on the Vietnam War. Dressed in a shirt, tie, and light gray suit, the dancer tosses cash and moves with passive-aggressive disdain against a background peppered with unintelligible text, dramatic organ chords, and pinball noises. As with many of his solos, the interpretation is left open to the viewer, but social commentary was not unique to Nagrin. He was married to and collaborated with Helen Tamaris, who was also known for her American-themed solo works, many of which addressed social issues like racism and war.

What a wonderful opportunity, a unique marriage of history and artistry, all in one neat hour-long package. It was both interesting and fulfilling to see a variety of male dancers – black, white, different ages, different sizes – performing these iconic works.

4000 DAYS

Soap-Opera Style Amnesia-Themed Play is Both Witty & Worrisome

A COVID-conscious Pandemic-appropriate Theater Review by Julinda D. Lewis

At: Richmond Triangle Players at the Robert B. Moss Theatre, 1200 Altamont Ave, RVA 23230

Performances: On Stage and On Demand, April 29 – May 22, 2021. On Demand beginning May 8.

Ticket Prices: $35; $10 for Students. On Demand Edition: $25; $10 for Students.

Info: (804) 346-8113 or rtriangle.org. See the theater’s website for their COVID-19 precautions, digital programs, online drink orders, and more.

Michael wakes up in the hospital to find his mother sitting patiently by his side. “What happened to you?” he queries. “You’re so old.” We soon find out the reason for this odd exchange. Michael landed in the hospital as the result of a sudden and unexpected blood clot in his brain that left him in a coma for three weeks. When he wakes up, he has lost the last 11 years (4000 days) of his life – years that included a decade with his lover Paul, who is now a stranger to him.

The familiar plot is straight off the pages of the popular soap operas my grandmother used to watch. She called them “stories.” The plot came to prolific British playwright Peter Quilter in a dream and evolved into a three-person play that explores the themes of amnesia, the relationship between gay men and their mothers, and conflicts between lovers. The Richmond Triangle Players production stars Carlen Kernish as Michael, Jacqueline Jones as his mother Carol, and Todd Patterson as his lover Paul.

Kernish is suitably foggy and somewhat fluffy (like a life-sized teddy bear) throughout the two-act play. Jones digs in to her role as the cantankerous mother who doesn’t like her son’s partner. Making sure he knows that is one of her chief pleasures. After three failed marriages (some ended by divorce, some by widowhood), she has no other focus in life than her adult son. And Patterson shows a range of emotion as he navigates the complicated revelation that, as far as Michael is concerned, he never existed.

There is some witty dialogue that draws laughs at appropriate times, but on the first Friday night of the run, the trio of thespians had not yet reached that place where their characters seemed to be fully and organically at ease with one another. Additionally, they drifted in and out of British accents, which was mildly distracting. I don’t think any of the problems originated with the actors or the direction, however. Lucian Restivo kept the play moving along at a comfortable pace, but the script didn’t seem to flow effortlessly.

Other distractions came from the set. 4000 Days is supposed to be set in a private room in a British hospital, but the room’s proportions seemed off, and the perspective seemed forced. The room was too large. A window stage left was a focal point in several scenes but could not be seen by anyone sitting on the right side of the audience. The headboard or wall behind Michael’s bed seemed oddly out of place, and the door to the room, set dead center, was constructed with an asymmetrical crossbeam – or whatever you call the top of a door jamb. Anyone with the slightest OCD tendencies will find that door very distracting. (Okay, I looked it up. The horizontal beam at the top of the door frame is called the “head.” Only this head wasn’t truly horizontal.) I wasn’t sure if the design was accidentally off-center or intended to have a cartoon-like effect.

Given that the play, which premiered in 2016, takes place in current times, Michael thinks it is 2010 when he wakes up. In an attempt to jog his memory, Paul brings him stacks of newspapers. Then the audience is treated to two video montages that capture the highs and lows of the past 11 years. The flood of memories winds down with images of Megan Markle, the Coronavirus vaccine, and LGBTQ and BLM activity. Oddly, when Michael takes up the painting he abandoned to please Paul, he starts a mural on the wall of his hospital room. The resulting haphazard splashes of vibrant color may offer some insight into why Paul discouraged his partner’s painting.

On the creative team, Dasia Gregg is responsible for the production’s satisfying projections and the troubling scenic design. Restivo created an excellent sound design, and Nia Safaar Banks’ costumes added style and color. I wondered if some of Jones’ stylish asymmetrical peplum tops were taken from her personal wardrobe. Michael Jarett provided the lighting. Amanda Durst was the dialect coach (for the accents the actors sometimes forgot to use). Most curiously, Tippi Hart was the intimacy director. The need for an intimacy director was curious because, unlike the Triangle Player’s recent production of This Bitter Earth, there weren’t any genuinely intimate scenes in 4000 Days.

