On Friday, September 6, 2024, after a sweltering 110 degree day, the audience settled into their seats to enjoy a balmy (85 degrees) eve at The Ford Amphitheater. Friends and family, fans and dance adventurers gathered with much chattering and shop talk that makes The Ford a great place to congregate. Even a wandering cast musician, dressed in blue overalls, kissing his family and making his way backstage made the experience immediate and personal. The excitement was palpable.
Michelle Dorrance & Friends – (upper level) Penelope Wendtlandt (Dancers L-R) Bry0n Tittle, Jillian Meyers, Michelle Dorrance – Photo: Halline Overby, courtesy of the Los Angeles Philharmonic.
On the layered rock hill backdrop, the lighting soon turned from pink to blue and a mysterious woman entered, slowly ascending the rocky staircase dressed in black, her long blond hair fluttered in the wind. The program-less search online credits this apparition as Penelope Wendtlandt, composer for the original score for Tiler Peck’s “Time Spell,” an inventive musician, vocalist and performer. Her droning sounds and rhythms accompanied her as she took her place on the second landing of the stage, where she set the cadence for a spectacular evening of invention, deeply rooted in history, legacy and joy of dance and music. The piece was entitled “Changing Cadence Revisited (2024)” Once settled, the performer, choreographer, teacher, director and awardee of the MacArthur “Genius Grant,” Michelle Dorrance appeared. Her energy was felt even before she hit the stage. She glided across the wood floor, her feet hardly touching the ground, yet she made music. Her face reflected the kind of love only found in moments of joy.
Joining her was the eclectic red-headed fireball, Jillian Meyers, whose ability to dance with pure abandon, invention and humor evoked delight from the audience. Adding to the group was the wiry brilliant Byron Tittle, with bursts of tap wizardry mixed with hip hop and jazz, and totally infectious in the best sense. With a combination of vocal-ease and eclectic dance magic, the scene was set for an evening of almost-never-seen combinations of dance techniques, some from another century, some from another planet, with improvs definitely from a creative world.
Michelle Dorrance & Friends – (L-R) Josette Wiggan, Richard Giddens (Bass), Max Transue (Drums) – Photo: Halline Overby, courtesy of the Los Angeles Philharmonic.
It led, without wasted time, into “The Heart of Sunset” with the effervescent, legendary Josette Wiggan. Lighting Director, Devin Koenig lit her way, as she performed her classic style, labeled Vernacular Jazz, with Tap, Black Bottom, and Lindy Hop. Like a good jazz set, Wiggin’s musicality was clearly defined. She moved right into jazz riffs with two major musicians, Richard Giddens on Bass and Max Transue on drums. Wiggins, a product of the famous Paul and Arlene Kennedy School (with brother Joseph), is known for her energetic style, intelligent hoofing and camaraderie expressing her heartful dance-making.
Michelle Dorrance & Friends – Byron Tittle – Photo: Halline Overby, courtesy of the Los Angeles Philharmonic.
Next came the delightful tongue-in-cheek, “Basses Loaded” composed in 2019 by Donovan Dorrance and Gregory Richardson with Kate Davis and Michelle Dorrance, with choreography by Dorrance herself. In this takeoff on the title, the ingenuous theme finds dancing bassists Gregory Richardson (double bass), Richard Giddens (double bass), Adam Yasmin (electric bass) and multi-talented Michelle Dorrance (Electric Bass) shuffling in a single file line strutting their stuff, their basses in tow. Then a sudden stop, and the line breaks out with a playful sliding break. Four terrific musicians, who with synchronicity, managed to form a kind of tap “Four Swans.” Then back to the Droning basses. These amazing changes instigated a tour de force breakout by Dorrance who displayed her incredibly facile mind and body for choreography and improv.
Michelle Dorrance & Friends – Musicians: (L-R) Gregory Richardson, Richard Giddens, Adam Yasmin, Michelle Dorrance – Dancers (Front – Back) Leonardo Sandoval, Byron Tittle, Elizabeth Burke, Luke Hickey in “three guys and a gal” – Photo: Halline Overby, courtesy of the Los Angeles Philharmonic.
