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A leading force in the revival of 18th century ballet, challenging aesthetic conventions and bringing forgotten masterpieces to new audiences in what The Guardian has called “a whirlwind of desperately needed fresh air.”

 

Thank you to our dancers from over the years appearing in this collage: Thomas Baird, Michael Barriskill, Patricia Beaman, Brynt Beitman, Deda Christina Colonna, Justin Coates, Caroline Copeland, Seth Davis, Letizia Dradi, Sarah Edgar, Karen Eliot, Carly Fox Horton, Carlos Fittante, Jorge Fuentes, Junichi Fukuda, Stephanie Grover, Olsi Gjeci, Joy Havens, Timothy Kasper, Rachel List, Jason Melms, Hugh Murphy, Glenda Norcross, Valerie Shelton Tabor, Alexis Silver, Matthew Ting, Andrew Trego, Meggi Sweeney Smith, Catherine Turocy, Ani Udovicki, Seth Williams, Timothy Wilson, Gregory Youdan

The United States Artists International is sending us to Cuba!cuba-street-color-0416

Join Caroline Copeland, Associate Director of The New York Baroque Dance Company, Rotanithis Saturday, December 3, 2016: Dance of the Month:  Les Galeries d’Amour and La Buffecote at the Mark Morris Dance Center at 3 Lafayette Avenue in Brooklyn, New York (corner of Flatbush Ave). 3-5pm   Directions  Cost: only $17 per class!

LIVE MUSIC!

These delightful dances were published in France in 1706 and represent some of the best English country dances of the time which lived on into the 19th century. Some of the dances from this collection were brought to our own country by both English and French colonists. The geometrical designs of the woven paths are a perfect joy to dance at holiday parties in any century. Seize the moment, bring friends and family and meet us at the downbeat at 3pm!

 