I left 4000 Days feeling as if some of the questions I had might resolve after another week or two of production. While it wasn’t one of the greatest plays I’ve ever seen, I did enjoy myself, and it was good to be out among people who aren’t confined to tiny rectangles on a screen. There is a 27 seat maximum per performance. All audience members wore masks.  (Oh, on an amusing note, the stagehand wore scrubs and a hospital mask or clear plastic face shield each time he emerged to modify the set or change the props.) Everyone I spoke to made sure to announce to their friends that they had been fully vaccinated, so a few cautious hugs were exchanged. Al-in-all it was a good evening – if I could only shake the image of that crooked doorway.

FIRES IN THE MIRROR: Crown Heights, Brooklyn and Other Identities

A Tightrope Take on a Tragic Accident

A Theater Review by Makai Walker

At: The Firehouse Theatre, 1609 W. Broad St, Richmond, VA 23220

Performances: March 26 – Sun April 25, 2021

Ticket Prices: $33 live and streamed

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

[NOTE: This production was made Covid conscious with a severely limited seating capacity of a maximum of 10 audience members at each performance, as well as other safety protocols that can be found on The Firehouse Theatre website.]

Fires in the Mirrorfelt like a 2-hour stroll through 90s New York and considering the premise of the show I’d call that a good thing. The one-person play by Anna Deavere Smith is a series of monologues collected from Smith’s interviews with real people and directed by Katrinah Carol Lewis who stared in another of Smith’s one-person plays (Twilight: Los Angeles, 1992 at TheatreLab in 2017.

Fires in the Mirror tells the story of the Crown Heights Race Riots of 1991, the murder of Yankel Rosenbaum, and the car crash that started it all. It consists of 29 performed monologues taken verbatim from interviews with 26 subjects, some of whom were near or directly involved with the accident. In the first half of the play, we’re given context to the racial tensions roiling between the black and Hasidic residents of the Crown Heights neighborhood of Brooklyn, New York. This, unfortunately, is the weakest part of the play. Actor Jamar Jones puts his best efforts towards spinning an engaging and emotional story, but he is significantly hindered by the first act’s lack of focus and direction.

Act One involves various Black and Jewish people discussing the matter of identity. As a separate component, Act One is a highly informative and intriguing take on culture, but in the context of a play sparked by a specific event, Act One feels like an hour-long non sequitur.

As the second act begins, we take a deep dive into the fatal collision that claimed Gavin Cato’s life and the retaliatory murder of Yankel Rosenbaum. Unlike its precursor, Act Two is much more engaging. As the story unfolds, we peer into the perspectives of the people closely involved with the incident. The final two monologues, those of Rosenbaum’s brother and Cato’s father, are the highlight of the evening.

Jamar Jones evokes a playful and committed approach to the characters                that never feels too distasteful and is truly lived in. His embodiment of the interviewees is breathtaking and thrilling to watch.               In terms of themes, Fires in the Mirroris very open-ended about what it wants you to take away. As the play progresses, it hammers home the idea of an incongruous truth or the sense that no one knows what really happened. At times one feels an underlying rhythm of monologues that alternately dip into each “side” of the story. There is the Black side, the Jewish side, and then there are the elements of the crash that are added, embellished, or omitted. While watching, I kept getting flashes of Akira Kurosawa’s Rashomon, in which four people take turns telling subjective or self-serving alternatives of the same story.

Anna Deavere Smith does a fantastic tightrope walk across the conflict and brings light to some of the more deep-seated racial issues in Crown Heights. The questions I kept asking myself was, “What is this play trying to say?” and “Who was right, who was wrong?” I agree with director Katrinah Carol Lewis; there is no winner or loser. This was a tragic accident and regardless of the fallout two lives were lost. That’s the “why” that needs examination.

K Dance

The 22nd Annual YES! Dance Festival: A Virtual Screening Event

At: The Firehouse Theatre, 1609 West Broad Street, RVA 23220

Performances: April 26-28, 2021 at the Firehouse; Remote stream April 29-May 13

Ticket Prices: $15

Info: (804) 355-2001, firehousetheatre.org, or https://firehousetheatre.org/e/yes-dance-festival/

Like just about everything else in life these past 13-14 months, K Dance company, under the direction of Kaye Weinstein Gary, pivoted into the new and produced the 22nd annual YES! Dance Festival as a virtual event. For those who wanted the experience of going to the theater, the program was available April 26-28 to live audiences of up to 10 people, followed by a post-performance conversation with Gary. Following the three large-screen showings, Gary and The Firehouse Theatre, her home base since becoming company-in-residence in 2019, also offered a remote stream of the program, available for two weeks.

For the past ten years the Yes! Dance Festival (formerly Yes, Virginia Dance) has hosted dancers and choreographers from Dance Magazine’s prestigious “25 to Watch” list, and this year was no different.

