This program was a labor of love and included not only local choreographers and dance companies but also those from afar of field such as Ballet Arkansas, Oregon Ballet Theatre, and Oklahoma City Ballet.

The Kenneth Walker Dance Project (KWDP) opened and closed the program. The opening piece, “In Her Footsteps” was for six women in simple but effective ballet dresses by Michael Pacciorini, which flowed well with the movement. The colors were soft and accented the skin tones beautifully with the light plot. Music by Hamza El Din ,A.J. Racy, Foday Musa Soso. This was a very clean piece with a great deal of unison movement and dancers entering and exiting, picking up phrases and leaving off. I have reviewed KWDP before and I am happy to note that so much of what I noticed in a prior performance that was untidy or off was beautifully together for this show. The unison sections were tight and when a dancer joined or left a phrase it was smooth and controlled, lending an overall tranquil symmetry to the choreography. There were still some rather stern faces performing but the piece did not call for broad smiles as the tone was fairly somber. The dancers were: Kiara Kinghorn, Kathryn Kalamaras, Morgan Davison, Tracy Jones, Victoria Manning, and Laura Mauldin.

Kenneth Walker Dance Project - Photo by Scott Edwards-Silva.

Kenneth Walker Dance Project – Photo by Scott Edwards-Silva.

The closing piece by KWDP was “Cul De Sac” and utilized a large cast. This was populated with different characters reacting to a Tom Waits voiceover about a strange neighbor. The voiceover was somewhat unsettling as it had to do with a man who is a shut-in and never comes out of his apartment and is suspect because of it. Perhaps the ‘Cul De Sac’ refers to a group of neighbors inhabiting such? This piece also used four large doors in frames, which was a bit confusing as the doors did not open or close but only turned in order to let people go by. It looked as if the frames were easily strong enough to support the door to open and close. This caused a little awkwardness when the movement took the performers through the doors. A flirting couple was portrayed, and we were witness to their possible connection. The group work was engaging and lent an air of celebration to the finale. Dancers were: Andrew Alexander, Reneé Donovan, Olivia Hamilton, Emmanuel Hernandez, Michael Hill, Kathryn Kalamaras, Kiara Kinghorn, Jordan Lewis, Laura Mauldin, Rosita Rico, Ashton Titus, and Samuel Villareal.

TOLEDOCREATIVE is Juan Toledo who choreographed “1950’s Minimal Love” for five women decked out in their 50’s Saturday best. Music by Philip Glass & Sarah Vaughn. There was nothing minimal about it as it was tongue-in-cheek and over-the-top in a fantastic way. The costumes were a work of art. Each one was a dress based on the same pattern but made with different saturated colors. These dresses were offset by the neon stockings each dancer wore. The dresses were light blue with white polka dots, dark blue with big white polka dots, green, lavender, and pink. The stockings were purple, red, yellow, black and pink. These were offset by white gloves with pearls on them, and hats of the era to match the color of the dresses. All had black Cat’s Eye sunglasses on. They looked as if they had just emerged from a Catskills lounge on a three-day weekend from Manhattan. The choreography was deliberate and not showy. They all had their moment to shine and while they turned and moved in unison it was as if we were watching a Fellini or Almodovar fashion show. They were great fun and at the end lined up facing the audience daring us to pick our favorite. The piece reminded me of “Think Pink” by Kay Thompson in the Fred Astaire movie “Funny Face.” I enjoyed the camp aspect to this piece and the whimsical humor brought to ballet. The grand dames de couture were: Emmy Frevele, Felicia Guzman, Alison Mobley, Ashley L. Jones, and Danielle Yasuda.

Balletfest - Joseph Hetzer and Mayu Odaka in "Before the Veil" by Ryan Jolicoeur-Nye - Photo by Scott Edwards Photograph @sedwardsphoto.

Balletfest – Joseph Hetzer and Mayu Odaka in “Before the Veil” by Ryan Jolicoeur-Nye – Photo by Scott Edwards Photograph @sedwardsphoto.