Playwright:  by Pierre de Marivaux (translated by Stephen Wadsworth)
CompanyTheatreworks
Venue:  Dusty Loo Bon Vivant Theater, 3955 Regent Circle, Colorado Springs, Colorado.
Running time:  2 hours, 30 minutes (includes two15 minute intermissions).
Date of Performance:  Sunday, October 23, 2016.
It’s October, and that means your entertainment choices include a wide variety of Halloween related ghoul fests.  Live theater choices this year include Night of the Living Dead, Cripple Creepshow, and The Bold, The Young, and the Murdered.  It is truly a season of blood and guts for all.
If, however, you’re not a fan of zombies, vampires, and stage blood, don’t despair.  Theatreworks has just the antidote to the seasonal fright shows.  The Game of Love and Chance (Game of Love) won’t scare you in the slightest.  Any tears in your eyes will be due to the nonstop antics of the stellar cast.
Theatreworks has a commendable record of reviving 18th century comedies, to the point of specializing somewhat in the genre.  Their recent productions of The Liar and The Servant of Two Masters built their reputation.
The Game of Love cements it.
Pierre de Marivaux.  Credit:  Wikipedia.
Marivaux’s script may be formulaic and dated (“dated” as in first performed in 1730), but Director Murray Ross has assembled a combustible mixture of comedic talent that could get laughs reading a phone book. The Game of Love is a belly laugher timed at 2.5 hours, including two (2) intermissions.  It takes that long partly because of all the pauses required to let the laughter die down.  But don’t let the running time get in the way of a good time.  Malvaux’s masquerade may be the fastest two and half hours on any local stage in recent memory.
The plot is silly, involving a hilarious charade as nobles and servants swap roles.  That’s really all you need to know to understand the story.  It’s a classic in the Commedia dell’arte style, featuring exaggerated stock characters, exquisite period costumes, and inspired direction by Murray Ross.  Ross adds what is, for me at least, a brand new category to the creative staff:  “Movement Consultant.”  If you’re not sure what that means (and who could blame you?), watch the actors.  They use exaggerated movements (both arms and legs) to enhance their lines.  You can’t miss it.  The effect is to focus the audience on what they see as well as what they hear.  The “Movement Consultant” (Catherine Turocy) has added a visual layer to the cast, generating a richer level of comedy.
Ross also gives his cast a fairly free reign, adding an appropriate level of ad libbing.  The invisible barrier between the audience and the stage gets punctured at times.  For theater purists, that’s a problem.  As far as I’m concerned, in a comedy it can (and here, it does) work.
Russell Parkman’s set is simple; a parquet floor with period furniture and ornately painted doors at each end.  Its’ simplicity is its’ best feature; the space evokes the mood and the sense of an 18th century mansion.  Stephanie Bradley’s costumes are exquisitely detailed, and it’s not just about the cut and the color of the clothes.  She has obviously used the finest fabrics available to her.
Comedies make us laugh, but it’s much easier for the cast to generate laughter if they are actually having fun.  I have no doubt whatsoever that this cast is having a ball with Game of Love.  Watch them when they aren’t speaking.  At times, they can’t help smiling or laughing at each other.
Sammie Joe Kinnett (Harlequin).
The clown prince of Game of Love is Sammie Joe Kinnett (Harlequin).  Mr. Kinnett is perhaps the funniest guy in Southern Colorado (maybe in all of Colorado).  His resume is impressive; he brought down the house with a food fight a while back.  He only gets the chance to snack here, but the effect is the same:  Kinnett comes loaded for laughs.
Kinnett’s love interest Lisette is played by clown princess Caitlin Wise, and she’s a perfect match for him.  She’s as big a cutup as Kinnett, and her physical comedy and timing are spot on.  She can go toe to toe with Kinnett.  The two together are reminiscent of the best comedy couples we know (Lucy and Desi, Carol Burnett and Tim Conway, for example).  Ms. Wise is no stranger to comedy; she did a fantastic Lucille Ball impression earlier this year in Kind of Red.  For Game of Love, she’s on fire.  She struts.  She stalks.  She teases, she pleases, and she slays her prey.  With a killer smile and a wink in her eye, Wise enchants Harlequin/Dorante.  He can’t resist her, and neither can we.
Caitlin Wise (Lisette).
The royal couple, Sylvia (Carley Cornelius) and Dorante (John DiAntonio) do their best impressions of servants and still fall in love with each other.  Both are compelling, whether we see them as royalty or serfs.  Cornelius is as funny as she is devious, taking the masquerade to a needless extreme.  DiAntonio is dashing; his nobility is obvious though he’s dressed to work in the stables.
Not to be outdone, Christian O’Shaunessy plays Sylvia’s brother with a sibling sense of mischief.  He sees the entire charade as his own personal playground.  O’Shaunessy gets the balance right; equal parts fun and shenanigans.  David Hastings is properly paternal as Orgon, granting his daughter Sylvia her wish to meet her arranged match in disguise.  Hastings lends some dignity to an otherwise chaotic experience.
My quibbles with Game of Love (a sugary sweet script with the nutrition of cotton candy and a challenging running time) are minor indeed.  Game of Love is a rocking good time when we need it most: there’s not a drop of blood shed here, and it’s only a week until Halloween.  Theatreworks demonstrates once again that it has absolutely no fear of formats.  Game of Love is a 270 year old script that comes alive, and Theatreworks puts it out right after a bold, non-linear contemporary love story (also featuring Ms. Cornelius).  These two shows could not be more different, and both followed a Shakespeare classic to kick off the season.  If you’re looking for a broad range of excellent theater, Theatreworks is the place to start your search.
Carlie Cornelius (Sylvia)
& John DiAntonio (Dorante).
Finally, a word to those who sneak out seconds after the last scene so you can beat the traffic.  You lose.  The cast takes their bows, breaks into a waltz, and finally busts some serious dance moves that didn’t exist in 1730.  I was hoping they might invite the audience to join them on stage.  You might want to wear your boogie shoes just in case it happens.
NOTES:
This show closes on November 6, 2016.  This show is appropriate for all ages.
Photo Credit:  Theatreworks and Emory John Collinson, photographer.
TICKETS HERE:
David Hastings (Orgon) & Christian O’Shaunessey (Mario).
 
