[NEohioPAL]FW: Clevleand Review for Ronald K. Brown Evidence

Tue Nov 9 07:46:20 PST 2004

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Attached is the review for DANCECleveland and Cuyahoga Community College's
Center for Arts and Culture's performance of Ronald K. Brown/Evidence.
Thanks
Pam Young
Executive Director
DANCECleveland

-----Original Message-----
From: Pamart at aol.com [mailto:Pamart at aol.com]
Sent: Monday, November 08, 2004 12:28 PM
To: mkond at umich.edu; fermyt at prodigy.net.mx; gpickett at 651arts.org;
jparks at arts.usf.edu; ritadmartin at excite.com; hookers at uncw.edu;
amthompson at csbsju.edu; judith-hurtig at uiowa.edu; jmclaughlin at csdance.org;
pyoung at dancecleveland.org; maure at worldmusic.org; jwebster at lincolncenter.org;
preynolds at colum.edu; onyekwere.ozuzu at colorado.edu;
abadams at kennedy-center.org; barbra.lupp at notes.udayton.edu;
jony at paramountcenter.org; lisa at aacc-charlotte.org;
tcastroverde at stmarysschool.org; kim-renz at utc.edu;
wbaker at cslanet.calstatela.edu; jellis at dwtheatre.com.;
nbarclay at africanaculture.org; jodeenim at americandancefestival.org;
ebaff at jacobspillow.org; lgreer at nbaf.org; sarpey at skidmore.edu;
plesser at theegg.org
Subject: Clevleand Review for Ronald K. Brown Evidence

Dancers' emotions, energy set stage afire in three works

DANCEREVIEWRonald K. Brown/Evidence
Monday, November 08, 2004
Wilma Salisbury
Plain Dealer Dance Critic
New York choreographer Ronald K. Brown specializes in dances that represent
spiritual journeys. In the Cleveland debut of his company, Evidence,
Saturday night at the Ohio Theatre in Playhouse Square, the eight-member
ensemble performed dances that traveled from darkness to light, from sin to
salvation and from chaos to resolution.
Like many one-choreographer programs, the show lacked variety and contrast.
But all three works on the program blazed with emotional power and physical
energy.
Brown's hyperkinetic style blends modern-dance technique with elements of
African and Afro-Caribbean dance. The performers flail their arms, stomp
their feet, kick their legs, bend their backs and jump straight up.
Propelled by the beat of loud West African and African-American music, they
dance with a freedom that suggests wild abandon. Yet much of the
choreography is performed in unison, and each work develops in neatly
structured floor patterns that are dramatized by Brenda Gray's vivid
lighting designs.
Brown made his clearest statement in "Grace," a dynamic ritual he
choreographed five years ago for the Alvin Ailey American Dance Theatre. In
comparison to the sleek virtuosity of the Ailey dancers (who have performed
the work twice at Playhouse Square), Brown's dancers looked earthy in their
roles as sinners and saints.
To recorded music by Duke Ellington, Roy Davis Jr. and Fela Anikulapo Kuti,
the ensemble followed the lead of a dancer representing God-as-Woman.
Gleaming with white-hot energy, she descended to Earth, guided her
hip-hopping flock through worldly temptations and brought them to the loving
arms of the community. There, they rejoiced to Ellington's "Come Sunday," as
recorded by Jennifer Holliday.
The pathway to peace was not as obvious in Brown's "Upside Down," an excerpt
from an evening-length work he created in collaboration with Ivory Coast
choreographer Rokiya Kone and her company, Jeune Ballet d'Afrique Noire.
Here, dancers in colorful African-inspired costumes fought their way through
a hectic environment symbolized by dark, jewel-toned lighting. In the course
of repetitive, pounding movement sequences, they experienced a tragedy, came
together and lifted up the victim. The dance was set to impassioned songs
recorded by Kuti and Oumou Sangare.
Kuti's music also provided the culminating catharsis in "Come Ye," a strong
anti-war piece inspired by Nina Simone's song of the same name. After
summoning the spirits of ancestors, the dancers gathered for a joyous Sunday
morning service in Savannah, Ga. But the mood changed abruptly to the
strains of Simone's "Revolution," and the ensemble went through fierce group
sequences before resolving tensions to the accompaniment of a cross-cultural
prayer sung by Kuti.
The final scenes were danced in front of Robert Penn's film collage of news
clips from the civil rights movement and faces of African-American heroes.
The dancers who threw body and soul into each piece were Camille Brown,
Arcell Cabaug, Shani Collins, Tiffany Jackson, Juel Lane, Bridget Moore,
Keon C. Thoulouis and the choreographer. Co-presented by DanceCleveland and
the Cuyahoga Community College Center for Arts & Culture, the show won a
tumultuous ovation from the large crowd.
To reach this Plain Dealer reporter:
wsalisbury at plaind.com, 216-999-4248

