Combining four different companies into one evening of dance is a very smart thing to do. Not only do they share the expenses of production, but they also benefit from exposure to audiences who normally follow another choreographer or dance company. It is a win-win situation. Such was the atmosphere and excitement on Saturday night when Lineage Performing Arts Center presented the four Dance companies listed above.
Pennington Dance Group in Tilting Ground – Dancers Becky Chang, Jeremy Hahn, Danae McWatt, Andrew Palomares, Edwin Siguenza – Photo by Taso Papadakis.
First on the program was “Tilting Ground” by the Pennington Dance Group. It was introduced by John Pennington who choreographed the piece and gave it context. It came out of the pandemic and was based in communication. Five dancers, three men and two women moved in interrelated patterns that morphed into and out of partnering as well as coordinated unison. The movement was expansive and gave breadth to physical relationship so lacking during that time. The movement also was balanced to the eye filling the space and popping out against the black backdrop. I swear I thought I saw the dancers in a circle reference the Hokey Pokey as they put their arm into the circle and then their elbows, took them out and waved them all about. If it was the Hokey Pokey, it was a fabulous allusion and comment on the need to integrate and be social during a time of isolation. If it was not then Pennington is brilliant at letting the audience interpret whatever they see through his choreography. Music by Patrick Dornan-Sheeran propelled the piece along at a good clip. Costumes by Andrew Palomares were colorful and suited the movement well.
Pennington Dance Group in Warp and Weft – Dancers Becky Chang, Jeremy Hahn, Danae McWatt, Andrew Palomares, Edwin Siguenza – Photo by Dean Wallraff
Pennington’s second piece on the program was “Warp and Weft” a reference to how fabrics are interwoven vertically and horizontally. These costumes by Suzanne Schulz Reed were extravagant with volumes of fabric wrapped around the bodies. At first almost reminiscent of Hindu Gods, then when the material was unraveled fully they became haute couture in their silhouettes. This was an example of the sacred and profane Pennington mentioned before the piece. One of the male dancers was tall and had his hair in a top-knot. He wore the only Purple drapery costume and to my eye was modelling upstage amongst some platform boxes as if being shot by Irving Penn. His centered choreography lent a framework to the other dancers downstage from him who were all in Blue. He would collapse over the side of a box and the shape of the fabric with his elongated form made me think of Diana Vreeland having a faint over one of the windows at Bergdorf’s. I found it entertaining and amusing and provocative at the same time. The shapes and movement were all interwoven in intricate patterns reflecting the make of the fabric itself. The music was fantastic by Arvo Part and Martyn. A Gregorian chant comes in and the dancers resemble Monks flitting about the monastery on their daily duties, reminiscent of ‘The Name of the Rose.’ Pennington Dance Group Dancers: Beck Chang, Danae McWatt, Andrew Palomares, Edwin Antono Siguenza, Jeremy Hahn.
Benita Bike’s DanceArt in “Fantasy” – Dancers: Nola Gibson, Lauren Gold, Micay Jean, Lydia Marie McDonald, Skye Schmidt Varga – Photo by Dean Wallraff
Second on the program was Benita Bike’s DanceArt – in its 43rd season presenting “Fantasy”, a work in progress. This piece had one woman as the focus in a particular costume of gold shirt with white collar and jeans, while the other four dancers were in flowing costumes all the same make and color and manipulating a long piece of material that wafted like silk or chiffon. It seemed to me that the woman in jeans was real and having a fantasy about the other four dancers who wrapped her in the material and manipulated her thus. The top of her costume read as a young woman or girl to me and perhaps the four were her muses? The jeans threw me off entirely as I didn’t think they went with any of the choreography onstage and clashed with the delicacy of the top, they clashed especially with the lightness and diaphanous material within which she was wrapped. The music was lovely and the movement engaging but I couldn’t place the young woman due to her costume. Music by Kati Agócs, costumes by Brynn Holmes.
Benita Bike’s DanceArt in “Aspects of Me” – Dancers Lauren Gold, Lydia McDonald, Skye Schmidt Varga, Nola Gibson – Photo by Dean Wallraff.
Bike’s second piece on the program was “Aspects of Me.” Benita Bike introduced this piece saying that it originally had three sections – and she was told that it needed a fourth to tie it all together. She did and it worked. The four sections hold nicely, and we get an overall view of whomever the ‘me’ is that is portrayed throughout. The four sections are: Me & Myself, Me and the Branch, Me and Her, We. ‘Me and Myself ’is a duet and again the skin tones pop off of the black backdrop outlining the bodies beautifully. The lighting then gave an edge to this work that was compelling. The music and the choreography complimented each other perfectly and the musicality was very much appreciated by me. This duet was in support of one another, like dancing with an imaginary friend and the two dancers accomplished this well. ‘Me and the branch’ was a solo with a palm branch and developed along the lines of contemplation of variation and theme. It was thoughtful, quiet, personal and intimate and spoke of alone time. ‘Me and Her’ was another duet but this time a kind of alienation was introduced. It wasn’t exactly competition, but it was an addition of other. ‘We’ then marries all of the individual components into one person and it was indeed necessary to solidify the ending of the piece. Bike’s work here was very subtle which is becoming more and more scarce and going the way of the Dodo I’m afraid. What a pleasure to watch meaning unravel and fall through movement to land on our senses as audience members. Music by Viet Cuong, Dean Wallraff, Paul Tortelier, Karl Frederick Abel. Costumes by Brynn Holmes. Bike’s DanceArt Dancers: Nola Gibson, Lauren Gold, Micay Jean, Lydia Marie McDonald, Skye Schmidt Varga.
