For this 21st celebration of Laguna Dance, Founder, Executive & Creative Director Jodie Gates welcomed us in her charming preshow speech at the Laguna Playhouse. For this evening, Valentine’s Day no less, she brought together a great variety of dance companies to give their spin on this historically romantic event.
Joffrey Ballet’s Dylan Gutierrez and Jeraldine Mendoza performing Yuri Possokhov’s “Italy Pas de Deux” – Photo by Cheryl Mann.
“Italy Pas de Deux” was first on the program choreographed by Yuri Possokhov and danced by Dylan Gutierrez and Jeraldine Mendoza appearing courtesy of the Joffrey Ballet. This was an interesting case of the need to wow the audience rather than have them become immersed and enveloped in the dance. The choreography for him was dramatic with double tours to the knee. For Mendoza it was all about not looking at him and taking in the audience. It was supposed to be in service to the overall effect of a couple at odds with one another. At one point she pushes his face away with her hand. However, the choreography overwhelmed the music. There was a great deal of technical power required of Gutierrez which he executed well but seemed out of place in what otherwise would have been an intimate pas-de-deux. We could not feel their angst or disillusionment with each other because of the focus on the technique of the choreography, lifts and jumps included. The dancers were capable but were hampered by the non-stop movement sequences.
KYNETIQ’s Renee Kester and Rauf “Rubberlegz” Yasit performing co-choreographed “Thorn” – Photo by Cheryl Mann.
“Thorn” was a duet featuring the choreography and performance of Rauf “Rubberlegz” Yasit with Renee Kester, both appearing courtesy of KYNETIQS. This could have been a powerful statement piece had it been shorter and to the point. I have seen “Rubberlegz” before and his movement quality is lovely, strong and fluid; however in a concert setting grabbing your foot and pulling it behind your head is not enough. It does not need narrative, but it does need purpose. Kester can also tie herself into a knot and the lifts between the two of them were fantastic, gnarled elements of a manipulative relationship. Unfortunately, as the piece wore on it merely became another “trick” meant to ‘wow’ us. His size with her malleability was a powerful visual underlying the couple’s struggle. Without thoughtful editing it became a terpsichorean circus act.
“Pitseleh” was another duet featuring a couple who are in trouble. There is misunderstanding and angst and acting out. The costumes of a somewhat period suit for him and long gown for her put me in mind of an early Twentieth Century time frame. Choreographed by Ally Helman and featuring Mark-David Boodgood and Rachel Hutsell from Ballet Orange County. This piece stuck to the material and stated its reason, namely the disintegration of a marriage and drew us in all along. The partnering and lifts and pointe work all contributed to the overall feeling of a doomed relationship until at the very end they leave each other. It was well acted and well danced.
“Delicate Balance” choreographed by Jodie Gates and performed by Jerard Palazo and Minori Sakita courtesy of BalletX was at times playful and others loving. The partnering was strong and we believed their connection to one another. The costumes conjured a tropical feeling as they wore booty shorts and loose tank tops which moved beautifully with the choreography. Also delivering the mood of the piece was the lighting, which played with shadows and made lovely contrasts with the bodies moving through it.
Miami City Ballet’s Cameron Catazaro and Macarena Gimenez performing George Balanchine’s “Diamonds Pas de Deux” – Photo by Cheryl Mann.
“Diamonds Pas de Deux” choreographed by George Balanchine and danced by Cameron Catazaro and Macarena Gimenez courtesy of Miami City Ballet was as elegant and clean as one would expect. I could not help but think that it could have been more sharp, cold, exact and unforgiving as its namesake stone. It was a tad cautious for me. Even with Balanchine’s choreography it is good to let a little personality shine through. Catazaro was attentive and Gimenez did all of the right pointe work.
BODYTRAFFIC’s Chandler Davidson and Brenan Gonzalez performing Trey McIntyre’s “Blue Until June” – Photo by Cheryl Mann.
“Blue Until June” choreographed by Trey McIntyre and performed by Chandler Davidson and Brenan Gonzales courtesy of BODYTRAFFIC was a lovely and welcome break in the program depicting two men in love with each other. The caring and sensuality of the partnering was an excellent counterpoint to some of the other themes of the evening’s duets, namely angst hopelessness, and misery. It was a fresh take on the hope of a relationship. They do part at the end but look back in gratitude at the experience. “Tis better to have loved and lost than never to have loved at all” – Thank you, Lord Tennyson.