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At=
tached is
the review for DANCECleveland and Cuyahoga Community College’s =
Center for Arts
and Culture’s performance of Ronald K. Brown/Evidence. =
<o:p></o:p>

<p class=3DMsoNormal><span class=3DEmailStyle16><font size=3D2 =
color=3Dnavy face=3DArial><span
style=3D'font-size:10.0pt;mso-bidi-font-size:12.0pt;font-family:Arial'>Th=
anks <o:p></o:p></span></font></span></p>

<p class=3DMsoNormal><span class=3DEmailStyle16><font size=3D2 =
color=3Dnavy face=3DArial><span
style=3D'font-size:10.0pt;mso-bidi-font-size:12.0pt;font-family:Arial'>Pa=
m Young<o:p></o:p></span></font></span></p>

<p class=3DMsoNormal><span class=3DEmailStyle16><font size=3D2 =
color=3Dnavy face=3DArial><span
style=3D'font-size:10.0pt;mso-bidi-font-size:12.0pt;font-family:Arial'>Ex=
ecutive
Director<o:p></o:p></span></font></span></p>

<p class=3DMsoNormal><span class=3DEmailStyle16><font size=3D2 =
color=3Dnavy face=3DArial><span
style=3D'font-size:10.0pt;mso-bidi-font-size:12.0pt;font-family:Arial'>DA=
NCECleveland<o:p></o:p></span></font></span></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt;color:black'><![if =
!supportEmptyParas]> <![endif]></span></font><font
color=3Dblack><span =
style=3D'color:black;mso-color-alt:windowtext'><o:p></o:p></span></font><=
/p>

-----Original Message----- 
From: Pamart at aol.com
[mailto:Pamart at aol.com] 
Sent: Monday, November =
08, 2004 12:28
PM 
To: mkond at umich.edu;
fermyt at prodigy.net.mx; gpickett at 651arts.org; jparks at arts.usf.edu;
ritadmartin at excite.com; hookers at uncw.edu; amthompson at csbsju.edu;
judith-hurtig at uiowa.edu; jmclaughlin at csdance.org; =
pyoung at dancecleveland.org;
maure at worldmusic.org; jwebster at lincolncenter.org; preynolds at colum.edu;
onyekwere.ozuzu at colorado.edu; abadams at kennedy-center.org;
barbra.lupp at notes.udayton.edu; jony at paramountcenter.org;
lisa at aacc-charlotte.org; tcastroverde at stmarysschool.org; =
kim-renz at utc.edu;
wbaker at cslanet.calstatela.edu; jellis at dwtheatre.com.;
nbarclay at africanaculture.org; jodeenim at americandancefestival.org;
ebaff at jacobspillow.org; lgreer at nbaf.org; sarpey at skidmore.edu;
plesser at theegg.org 
Subject: Clevleand Review =
for
Ronald K. Brown Evidence

