[NEohioPAL]BERKO REVIEWS: Verb Ballet, Inlet Dance, Antaeus Dance, ABT, Nunsense

[Roy Berko]

QUICK COMINGS AND GOINGS:  VERB BALLET, INLET DANCE,
ANTAEUS DANCE, ABT, ‘NUNSENSE’

Roy Berko

(Member, American Theatre Critics Association)

--THE TIMES NEWSPAPERS--

Lorain County Times--Westlaker Times--Lakewood News
Times--Olmsted-Fairview Times	

One of the problems with short run productions is that
before the word can get out, they are gone.  This is
especially true with many of the performances of local
dance companies, which usually run one weekend.  A
case in point is the Cleveland Public Theatre’s “Dance
Works ’04.”  Some of the area’s finest choreographers
are being showcased.  Unfortunately, each group gets a
one weekend three-performance slot.  Since you can’t
get to see what has been, maybe you can get ready for
what’s going to be.   If you see that these companies
are presenting, go before they are gone once again.

Cleveland is blessed with some wonderful
choreographers and company artistic directors.  Three
of the very best are being showcased in the
“Danceworks ‘04” series.  Two have already had their
works presented:  Hernando Cortez of Verb Ballets, and
Bill Wade of Inlet Dance.  Here are mini-reviews of
what was presented.

VERB BALLET

The company’s ‘CONTEMPORARY ARTISTS COLLECTION 04’ was
a wonderful and creative evening of dance.  The
dancers worked with assurance and displayed a complete
understanding of each the choreographer’s works.  Mark
Tomasic and Tracy Vogt were superb in “In Passing.”  

Dancing on boxes, in ballet shoes on toe, “The Last
Sun” showcased wonderful dancing by Meghan Haas and
DeAnn Petruschke.  Unfortunately, Robert Wesner’s
affected movements and lack of body control were
distracting.  

“The Envelope” was an absolutely delightful piece
centering on the passing of an envelope from dancer to
dancer.  The melodramatic music and quick short moves
delighted the audience.  

“A Twist of Fate” was brilliant!  It was a powerful,
unsettling piece, accomplished with wonderful shadows
projected onto the back scrim by lighting designer
Cheanult Spence. 

“Mozart Piano Trio in C Major” was danced to the fine
live accompaniment of Eric Ziolek and Sara and Jeffrey
Schimpelfenig.  The classical music and contemporary
stylized movements blended to give a sprightly
conclusion to a wonderful evening of dance.   

All in all, this was an entertaining,  eclectic
evening of dance.  As a patron said as he walked out,
“I could see that again.”  I agree!!  For information
about Verb Ballets and their next performances call
216-397-3757.

INLET DANCE

Inlet Dance is at its very best when the company is
performing to the ingenious choreography of Bill Wade.
 This was well-illustrated  in their “Dance Works ‘04”
program.  Every one of Wade’s staged pieces was
compelling.  The works of the other choreographers
left much to be desired.  

Wade’s “B’roke,” danced to a Vivaldi violin concerto,
was beautifully presented.  He created involving stage
pictures through the inter-twining of bodies.  Each
physical move perfectly fit the musical underscoring. 
Jennifer Lott lit up the stage.  Marget Ludlow, M.
Leila Pelhan and Devon Schlegelmilch were outstanding
in this and each piece in which they performed.  

“Doppleganger” was the evening’s highlight.  Featuring
16-year old African American twins, Bryan and Ryan
Peoples, who helped develop the choreography, the
dancers displayed amazing physical strength and body
control and blended into a co-joined tandem of
gymnastic dance movements.  Wow!!  

“ImPAIRED” saw Leila Pelhand and Christopher Whitney
impressively performing the entire piece blindfolded. 
The slow gymnastic movements were beautifully
executed.  This was a powerful piece, well conceived
and well executed.  
Less effective were “Tides and Solitude” which Sally
Wallace choreographed using long poles which were used
by the dancers to propel themselves across the stage. 
The effect worked for a while but the extended music
and repeated movements became tedious and the piece
called for cutting.   

Jennifer Lott danced her own choreographed piece,
“Duet” competently.  The single dancer partnered with
a square of light.  The choreography failed to
captivate. 

“Dante’s First Night,” staged by Leilani Barrett,
failed to coordinate the tone of the music with the
dance movements.  The repetitious music and lack of
group unity hurt the piece.  Interestingly, it was the
performance of the choreographer that was most
responsible for the lack of precision.  

Steve Rooks’ “You Are Now Connected” missed the mark. 
The dancers, though they valiantly tried, were not
capable of interpreting the rap music’s intent.  