Byron Tittle then effortlessly flies over the boards with three guys and a gal, Luke Hickey, Leonardo Sandoval, Elizabeth Burke and Tittle. All thrillingly unique, revealing their own personal styles, Hickey’s effortless and amazing musicality, Sandoval’s power covers the stage, while Burke’s sensual intoxicating adeptness mesmerizes the audience. Honesty and talent breaks out everywhere, never denying the amazing respect and cohesion they have for each other. This seems to elevate the essence of the entire group.
After a 25-minute intermission, the Finale showcasing the Dorrance Company of dancers featuring her choreography and improvisation introduces “SOUNDspace|REDUX” with her company taking the stage.
Michelle Dorrance & Friends – Gregory Richardson (On Bass) with Ki’Leigh Williams, Gisele Silva Delaney Prescott – Photo: Halline Overby, courtesy of the Los Angeles Philharmonic.
Adding to the mix were “Friends,” Chloe Arnold choreographed a section for the three Syncopated Ladies Gisele Silva, Ki’Leigh Williams, and Delaney Prescott, and then welcomed Josette Wiggans back on the boards. They sparked the stage with thronging rhythmic challenges between musicians and dancers and added a sparkling addition of spice and spunk. The original music by Gregory Richardson, and lighting design by Kathy Kaufmann, illuminated the sparse stage that with picture frame focus, brought attention to three men’s dancing feet. Slow and languorous, they turned on their heels then pulled out the stops, transitioning into a kind of Flamenco zapateado. All signaling a feeling that something was about to happen. A kind of “Q&A” soon turned into syncopation and playfully changed the pulse. Lights up and the group broke into a unison Time Step that soon led to slides across the floor. Then getting festive, they frolicked with jazz moves and a little Lindy thrown in. Newness took over with all the ideas, so clean, so brilliant, creating a virtual playland of surprises.
“Two guys and a girl,” Tittle, Sandoval with Burke enter down the stairs. Then a recapitulation of Chloe Arnold’s rousing work with Williams, Silva with Wiggins, adding Delaney Prescott. In their black and white shirts with polka dots and stripes, they managed to take it another notch higher, their energy lifting the audience with their dynamism.
Michelle Dorrance & Friends dancers with Gregory Richardson on bass – Photo: Halline Overby, courtesy of the Los Angeles Philharmonic.
Creativity was everywhere, so much talent on that stage leading to Luke Hickey’s cool rhythmic movements and sounds that came out of his effortless sensational style. Then Burke, so cool, joins Hickey and the Bassist. Like a JAZZ SET, they talked to each other in a language so translatable. It was clever, smart and musical and clear they loved the challenge of their conversation of the bass & dance sharing musical thoughts.
Then out of the darkness, the sinewy Leonard Sandoval, steps into the light and starts pounding his stockinged feet against the wood floor, setting the pulse to begins playing Jubba, the complicated rhythmic form of body and hand-slapping; an historical communication of slaves in the Antebellum South. Historical, secret and brilliant, he played his body, as he spoke. On he went with sounds and playing when Dorrance joined him with clapping and stamping while the whole company blasted off in unison with a rousing tour de force. Each shared the stage in a joyous celebration of life and dance.
Michelle Dorrance & Friends – (L-R) Byron Tittle, Penelope Wendtlandt, Jillian Meyers, Michelle Dorrance – Photo: Halline Overby, courtesy of the Los Angeles Philharmonic.
Such a night of rapt creativity, Dorrance Dance and Friends has truly taken us one step further. It is one of the outstanding companies of this generation. They truly honor the legacy and masters who came before them: Sandman Sims, Dr. Jimmie Slyde, Mable Lee, Honi Coles, Dr. Buster Brown, Fayard and Harold Nicholas, Diane Walker, Cholly Atkins, Brenda Bufalino, just to name a few. And thanks to the awesome Michelle Dorrance & Friends. Thankfully, there is still art and life in this world.
To learn more about Dorrance Dance, please visit their website.
For more information about The Ford, please visit their website.
Written by Joanne DiVito for LA Dance Chronicle.
Featured image: Michelle Dorrance & Friends – (L-R) Penelope Wendtlandt, Michelle Dorrance, Jillian Meyers – Photo: Halline Overby, courtesy of the Los Angeles Philharmonic.