Joffrey Ballet’s Dylan Gutierrez and Jeraldine Mendoza with Evan Boersma, Jonathan Dole, Derek Drilon, Jackson Miles and Davide Oldano performing Gerald Arpino’s “Round of Angels” – Photo by Cheryl Mann.
“Round of Angeles” choreographed by Gerald Arpino and danced by Dylan Gutierrez & Jeraldine Mendoza with Evan Boersma, Jonathan Dole, Derek Drilon, Jackson Miles and Davide Oldano, all appearing courtesy of Joffrey Ballet. This is a beautiful work and the more committed the performers the better it is. This group was entirely committed in every aspect and delivered this piece in excellent fashion. The partnering was smooth and elegant with no wavering, especially difficult as they hand off the ballerina to different partners. Gutierrez and Mendoza were entirely at home and comfortable with each other here easily handling difficult passages of choreography. I wonder at their direction for the first piece of the evening. They were focused on each other and raised the piece to a contemplative prayer. The corps of five men helped tremendously and were in tight unison when called for. They were also fantastic when they split off from the group to do their own movement sequences. It is a lovely piece and when done as well as this holds its place in the Ballet canon.
Dayton Contemporary Dance Company’s Edgar Kawog Aguirre and Alexandria Flewellen in Countess V. Winfrey’s “Inosculation” – Photo by Cheryl Mann.
“Inosculation” (excerpt), was choreographed by Countess V. Winfrey and performed by Edgar Kawoq Aguirre and Alexandria Flewellen courtesy of Dayton Contemporary Dance Company. This had a lightness to the movement that was infectious. It was at times playful as well and passionate and balanced the other fare in the evening very well. The costumes were different shards of material hanging and reminded me of animal skins. I may be way off here, but I was put in mind of “Clan of the Cave Bear” where one female Homo-Sapiens has a relationship with a male Homo-Erectus. We know now the species overlapped and such a couple is intriguing in the extreme. Such a coupling would fit in well with the title “Inosculation” as well. Or it could have been a Homo-Neanderthalensis of which current Homo-Sapiens share about 1-2% Neanderthal DNA. At any rate, the portrayal of these divergent individuals through the choreography of Winfrey was compelling and entirely absorbing. The aspect of two individuals coming together from entirely different worlds was a great way to introduce curiosity, wonder, emotion and interest into the movement vocabulary. The partnering and lifts were strong and became a way of communicating with the other. Well done.
Miami City Ballet’s Cameron Catazaro and Macarena Gimenez performing Justin Peck’s “Year of the Lord” – Photo by Cheryl Mann.
“Year of the Lord” choreographed by Justin Peck and danced by Cameron Catazaro and Macarena Gimenez courtesy of Miami City Ballet was a more modern take on the pas-de-deux. The costumes were retro-fabulous and sporty. He in Green tights and a blue top with a green bar across while she wore a green tennis skirt with a white stripe. It reminded me a bit of “Jeux” by Vaslav Nijinsky and Claude Debussy. The couple seemed more relaxed in this duet and it showed in their easy partnering with each other. All of it unstrained and mannered while also being a bit cheeky.
Freelance dancers Valerie Chen and Jake Tribus performing Jodie Gates’ festival world premiere, “Who’s Lola” – Photo by Cheryl Mann.
“Who’s Lola?” choreography by Jodie Gates in collaboration with Valerie Chen and Jake Tribus who performed it magnificently. Music was “Whatever Lola Wants” by Sarah Vaughan and Gotan Project. Who is Lola indeed? At first we see Tribus enter the space in the house. He reviews the audience, preens a bit and then goes onstage where he lets loose in a fiery solo full of twists and turns. Chen enters and he has found his target. They erupt into a passionate tango and take the measure of each other. After finding themselves equal they part to settle their tango another day. Both are very good movers, and their intent and passion matched the music well. It was a delight to see Tribus as Lola capable of great conquest through his dancing. More power to him.
Gates brought together an entirely enjoyable and entertaining mix of dance styles and genres to satisfy anyone walking in the door. The evening showcased a great many dancers from local and far-flung dance companies in a diversified and enriching program. Kudos to Gates for organizing and overseeing such a project when so many companies have had their Funding cut.
For more information about Laguna Dance, please visit their website.
To learn more about the Laguna Playhouse, please visit their website.
Written by Brian Fretté for LA Dance Chronicle.
Featured image: BalletX’s Jerard Palazo and Minori Sakita performing Jodie Gates’ Delicate Balance – Photo by Cheryl Mann.