“In the Cosmos” with choreography by Emma Andres was an ambitious jaunt. The dancers: Chris Flores, Isabella Granquist, Ludmilla Malakhov, Jacob Robleto, Anna Lee Rohovec, Kate Seales, Catie Faye Smith, and Kassandra Vogel all committed themselves greatly to the piece. Music: ‘Sun,’ ‘Deer,’ ‘October’ by Adrián Berenguer. The piece had a gimmick and that was the dancers holding small bright lights in their hands while also sporting bright lights on their feet! With pointe shoes! A word to the wise here – if you are going to so blatantly light the dancers’ feet in pointe shoes, then they better be fully pointed and turned out. There were times when they were not and it became glaringly apparent. I understand that the lighting was supposed to create an altogether different sensation to the audience as the name of the piece implies, however, in simple tights and leotards it was inescapable to notice the illuminated pointe work. The same note goes for the two men on stage in ballet shoes. The first half of the piece was an essay in traffic with the dancers all working patterns throughout the space with arms waving and feet going. At one point I had the distinct image of the ground crew at LAX madly ushering in an errant jumbo jet. Then the piece calmed down for an extended duet, the couple having taken off their lights in order to partner, presumably. This was a lovely duet with great feeling. They came together, became attached and then lost each other in the crowd of others. Finally, she finds him and they are reunited. I realize that each choreographer must find their own way in terms of props. At this point in time there is the internet, a large historical resource to connect to when considering something like the handheld lights. So many others have used them, and to greater effect.

“This is the Dream of Win & Regine,” Music by Owen Pallett, Choreography by Alison Mobley. This was a group piece with various levels of ballet utilized. There was one male lead, Juan Toledo of the 50’s ballet before, backed by eight women, four in ballet shoes and four en pointe. There was good use of the space and the choreography matched everyone’s level well. The love of ballet was felt here and it translated to the performances. Other dancers were: Jackie Brown, Betsy Uhler Colombo, Carrie Frymer, Felicia Guzman, Ashley L. Jones, Alison Mobley, Christina Russo, and Danielle Yasuda.

“World Pieces” by Calliopus Contemporary with choreography by Zoe Marinello-Kohn was a piece for six women having the feel of a ritual. Beginning in a circle they rise and then fall away to explore individual pathways. At one point letting their hair down to be free. There were lovely transitions and floor work along with the group movement. Eventually coming back to the circle embracing one another, the piece had the feel of a shared spiritual event. Dancers were: Kristin Brown, Morgan Davison, Madeline Gruenler, Emily Kelley, Amelia Martin, and Marci Mill.

“A Will To Control” was a work for six dancers set to music by Zakir Hussein. This piece had a decidedly Latin flair. Choreographed by José Costas, it featured two men and four women in various modes of partnering and unison phrases. There was much energy and pizzazz to be had with bold black and red costumes. The dancers from the José Costas Contempo Ballet were: Enrique Anaya, Madelynn Hampton, Kathryn Kalamaras, Emma Manzanares, Ismael Murillo, and Ella Tracy.

Vannia Ibarguen, Megan Fowler Hurst, McKell Lemon, and Kyreeana Alexander, in "Along the Edges" choreographed by Kindra Windish performed at SoCal Invitational 2019 - Photo by Photopolari

Vannia Ibarguen, Megan Fowler Hurst, McKell Lemon, and Kyreeana Alexander, in “Along the Edges” choreographed by Kindra Windish performed at SoCal Invitational 2019 – Photo by Photopolari

“Finding Home” by Vida Dance Arts with choreography by Vannia Ibarguen was an exploration of the individual within the group. The group was diverse and inclusive and made whole by the strengths of the individuals who comprised it. The movement changed from solo to unison and then duet as it displayed the various aspects of its particular population. As in any tribe the myriad relationships were strengthened by shared experiences. This was a microcosm of what a unique person brings to the whole. Dancers were: Vannia Ibarguen, Samuel Macias, Alondra Perez, Kindra Windish, Fabian Zuniga.