CREATIVE TEAM:
Director:  Murray Ross
Movement Consultant:  Catherine Turocy
Scenic Design: Russell Parkman
Master Electrician:  Eric
Lighting Design:  Amith Chandrashaker
Sound Design:  Jerry R. Ditter
Costume Design:  Stephanie Bradley
Stitchers:  Mindy Coulson & Karen Holloway
Wig Master:  Jonathan Eberhardt
Props Manager:  Rebecca Dull
Stage Manager:  Elise Jenkins
Assistant Stage Manager:  Kristen Wickersheim
Production/Shop Crew:  Will Blocker, John Cooke, Alexandria Ellison, Jennifer Gebhart, Ruth Geiger Jonathan Smith, Benton Gray, Natalie Kiel, Charles Redding, Salvador Placensia, Gia Zhuang, Jacob Del Valle, Jesse Whiteside.
CAST:
Harlequin:  Sammie Joe Kinnett
Lisette:  Caitlin Wise
Valet:  Galen Westmoreland
Chambermaid:  Taylor Dunbar

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From the Archives

Les caractères de la Danse.

Choreographer/Dancer Catherine Turocy

Premiered 1983, performance 1987

Dance of the Month for 2016-2017

By Nicolas Lancret

By Nicolas Lancret

This Saturday, August 6, 2016 from 3-5pm

Our Dance of the Month this year will be based on a collection of English Country Dances which were brought back to the French court by French dancing masters. In 1706 Raoul Anger (formerly thought to be spelled Auger) Feuillet published a collection of 32 dances with an explanation of how to decode the notation style in which they were written which was in fact the new dance notation developed at the court of Louis XIV by Beauchamp, Feuillet, etc.

The original contredanse collection can be seen online here: Library Of Congress  It would be a wonderful exercise for students to prepare the figures before the class and see how they did in their reconstruction from notation!

Donald Pauley has translated the dances to the verbal description of the dances which is more in common use today at: Pauley PDF  If students are not able to read the dance notation, this may be of use.

For those students new to contredancing, please be assured that our teachers will be explaining the dance steps and patterns for every class.

Meggie Sweeney Smith will be our teacher in August. She is a member of The New York Baroque Dance Company and has recently graduated from NYU with an MA in Teaching Dance in the Professions – New York University, Steinhardt.

We will be going in order and the first two dances are La Bonne Amitié  (also known as Jamaica) followed by the polar emotion, La Jalousie. 

 A good music recording of both of these dances can be found online: Presto Classical

We look forward to seeing you at our first Saturday of the month, Dance of the Month Classes hosted by Mark Morris Dance Center in Brooklyn from 3-5pm.  Cost is only $17.

A spontaneous event this afternoon! Bravi all and now to the premiere tomorrow, June 8, 2016 at 7pm,

Location: Roulette in Brooklyn. tickets: Click here

RotaniDear Friends,

Our Dance of the Month on June 4, 2016 from 3-5pm at the Mark Morris Dance Center in Brooklyn will be  “The Submission” from 1717 with choreography by Kellom Tomlinson. Described as being danced by The French Children, it begins with a slow triple meter, shifts into a minuet (characterized by Tomlinson as a brisk dance) and ends in a Rigaudon.  We intend to get through the first and possibly second sections of the dance. Leah Nelson is playing violin and Carly Fox of the NYBDC, who first worked on this dance with former NYBDC member Ken Pierce in one of his workshops, has seduced an unknown dancer into submission so to speak and they will show the class their interpretation of this beautiful notation.