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 <tr>
  <td width=3D600 style=3D'width:6.25in;padding:0in 0in 0in 0in'>
  <h1><b><font size=3D6 color=3Dblack face=3DArial><span =
style=3D'font-size:24.0pt;
  font-family:Arial;color:black'>Dancers' emotions, energy set stage =
afire in
  three works </span></font></b><font color=3Dblack face=3DArial><span
  =
style=3D'font-family:Arial;color:black;mso-color-alt:windowtext'><o:p></o=
:p></span></font></h1>
  <p class=3DMsoNormal><b><font size=3D2 color=3Dblack =
face=3DArial><span
  =
style=3D'font-size:10.0pt;font-family:Arial;color:black;font-weight:bold'=
>DANCEREVIEWRonald
  K. Brown/Evidence </span></font></b><font size=3D2 color=3Dblack =
face=3DArial><span
  =
style=3D'font-size:10.0pt;font-family:Arial;color:black;mso-color-alt:win=
dowtext'><o:p></o:p></span></font></p>
  <p class=3DMsoNormal><font size=3D2 color=3Dblack face=3DArial><span
  style=3D'font-size:10.0pt;font-family:Arial;color:black'>Monday, =
November 08,
  2004 </span></font><font size=3D2 color=3Dblack face=3DArial><span
  =
style=3D'font-size:10.0pt;font-family:Arial;color:black;mso-color-alt:win=
dowtext'><o:p></o:p></span></font></p>
  <p class=3DMsoNormal><font size=3D2 color=3Dblack face=3DArial><span
  style=3D'font-size:10.0pt;font-family:Arial;color:black'>Wilma =
Salisbury</span></font><font
  size=3D2 color=3Dblack face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial;
  color:black;mso-color-alt:windowtext'><o:p></o:p></span></font></p>
  <p class=3DMsoNormal><b><font size=3D2 color=3Dblack =
face=3DArial><span
  =
style=3D'font-size:10.0pt;font-family:Arial;color:black;font-weight:bold'=
>Plain
  Dealer Dance Critic</span></font></b><font size=3D2 color=3Dblack =
face=3DArial><span
  style=3D'font-size:10.0pt;font-family:Arial;color:black'> =
</span></font><font
  size=3D2 color=3Dblack face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial;
  color:black;mso-color-alt:windowtext'><o:p></o:p></span></font></p>
  <p><font size=3D2 color=3Dblack face=3DArial><span =
style=3D'font-size:10.0pt;
  font-family:Arial;color:black'>New York choreographer Ronald K. Brown
  specializes in dances that represent spiritual journeys. In the =
Cleveland
  debut of his company, Evidence, Saturday night at the Ohio Theatre in
  Playhouse Square, the eight-member ensemble performed dances that =
traveled
  from darkness to light, from sin to salvation and from chaos to =
resolution. </span></font><font
  size=3D2 color=3Dblack face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial;
  color:black;mso-color-alt:windowtext'><o:p></o:p></span></font></p>
  <p><font size=3D2 color=3Dblack face=3DArial><span =
style=3D'font-size:10.0pt;
  font-family:Arial;color:black'>Like many one-choreographer programs, =
the show
  lacked variety and contrast. But all three works on the program blazed =
with
  emotional power and physical energy. </span></font><font size=3D2 =
color=3Dblack
  face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial;color:black;
  mso-color-alt:windowtext'><o:p></o:p></span></font></p>
  <p><font size=3D2 color=3Dblack face=3DArial><span =
style=3D'font-size:10.0pt;
  font-family:Arial;color:black'>Brown's hyperkinetic style blends =
modern-dance
  technique with elements of African and Afro-Caribbean dance. The =
performers
  flail their arms, stomp their feet, kick their legs, bend their backs =
and
  jump straight up. Propelled by the beat of loud West African and
  African-American music, they dance with a freedom that suggests wild =
abandon.
  Yet much of the choreography is performed in unison, and each work =
develops
  in neatly structured floor patterns that are dramatized by Brenda =
Gray's
  vivid lighting designs. </span></font><font size=3D2 color=3Dblack =
face=3DArial><span
  =
style=3D'font-size:10.0pt;font-family:Arial;color:black;mso-color-alt:win=
dowtext'><o:p></o:p></span></font></p>
  <p><font size=3D2 color=3Dblack face=3DArial><span =
style=3D'font-size:10.0pt;
  font-family:Arial;color:black'>Brown made his clearest statement in
  "Grace," a dynamic ritual he choreographed five years ago =
for the
  Alvin Ailey American Dance Theatre. In comparison to the sleek =
virtuosity of
  the Ailey dancers (who have performed the work twice at Playhouse =
Square),
  Brown's dancers looked earthy in their roles as sinners and saints. =
</span></font><font
  size=3D2 color=3Dblack face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial;
  color:black;mso-color-alt:windowtext'><o:p></o:p></span></font></p>
  <p><font size=3D2 color=3Dblack face=3DArial><span =
style=3D'font-size:10.0pt;
  font-family:Arial;color:black'>To recorded music by Duke Ellington, =
Roy Davis
