Still Moving is an apt title for the living dance series Deborah Brockus is known for. On February 11, 2023, she again acknowledges, recognizes and gives companies of dancers and promising solo performers the opportunity to show their “stuff”. Her newly created performance space is a breath of fresh air with its high ceilings and whitewashed up-stage wall, black Duvetyne curtains, and spacy studio floor with an abundance of room to move.
This night there was a full house, with standing room only and extra chairs set out to catch each new patron attempting to find an empty seat. It was refreshing after 2.5 years of survival mode for itinerant dancers and dance companies. The excitement was clear. BrockusRed bookended and spiced the evening with some exciting performances, good ideas, and fascinating music choices that more than fulfilled, for the most part, dancers in the bloom of their careers. Even though two years could be an eternity in the life of any artist, they appeared inspired by this opportunity and buoyed through it all. A hardy bunch indeed.
Still Moving – BrockusRED dancers “Great Beyond” choreography by Deborah Brockus – Photo by Denise Leitner
The evening began with one of BrockusRED’s signature piece “Great Beyond,” a tribute to Stephen Hawking. The stage veiled in a cloud-like cover, ambient light emanating from its underbelly gave the feeling of floating while performers, one by one, moved as though in mid- air. A mesmerizing piece ending with the slow disappearance of both clouds and performers, left only with a remembrance of an indomitable spirit.
Throughout the evening there were numerous standout appearances for either their performance level, conceptual interest and/or uniqueness. This kept the audience on their toes, always expectant of the next opportunity to spy new talent.
Still Moving – Ken Morris Project members Christopher Derant and Joel Muepo in Morris’ “Bad News” – Photo by Denise Leitner
Amongst pieces to be recognized were Ken Morris Project – Bad News, choreographed by Morris, with music by Fela Kuti. The dancers, Christopher Derant and Joel Muepo’s energy grabbed the audience and demanded attention to see and hear the news headlines projected on the back wall. It was a continuous reminder that reflected the state of our times and the press’ incessant need for sensationalism. The sudden finality of ripping and crumpling the news was a powerful statement couched in vaudevillian playfulness without proselytizing…very well done.
Still Moving – Celeste Lanuza in her work “Conflict” – Photo by Denise Leitner
Celeste Lanuza Dance Theatre’s piece Conflict choreographed and performed by technically excellent and classically beautiful Celeste Lanuza. She had the ability to cajole and tease the audience with her focus and presence. The powerful and haunting music by Federico Lanuza and Celeste Lanuza stilled the audience. The Flamenco/Jazz dance stylization by Lanuza was intelligent in its use of space and light and an excellent addition to the evening’s contribution.
Still Moving – Thomas Davis in “Removing the Negativity” choreography by James MahKween – Photo by Denise Leitner
Early in the evening, dancer Thomas Davis’ glistening form began Removing The Negativity by choreographer James MahKween. It was a modern angst-ridden attempt to exorcize all evil. It was clear Davis dug deep into his own emotional facility as an actor, yet his technically inexpert dance skills distracted from its intentions.
Still Moving – BrockusRED members Stephanie Mizrahi, Hannah Joo, Julienne Mackey in Brockus’ work “Sylvie” – Photo by Denise Leitner
BrockusRED dancers Julienne Mackey, Hannah Joo, Mara Hancock, and Stephanie Mizrahi, worked with emotional and dance competency as they did “Sylvie” to music by Sweet Honey and the Rock and Bradford Marsalis, Choreography by Terri Best, Shari Nice and Deborah Brockus. BrockusRed, brought back excerpts from Quest: Mankind’s Journey, Caprice (excerpt from Always Ever Amber). Her musical choices, always unique, often with cultural undertones appeared to fascinate the audience. The members of the group, worked in pairs, quartets, trios, and solo pieces, demonstrating their abilities in technique based in ballet, jazz, Gaga, and contemporary. Two lovely solos by Sean Greene, “The New Bride” music by Guillaume de Machaut was emotionally and physically challenging, performed by Stephanie Mizrahi. It reflected the opposite of joy and became more anxiety-ridden than when it began leaving the audience to wonder… Why? The second Sean Greene work was lyrically joyous. “The Secret Place” performed with such elan, disguised Mara Hancock’s technical and emotional skill and uplifted the audience with her ease and ability to communicate and reach out to and beyond the audience.
Still Moving – Stephanie Mizrahi in Sean Greene’s “The New Bride” – Photo by Denise Leitner
Brockus’ choices in costuming, all worth mentioning, were chosen for their deep earth tones of mauves, purples, cedar and more, with often simple Grecian or Romanesque and classic stylization, which gratefully enhanced the dancers’ ability to move easily on the floor, and in the air.
The fascinating work of Charlotte Smith’s Jupiter Rising with composer and performer, Zac Greenberg, playing a triangular string instrument and encircling Smith’s spot-lit legs that reached heaven-wards made for curious, inventive and unique beginnings of this piece. Her fierce conviction, untamed red hair wildly raging and her feral use of the space under the hot spots, got away from the normal contemporary fare, and into a freedom that kept my attention in rapt wonderment and thankful recognition that there are some who actually invent.
Still Moving – AkomiDance members Nikko Black and Emma Yagi in Marie Hoffman’s “Side Door” – Photo by Denise Leitner
Side Door created by Akomi Dance’s choreographer Marie Hoffman with Music by Taylor Swift and Bon Iver introduced not only the impetuous fervor of Nikko Black and Emma Yagi but the clamorous use of heavy wood chairs, lifted, partnered and dropped to the floor, leading to the unique connection of the performers to each other. Interesting off kilter and free-wheeling technique, nicely executed extensions, turns and runs, created expectations for the message it wished to communicate, finalizing into a resolution of their relationship together.
This evening was full of wonderful surprises, very good dance and music, not overlong indulgences and was a great opportunity to see new performers, their work and a new season of dance. Thank you again Deborah, for staying alive and making a place for artists to work and be recognized.
For more information about Brockus Project Dance, please visit their website.
Written by Joanne DiVito for LA Dance Chronicle.
Featured image: Still Moving – Charlotte Smith and Zac Greenberg in “Jupiter Rising” – Photo by Denise Leitner