1717 is also the year of Alexander Pope’s final version of his mock-epic poem, “Rape of the Lock.”  Our dance, “the Submission,” was described as “a new ball dance to be had at the author’s lodgings,” and was being sold by Tomlinson first in 1717. Perhaps we can imagine Pope and his circle either dancing or being entertained by watching this dance at social gatherings at Hampton Court.

The world premiere of a contemporary opera by Deborah Mason, Rape of the Lock, will be presented in an Open Rehearsal on June 6th and then  in performance June 8th and June 9th at Roulette in Brooklyn. This opera was reviewed by New York Times critic, John Rockwell, during its infant stages (not yet completed) at a City Opera series and he said”  “The Rape of the Lock,” a work in progress … offered her adaptation of Pope’s text clothed in wonderfully lush, intricate and contrapuntally energetic music. For me, she was the most pleasant surprise of the series.”

He is right! Do not miss this exciting premiere with semi-staging by Catherine Turocy and filmed projections of movement scapes and choreography by Caroline Copeland for NYBDC members Carly Fox Horton, Meggi Sweeney Smith and Alexis Silver. 

The opera was chosen by New York Opera Fest to launch their new opera festival!

ARTISTS:

DEBORAH MASON, Composer
CATHERINE TUROCY, Director
CAROLINE COPELAND, Choreographer
DAVID GRUNBERG, Conductor

AMY COFIELD WILLIAMSON, Soprano (Belinda)
SEAN FALLEN, Tenor (Ariel)
JUSTIN RYAN, Baritone (Baron)
KEITH HARRIS, Baritone (Sir Plume)
JACQUELINE HORNER-KWIATEK, Mezzo Soprano (Clarissa, Eloisa)
ERIKA PERSON, Mezzo (Crispissa)
CHELSEA FRIEDLANDER, Soprano (Zephyretta)

For more information and tickets,

Click Here

The Santa Barbara Historical Dance Workshop Young Student Scholarship

Alexis Simentales

Outside of being a full time student at Santa Barbara City College, Alexis works at Hillside House and volunteers her time at both the Cottage Hospital and the Public Health Department. Dance is a part of her culture and as a native of Santa Barbara she wishes to share her love of dance through her performances with the Spirit of Fiesta.  The Spanish Baroque Intensive will deepen her understanding of where the dances of fiesta originate. She hopes one day to serve in the health field and to give back to the community.

 

 

 

Vandervoort-Palencia Wedding Announcement Photo

The Santa Barbara Historical Dance Work/Study Scholarship

Thea Palencia

A dance educator dedicated to bringing dance into California history class curriculum, Thea began her journey with a dance research project while still in college: The Dances of Early California in Santa Barbara. (Marisol Cabrera, also a scholarship recipient, participated in this project as a teenager.)

We are including a link to an essay about this project which sheds light on the early local history of some of the dances we will be studying with Ana Yepes in our intensive. We are happy Thea will be joining us and she has expressed an interest in sharing with other teachers her approach to bringing dance history into public education.

Thea is pictured here with her husband, Boris Palencia.

Thea Vandervoort essay on early California dances

 

The Shirley Wynne Memorial Scholarship

Marisol Cabrera

Marisol_Escuela Bolerabegan her dance training in Santa Barbara, California in the styles of Classical Spanish dance, Flamenco, Baroque, Ballet and Mexican Folklorico. After graduating from UCLA with a B.A. in World Arts in Cultures, Marisol lived in Madrid, Spain for three years receiving her credentials in Danza Española and Flamenco. She has performed in London, Mexico, South Korea, Spain, and Hong Kong.  Since moving to New York City, Marisol has received her M.A. from NYU in Arts Education from the Gallatin School of Individualized Study. She is a guest choreographer and performing artist with Company XIV, Siren Baroque and the Juilliard Dance Department. Marisol is currently on faculty at The Ballet Hispanico School of Dance teaching Spanish and Flamenco to young dancers. She is thrilled to be back in Santa Barbara performing and participating in this year’s Historical Dance workshop.