For information about Inlet Dance call 216-382-0201 or
email inletdancetheatre at sbcglobal.net.

ANTAEUS DANCE COMPANY

Starting with a series of bangs and cymbal clashes,
choreographers Dough Lodge and Joan Meggitt’s “Moments
of Repose” had an impressive beginning.  But, as the
piece went on and on, repeating and repeating the same
musical tones and movements, the audience lost
interest.  It was too much of the same.  Supposedly
inspired by Frank Gehry’s Peter B. Lewis Building on
the campus of Case-Western Reserve, the piece should
have, like the building, flowed, flashed, attracted
emotional attention, brought about strong emotional
reaction.   It didn’t.  After a while more attention
was paid to Greg D’Allessio’s solo manipulation of the
musical instruments than to the dancers.  The female
dancers—Jenita McGowan, Sherri Mills, Latifa Sage,
Beth Salemi and Shanna Sheline--were all very
proficient.

A shortened piece, programmed with something of a
different feeling, would have made the evening much
more satisfying.  

For information about Antaeus Dance Company call
216-486-2874.

GROUNDWORKS

David Shimotakahara’s Groundworks will be dancing on
April 2, 3 & 4 as part of “Danceworks ’04.” 
Groundworks has a strong following and their
performances usually sell out.  Don’t delay.  I can
guarantee you won’t be sorry.  Call 216-631-2727.

AMERICAN BALLET THEATRE

Performing as part of the Ballet Series at Playhouse
Square Center, American Ballet Theatre proved why it
is a world class company.  The program, danced to a
full orchestra, opened with “Raymonda,” a classical
piece with folkloric overtones.   Well staged, it
featured Irina Dvorovenko and Maxim Beloserkovsky in
lead roles.   Maxim and Carlos Lopez’s high scissors
leaps and the precision dancing and toe work of Erica
Cornejo were the piece’s highlights.  

“Pillars of Fire,” was a somber, beautifully danced
piece which combined traditional movements with modern
staging.  The result was a moving choreographic
concept in which the moods of the dance and the music
became one.  
“Within You Without You:  A Tribute to George
Harrison” was the lesser segment of the evening. 
Though it was interesting to see the former Beattle’s
music set to dance, there was a lack of consistency in
interpreting many of Harrison’s lyrics to the
movements.  This was especially true in “Something.” 
“I Dig Love,” with its interesting lift patterns and
inter-weavings of bodies, was more on target as was
“While My Guitar Gently Weeps” which featured powerful
gymnastic movements.  “Isn’t It a Pity” consisted of a
series of countermoves created by having the dancers
work in lines.  “Within You Without You” evoked little
emotional feeling, while “My Sweet Lord” was a high
spirited gleeful dance.

All in all, if you missed ABT, you missed a dance
season highlight.  They will undoubtedly be returning
to the area.  Make sure to see them.

The next dance program in the Ballet Series will be
the Houston Ballet performing ‘CINDERELLA’ starting
April 27.    For ticket information call 216-241-6000
or 1-800-766-6048 or go to a tickets.com outlet at
most Tops Friendly Markets stores, or go online to
playhousesquare.com

NUNSENSE

If those who attended ‘NUNSENSE, the 20th ANNIVERSARY
ALL-STAR TOUR’ were expecting a hysterically
delightful repeat of the long running Hanna Theatre
production of ‘LATE NITE CATECHISM,’ they must have
been disappointed.  The “play” is based on the
ridiculous premise that Sister Julia Childs, the
convent’s head cook, had accidentally poisoned most of
the order’s nuns.  Since there wasn’t enough money to
bury all of the sisters, some of were placed in the
freezer and we (the audience) were supposedly
attending a fund-raiser to bury the remaining souls. 
Yeah, sure, okay, you get the point!  Twenty-five
years of stirring hasn’t improved the piece.

Most people, I assume, came to see the old time stars,
rather than be enthralled by the goings-on.  Well,
even that was disappointing as Georgia Engel was off
shooting an “Everybody Loves Raymond” episode and Mimi
Hines was ill.  That left Cleveland’s own, the
delightful Kaye Ballard, the “I can still belt-out a
song” Darlene Love, and “I was Miss America” Lee
Meriwether to carry the load.  

It was a slightly entertaining evening.  There were
some laughs, there was some okay singing, and there
was some presence of Ballard’s statement for the
reason for the show…”We are here to prove that nuns
are fun.”  Okay, I’ll accept her word for it, but at
$52.50 a ticket, there should have been more fun!


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