Third on the program was “Tethered” by Nancy Doede of Nancy Evans Dance Theatre. This piece had three couples partnering and moving in and out of unison phrases. It was clean, clear and well built. The space was entirely utilized and I find that I want to refer to it as architectural in its lines and symmetry. There were two female couples and one male and female couple. The costumes worked so well here to unify the piece and give it cohesion. One person in each couple had a black midriff with red tights and the other had a red tank top and dark tights. The fact that the partners changed and regrouped and came together in various combinations underlines the architectural aspect of the choreography. It was simple but telling. The music was glorious Mozart: Adagio from the piano sonata in F (K280) arranged by Arvo Part. Costumes by Nancy Evans Doede.
Foothills Dancemakers – Nancy Evans Dance Theatre – Jacqueline Pierce and Tara Aghaian in “Sad Birds” – Photo by Dean Wallraff.
Doede’s second piece on the program was “Sad Birds.” She introduced this saying that she spends a lot of time wondering ‘What if?’ And for this piece she wondered What if two families who represent a murderer and victim were to communicate with each other? ‘Sad Birds’ was an excerpt of the mother and sister of the victim consoling each other. This movement was somber and specific. The mother tries to console her daughter, but emotions propel them apart. This was strongly performed, and the dancers were up to the emotional constraints placed upon the choreography in order to render it clearly. Each nuance was clean and necessary without it ever tipping over into maudlin sentiment. The costumes worked particularly well with the subject matter, helping to delineate a difference in age and maturity between the two. They were sleek and conveyed a casualness between mother and daughter while allowing for the range of movement. The last visual is the mother carrying the daughter off in a loving embrace – bereft of their son and brother. Music by Jordi Masó and Maurice Ravel. Costumes by Jenn Logan. Dancers: Tara Aghaian, Sophia Bernardo, Jadyn Corral, Ashleigh Doede, Jenn Logan, Jacqueline Pierce, Jacob Schmieder-Hacker.
Foothills Dancemakers – Nancy Evans Dance Theatre – Tara Aghaian in The “Last Révérence” – Photo by Dean Wallraff.
“The Last Révérence” was a solo choreographed and performed by Tara Aghaian as a tribute. She held the stage and performed her ritualistic paean beautifully. She has excellent technique and knows how to use it without calling attention to the fact. I appreciated her control and musicality as well as her focus. Kudos to her.
Foothills Dancemakers – Lineage Dance – “Matter of Time” – Photo by Dean Wallraff.
Last on the program was “Matter of Time” by Hilary Thomas for Lineage Dance. Music was original songs by various artists including James Hetfield, Buddy holly, Paul McCartney, Roland Orzabal, and Cat Stevens arranged, performed, and recorded by Andrew Abaria, Toni Lorene Baker, John Guth, Jana Souza, Mike Testin. This piece was a perfect closer for the program as it was fun, light, and exuberant leaving the audience on a high note as they were leaving the theater. Thomas explained that the piece was an evening length work that was cut down for this evening’s performance. In it they touched on different time periods of music and relationships starting in the 50’s and moving forward. I liked that it was choreography based with gesture added and not a run-down of any particular dances from any of the periods. It was original and thoughtful and quirky. The movement captured the essence of an era without specifically referring to any major historical events. Lovely. The Costumes by Ericalynn Priolo and Teya Wolvington worked well to reflect the different decades and still let the performers move. Lighting design for the evening was by Hayden Kirschbaum, and sound by Jennifer Quiroz.
I must say that one of the aspects of this showcase for these four Dance Companies that I enjoyed the most was their obvious maturity in their Art. The work was satisfying on many different levels – solid and musical as well as creative and exploratory. It was a pleasure to sit and let all of their ideas and forms wash over me. I felt that there was someone driving the show and that they were seasoned and capable.
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For more information about Pennington Dance Group, please visit their website.
For more information about Benita Bike’s DanceArt, please visit their website.
For more information about Nancy Evans Dance Theatre, please visit their website.
For more information about Lineage Dance, please visit their website.
Written by Brian Fretté for LA Dance Chronicle.
Featured image: Foothills Dancemakers – Nancy Evans Dance Theatre – Sophia Bernardo, Jadyn Corral, Ashleigh Doede, Jenn Logan, Jacob Schmieder-Hacker, and Jacqueline Pierce in “Tethered” – Photo by Dean Wallraff.
