What is Jazz? I am already in trouble by just asking the question as Sid Ceasar famously found out on “Tip Toe Thru TV” circa 1956. He was shown what Jazz is by Jack Cole and Chita Rivera in “Beale Street Blues”. Of course, this is only one answer to the question and there are many depending on whom you ask. Luigi, Fosse, Giordano, Maddox among others would all answer this differently, as would Jackie Sleight. Tuesday night at the Avalon Hollywood we caught a glimpse of her answer.
Jackie Sleight and Will Thomas are the Directors of the Los Angeles Jazz Company and they celebrated their dancers with the help of additional choreographers Brandon Leffler, Chase Benz, Cole Neville, Daisy McMillen, Dana Wilson, Eric Sanchez, Hannah Hawkins, Jason E. Bernard, Michael Rooney, Nicholas Palmquist, and Sienna Lyons. There were also Guest Artists Tyce Diorio, Brenna Whitaker, Lea Zigler and the Little Big Band. All of this talent showcased in the fabulous Avalon Hollywood Theatre which is made for Cabaret! It was a fortunate co-mingling of venue with subject material that created such an energetic night of Jazz music and dance.
LA Jazz Company – Bel Housner – Photo by Alyssa Cancilla.
The dancers were very well rehearsed, hitting every percussive burst in unison and on a dime. Well-trained and strong, they are capable and eager. There was no lack in terms of performance or energy. They were: Alyx Andrushuk, Annabelle Maliwanag, Bel Housner, Brandon Leffler, Claire Ross, Cole Neville, Daisy McMillen, Emily Madden, Ferny Georges, George Lawrence II, Hannah Hawkins, Jaden Mooney, Jake Kepper, Jaycee Piper, Kevin Ivins, Malia Baker, Mark Ibañez, Maya Palmer, Maya Ristovski, Melissa Bremner Quezada, Olivia Liberati, Rachel McKinnell, Will Thomas. Apprentices: Asa Gessler, Colin Pickard, Kai-Lynn Fortner, Katey Besser, and Sarah Stein.
Jaden Mooney, Brandon Leffler, Daisy McMillen, Bel Housner, Olivia Liberati, Jake Kepper, Melissa Bremner Quezada, George Lawrence II, Maya Palmer Claire Ross in SONG OF THE NEW MOON choreographed by Jackie Sleigh – Photo by Alyssa Camcilla.
The opening number by Jackie Sleight “Song Of The New Moon” was formidable. It packed a punch and showcased the individual talents of many of the dancers. It was exciting and had us taking in the whole proscenium in order to view every movement possible. For the most part everyone was facing front and delivering their energy to the audience. The transitions of moving dancers on and off stage was smooth and did not deter or interrupt the flow of choreography. Well done.
“It’s Not Easy Being Green” introduced Brenna Whitaker singing with the Little Big Band who blew the music through the roof! They were fabulous and raised the stakes of the performance for all involved. This piece then morphed into a lovely duet for Cole Neville and Jake Kepper. It was poetic and timely to have an LGBTQ+ duet so tactfully choreographed and so powerfully performed.
I was a bit surprised that although there were at least eleven choreographers presented on the program, there was not an equally diverse movement vocabulary presented. With nine pieces in the first act and nine in the second act I was struck by how many of them had all of the performers facing straight out at the audience and everyone in unison as if it were a competition. There are so many other ways to arrange and move the dancers to great effect.
LA Jazz Company – Brandon Leffler – Photo by Alyssa Cancilla.
In one of the duets, “Wicked Game”, Daisy McMillen looked straight out and played to the audience and not to her partner, Brandon Leffler who was working hard in partnering her. Yes, the one who partners’ job is to make the one they partner look good, but it is reciprocal or should be. Consider Fred Astaire partnering an inanimate hat rack in “Royal Wedding” 1951. He is focused on that prop as a partner and never looks away or at the camera. A lesson well-learned. There was also a uniformity of style in the choreography which I found interesting. How did 11 different choreographers come up with similar movement patterns and styles? I found that more than one choreographer utilized George Lawrence II for his back-handspring and triple pirouette. Tyce Diorio has a surprise splits-in-seconde position to wow the audience with – more than once. He lent his talents to a humorous piece, “Conductor”, where he orchestrates and then interferes with the chorus line. This went on a little too long after we had gotten the gag.
Jake Kepper, Mark Ibañez, Sarah Stein, Annabelle Maliwanag in DESPERADO choreographed by Nicholas Palmquist – Photo by Alyssa Cancilla.
Instead of wowing the audience why not hold their attention with what you have to say? Through the choreography, music, and acting, focus on the intent of the piece. It is not enough to dance well – but WHY are you dancing well? What do you want me to take away from the evenings’ performance? What can Jazz say to me that other forms of dance cannot? Yes, yes, yes, it is all very sexy and slinky and young with great bodies and past that? Is there a past that? I look forward to seeing what the Los Angeles Jazz Company wants to say with their youthful energy and ebullient talent. They can be a means to an end and not an end unto themselves.
To find out more about Los Angeles Jazz Company, please visit their website.
To learn more about the Avalon Hollywood Theatre, please visit their website.
Written by Brian Fretté for LA Dance Chronicle.
Featured image: Annabelle Maliwanag, Bel Housner, Maya Palmer in SEVEN COUNT choreographed by Jackie Sleight – Photo by Alyssa Cancilla.