  Jr. and Fela Anikulapo Kuti, the ensemble followed the lead of a =
dancer
  representing God-as-Woman. Gleaming with white-hot energy, she =
descended to
  Earth, guided her hip-hopping flock through worldly temptations and =
brought
  them to the loving arms of the community. There, they rejoiced to =
Ellington's
  "Come Sunday," as recorded by Jennifer Holliday. =
</span></font><font
  size=3D2 color=3Dblack face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial;
  color:black;mso-color-alt:windowtext'><o:p></o:p></span></font></p>
  <p><font size=3D2 color=3Dblack face=3DArial><span =
style=3D'font-size:10.0pt;
  font-family:Arial;color:black'>The pathway to peace was not as obvious =
in
  Brown's "Upside Down," an excerpt from an evening-length =
work he
  created in collaboration with Ivory Coast choreographer Rokiya Kone =
and her
  company, Jeune Ballet d'Afrique Noire. </span></font><font size=3D2
  color=3Dblack face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial;
  color:black;mso-color-alt:windowtext'><o:p></o:p></span></font></p>
  <p><font size=3D2 color=3Dblack face=3DArial><span =
style=3D'font-size:10.0pt;
  font-family:Arial;color:black'>Here, dancers in colorful =
African-inspired
  costumes fought their way through a hectic environment symbolized by =
dark,
  jewel-toned lighting. In the course of repetitive, pounding movement
  sequences, they experienced a tragedy, came together and lifted up the
  victim. The dance was set to impassioned songs recorded by Kuti and =
Oumou
  Sangare. </span></font><font size=3D2 color=3Dblack face=3DArial><span
  =
style=3D'font-size:10.0pt;font-family:Arial;color:black;mso-color-alt:win=
dowtext'><o:p></o:p></span></font></p>
  <p><font size=3D2 color=3Dblack face=3DArial><span =
style=3D'font-size:10.0pt;
  font-family:Arial;color:black'>Kuti's music also provided the =
culminating
  catharsis in "Come Ye," a strong anti-war piece inspired by =
Nina
  Simone's song of the same name. After summoning the spirits of =
ancestors, the
  dancers gathered for a joyous Sunday morning service in Savannah, Ga. =
But the
  mood changed abruptly to the strains of Simone's =
"Revolution," and
  the ensemble went through fierce group sequences before resolving =
tensions to
  the accompaniment of a cross-cultural prayer sung by Kuti. =
</span></font><font
  size=3D2 color=3Dblack face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial;
  color:black;mso-color-alt:windowtext'><o:p></o:p></span></font></p>
  <p><font size=3D2 color=3Dblack face=3DArial><span =
style=3D'font-size:10.0pt;
  font-family:Arial;color:black'>The final scenes were danced in front =
of
  Robert Penn's film collage of news clips from the civil rights =
movement and
  faces of African-American heroes. </span></font><font size=3D2 =
color=3Dblack
  face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial;color:black;
  mso-color-alt:windowtext'><o:p></o:p></span></font></p>
  <p><font size=3D2 color=3Dblack face=3DArial><span =
style=3D'font-size:10.0pt;
  font-family:Arial;color:black'>The dancers who threw body and soul =
into each
  piece were Camille Brown, Arcell Cabaug, Shani Collins, Tiffany =
Jackson, Juel
  Lane, Bridget Moore, Keon C. Thoulouis and the choreographer. =
Co-presented by
  DanceCleveland and the Cuyahoga Community College Center for Arts =
&
  Culture, the show won a tumultuous ovation from the large crowd. =
</span></font><font
  size=3D2 color=3Dblack face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial;
  color:black;mso-color-alt:windowtext'><o:p></o:p></span></font></p>
  <p><font size=3D2 color=3Dblack face=3DArial><span =
style=3D'font-size:10.0pt;
  font-family:Arial;color:black'>To reach this Plain Dealer reporter: =
</span></font><font
  size=3D2 color=3Dblack face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial;
  color:black;mso-color-alt:windowtext'><o:p></o:p></span></font></p>
  <p><font size=3D2 color=3Dblack face=3DArial><span =
style=3D'font-size:10.0pt;
  font-family:Arial;color:black'>wsalisbury at plaind.com, 216-999-4248 =
</span></font><font
  size=3D2 color=3Dblack face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial;
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  </span></font><font size=3D2 color=3Dblack face=3DArial><span =
style=3D'font-size:
  =
10.0pt;font-family:Arial;color:black;mso-color-alt:windowtext'><o:p></o:p=
></span></font></p>
  <p class=3DMsoNormal align=3Dcenter style=3D'text-align:center'><font =
size=3D2
  color=3Dblack face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial;
  color:black'>Copyright 2004 cleveland.com. All Rights =
Reserved.</span></font><font
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