The remainder of the program were all duets featuring a male/female couple with a great deal of partnering. “A Brief Period of Time” with choreography by Jestoni (Jet) Dagdag, performed by him and Marin Asano-Kim had some beautiful moments. Unfortunately, her costume got in the way of some of the partnering as she was wearing a diaphanous shawl that hindered some movement of the arms. Their reliance on each other was tentative at best. This was also a case where she never actually looked at her partner onstage but kept her focus facing front the entire time. I find the paralytic stare forward to be a bit unnerving to the audience. Music was Dahil Sa ‘Yo by Lilac Cana.

“Blind Trust” was choreographed by Deanna Stanton and featured dancers David Cummings and Brittany Dowdy from Ballet Arkansas. The title had, no doubt, to do with the constant state of partnering between the two dancers. Both dancers are long with legs for days and so made very pretty lines throughout the piece. I did not feel a great deal of charisma between them, nor passion. It seemed a somewhat clinical piece of partnering for the sake of body manipulation – which was done well.

Balletfest - Charlotte Nash and Benjamin Simoens in "Pixie" by Dani Rowe - Photo by Scott Edwards Photograph @sedwardsphoto.

Balletfest – Charlotte Nash and Benjamin Simoens in “Pixie” by Dani Rowe – Photo by Scott Edwards Photograph @sedwardsphoto.

“For Pixie” with choreography by Dani Rowe and featuring dancers Charlotte Nash and Benjamin Simoens from Oregon Ballet Theatre fared better. The opening was strong as we see a single female moving forward as if running faster and faster until she is interrupted by the appearance of a man. They interact and come together in a relationship through lifts and partnering. The body of the duet was like an Apache Danse with forceful and violent moves reflecting the nature of the relationship. In the end he moves on and she resumes her running forward, living her life. Music was “Wild is the Wind” by Nina Simone and perfectly suited the instability of the couple. Clad all in black they displayed what was given as opposed to what was needed for each other. Their dedication and acting were commendable.

“Before the Veil” was choreographed by Ryan Jolicoeur-Nye featuring dancers Joseph Hetzer and Maya Odaka of Oklahoma City Ballet. The costumes were all white and the piece was the opposite of what went before. This was a loving and caring duet that became an ode to the man. While I initially thought the title had to do with a wedding as the couple was so in love and attuned to each other, I realized at the end that the veil in question refers to a funerary veil as the man is left onstage lying down face up as if in state while the woman regards him and slowly exits stage leaving him behind. It was a very sad image to end with. The partnering here was assured and deftly handled by Hetzer who also has an extraordinary back and spine. His costume was white pants and under the lights we see every single vertebrae move and accentuate an arch, a twist or a lift. There were so many lifts that his back became another participant in the choreography. All too often in ballet the appendages are focused upon at the expense of the spine. Some dancers are all arms and legs never realizing the incredible possibility of movement throughout the spine. Hetzer does.

“The Honeymoon Phase” was choreographed by Tylor Bradshaw and featured dancers Victoria Jenkins and David Waisman. This was a lovely work outlining that happy, giddy beginning of a relationship. Jenkins is center stage and Waisman enters running in a huge circle around her until he stops and sees her. They begin their courtship and all is well. At one point he shuns her and we see trouble or turmoil in the relationship. She is unsure how to proceed taking her cues from him. This was all done through choreography and it was filled with great acting by Victoria Jenkins. She drives the whole piece and is fantastically watchable. She is smitten by him and then worried by his reserve. She keeps some distance until he lets her know that he is committed and so she is cleared for more intense emotional connection. Her happiness at the end is infectious. This was well done on many levels and hit nuances that were suited beautifully by the lifts and choreography.

Congratulations to Kenneth Walker Dance Project in association with CSU Dominguez Hills Department of Theater and Dance for curating such a diverse array of dance companies.


Written by Brian Fretté for LA Dance Chronicle.

Featured image: Balletfest – Charlotte Nash and Benjamin Simoens in “Pixie” by Dani Rowe – Photo by Scott Edwards Photograph @sedwardsphoto.