On Thursday, October 24th I had the pleasure of attending Marybelle Musco’s Contemporary Dance Series featuring Dance Theatre of Harlem at Chapman University. The evening consisted of diverse works that featured the company’s strong technique and captivating performance qualities.
To start off the evening was a piece created by the company’s artistic director Robert Garland titled New Bach and set to music by Johann Sebastian Bach. This work was simultaneously jubilant, fierce, and striking as it set the tone for the evening featuring the incredibly gifted dancers Carly Greene, Micah Bullard, Keenan English, Elias Re, Luis Fernando Rego, Alden Smith, Ariana Dickerson, Alexandra Rene Jones, Kira Robinson, and Stephanie Rae Williams. The work was presented in three acts starting with Allegro Moderato which was an expression of strong pointe work and impressive partnering skills. But more importantly, the showmanship of the dancers stood out right away as both polished and expressive dancers. Following the first act was Andante, which held a softer tone showcased by both the dancers and choreography as well as the lighting design perfectly crafted by Roma Flowers. The third act tied the entirety of New Bach together with Allegro Assai, an upbeat and authentic display of contemporary ballet. Garland’s work has a smooth through line of honoring the classical nature of ballet while also playing with movement language from differing styles such as hip hop and ballroom.
DTH Company Artists Micah Bullard and Kamala Saara in “Take Me With You” – Photo by Jeff Cravotta.
The second work of the evening was a duet titled Take Me With You, choreographed by Robert Bondara and expertly performed by Delaney Washington and Derek Brockington. This work was set to “Reckoner” by Radiohead and had a hypnotic effect as the dancers used seemingly effortless counterbalance and strength to move one another through the space. The relationship built between the two dancers in this duet was palpable and focused. Choreographically, the use of repetition, floorwork, and impressive partnering really made this piece a stand out of the night.
Dance Theatre of Harlem Company in “Allegro Brillante” – Photo by Christopher Duggan. Courtesy of Jacob’s Pillow Dance Festival.
Following Bondara’s work was Allegro Brillante choreographed by George Balanchine and set by The George Balanchine Trust. The work was choreographed to music by Peter IIyich Tchaikovsky and performed by Ingrid Silva, Keenen English, Ariana Dickerson, Alexandra Rene Jones, Kira Robinson, Stephanie Rae Williams, Miach Bullard, Elias Re, Luis Fernando Rego, and David Wright. Balanchine described the exuberant Allegro Brillante “Everything I know about classical ballet in thirteen minutes,” and that’s exactly what it was. The relationship between the dancers on stage, the honest display of technique through both pointe work, partnering, and impressive turns and jumps gave the piece an almost nostalgic feeling for me personally. The joy the dancers expressed during this piece reminded me of the value in the classical history and performance of ballet that does not take away from the value in the newfound contemporary ways to experience the art form.
DTH – Company in “Blake Works IV” (The Barre Project) – Photo by Theik Smith.
Finishing the program was a brilliant work choreographed by William Forsythe and danced by Derek Brockington, Micah Bullar, Kouadio Davis, Lindsey Donnell, Alexandra Hutchinson, Elias Re, Kamal Saara, Ingrid Silva, Delaney Washington, Stephanie Rae Williams, and David Wright. The music for this piece greatly opposed the previous Tchaikovsky soundscape as it was set to the ominous and bass driven music by James Blake. The piece titled, Blake Works IV (The Barre Project) is the latest installment in William Forsythe’s continuously evolving work The Barre Project. The creative process for this began during the pandemic as a filmed dance that was streamed to a global audience facing restrictions on live performance at the time. Using a ballet barre as a tool for not only the classical dance training that initially comes to mind, but as almost a set design or prop used by the dancers to express the dynamic and athletic qualities a dancer must obtain. This work was my favorite of the evening as I felt it gave insight to the power and grit that classically trained dancers must have. Forsythe’s use of the ballet barre was a simple way of taking an item that provokes a preconceived notion and spinning that notion into a strong statement about the culture of dance. The company performed this piece with great commitment and it was wonderful to see the performers honestly enjoying each moment of this piece. The dancers exuded confidence and strength in this work, honoring Forsythe’s choreographic decisions and vision clearly.
DTH – Micah Bullard in “Blake Works IV” (The Barre Project) – Photo by Theik Smith.
The Dance Theatre of Harlem has a diverse repertoire that highlights the history of ballet while focusing on the future of the art form as well. The entire company is impressive in physicality, showmanship, and performance quality which takes a certain level of commitment and dedication to have. I thoroughly enjoyed the evening’s performance and the various tones and rides that each piece took me on.
To learn more about Dance Theatre of Harlem, please visit their website.
For more information about the Musco Center for the Arts, please visit their website.
Written by Rebecca Lee for LA Dance Chronicle.
Featured image: DTH Company Artists in Robert Garland’s Return – Photo by Jeff Cravotta.