Boston Dance Theatre (BDT) (Boston, MA; Dance Magazine‘s “25 to Watch” January 2021) has been described as a company that has “appeal far beyond Boston’s city limits.” Their work, Surge Film Preview, was filmed on a sandy finger of land called Jeremy Point in Wellfleet in Cape Cod as part of the company’s Sea-Level Rise Project, a series of virtual events about the ocean, environmental activism, and a sustainable future. Accompanied by an urgent sound score, the five dancers shake, jerk, roll, and sometimes float or suspend just beneath the surface of the water. It is a beautiful and soul-stirring collaboration between choreographer Jessie Jeanne Stinnett, the dancers, oceanographer Larry J. Pratt, and the unidentified composer.

BDT also presented Shadows and Flame, a work originally commissioned for the Jewish Arts Collaborative for the Boston Museum of Fine Arts’ 2020 Hanukkah celebration. Envisioned as an exploration of light, shadow, and the dancing body, the opening scene, with five dancers lined up in a tight diagonal, and another section mid-way through where the dancers rise from the floor, remind me of those drawings that illustrate the evolution of mankind. Inspired by an 18th century Hanukkah oil lamp, the work has a grounded and ritualistic feel that is reminiscent of some of the works of Pilobolus – the unisex flash-toned tunics obscure the dancers’ individual identities and the dancers morph into and out of shapes, not emulating but rather embodying flames.

Paige Fraser (Chicago, IL, Dance Magazine‘s “25 to Watch” 2017 has performed in the YES! Dance Festival before. This time she offered a tiny solo, Silenced Cries, choreographed by Eric Bean, Jr., and set to “Le Jeune Fille et les Loups” (the maiden and the wolves) by Armand Amar. Set in a studio against a brick wall, the soft, spiraling lyrical phrases of Silenced Cries might well be one person’s response to the isolation and imposed loneliness of a year of pandemic restrictions. Fraser’s final gesture seems to be a plea for a time out. Fraser, a dancer with scoliosis (a sometimes disabling spinal curvature) is also founder of the Page Fraser Foundation, a safe space for dancers with (and without) disabilities.

slowdanger (Pittsburgh, PA, Dance Magazine’s “25 to Watch” 2018) described their work, for shadowing, as “created to embody the liminal space we are existing in, caught between two paralleling realities, a portal to the old world and a portal into shifted space.” Regretfully, the duo’s ethereal movement and original ambient soundscape was the one work of the evening that failed to move me or even leave much of an impression. I hope to have something more substantive to say after another visit by this group, consisting of Anna Thompson and Taylor Knight, who apparently constructed their name from a combination of road signs.

Marcat Dance (Jaén, Spain, Dance Magazine‘s “25 to Watch” 2017) was also a repeat visitor. The group’s work, Adama, choreographed by Mario Bermudez Gil, is a breath-taking trio performed in a patch of dirt in a large field backed by mountains. It is no coincidence that Adama is the Hebrew word for earth. As the dancers jump, turn, and interact with childlike simplicity, the work visually and viscerally connects with the earth and the natural landscape.

The program’s most provocative work was undoubtedly Jabberwock presented by LED (Boise, ID, Dance Magazine’s “25 to Watch” 2020). Lauren Edson’s color-filled and zany choreography partnered with nonsensical lexicon of Lewis Carroll’s poem, “Jabberwocky” to delightfully explore “themes of good versus evil, resilience, autonomy and truth.” The electric colors – like hot pink shoes and a brilliant blue jumpsuit – power a dynamic blend of flavors and genres. Imagine a world where break dance meets the blues, Kurt Jooss’ “Green Table” shakes hands with disco and the asylum is the penthouse of the dungeon.

Perhaps the intimate and intricate marriage of movement and musical genres is no surprise to those familiar with LED, but for us new to the group, they are described as much about music as they are about dance, with much of the company’s music begin created by Edson’s husband, composer Andrew Stensaas.

And what YES! Dance Festival would be complete without a work by K Dance’s artistic director, Kaye Weinstein Gary. Dressed in short coveralls, Gary danced the role of Kitty in a quirky and charming short written by Irene Ziegler. The little girl, sent to the corner for some unknown infraction, discovers that her imagination is her super power. She becomes so enmeshed in her meditation with her chair that when she is finally released she decides to stay.

Making the best of a challenging situation forced some dancers and artists to stretch beyond their comfort zone, embracing technology and finding new ways to create – because that is what artists do. None of these works seemed to have suffered for the effort and the intimate audience at the Tuesday evening performance seemed happy to be there. Given that many dance festivals often feature works created for film, we didn’t feel cheated, but perhaps the next step will be a hybrid program including a mix of live and video dance. Then all will be right with the world.