[NEOPAL]Berko review: Verb Ballets, Groundworks, Ohio Dance Theatre

[Roy Berko]

VERB BALLETS, GROUNDWORKS, OHIO DANCE THEATRE

Roy Berko

(Member, Dance Critics Association)

--THE TIMES NEWSPAPERS--


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


Verb Ballets continues to impress

While attending the two-day Verb Ballets programs at
Playhouse Square’s Ohio Theatre, a reliable source
revealed that Ohio Ballet, which had already canceled
its winter season, had canceled its spring Cleveland
appearance.  The source indicated that plans were to
possibly do an Akron spring offering.   This news does
not bode well for the company.  It is ironic since
Verb Ballets was doing a weekend tribute to Heinz
Poll, founder of the Ohio Ballet.  It was Poll who
made the company a national force, combining
traditional and modern ballet.  

In the last several years it has become apparent that
Verb Ballets is on its way to filling the void caused
by the demise of Cleveland-San Jose Ballet and the
problems of Ohio Ballet, its potential replacement as
the major large company in the area.  Verb’s concerts
are well attended.  Last year’s Playhouse Square
offering was sold-out.  Their recent two-night stand,
in spite of stiff competition from the Cleveland Film
Festival, ‘BOMBAY DREAMS’ in the next door Palace
Theatre, and Groundworks performing at Cleveland
Public Theatre, drew nice sized audiences.

Artistic Director Hernando Cortez has developed a
well-disciplined company.  He has supplemented his
personal creative choreography with works  of Poll and
Paul Taylor.  He has brought in resources such as
Jonathan Sheffer, artistic director of RED, to compose
music specifically for the company.   Trad Burns
continues to impress with his lighting designs.  The
company appears to be on good financial grounds.  They
have developed a devoted and enthusiastic following.

Both evenings’ programs were well-danced.  They were
aesthetically pleasing, well conceived and nicely
selected to make for two different and stimulating
evenings.  

On Friday, Eric Conway soared in ‘ESPLANDE ,‘ as did
70 year-old Ann Ennis reprising a role she has made
her own.  Kallie Marie Bokal/ Glynn Owens and Oren
Porterfield/Mark Tomasic coupled impressively in ‘SIX
-EASY PIECES.’  Based on Poll’s personal pronouncement
that “movement has to have a reason,” his “WINGS AND
AIRES’ was a melodic, flowing, exciting classical
ballet which combined well with modern dance.   His
signature style of straight backs, free-flowing
motion, meaningful arm movements and erect posture
were all well-recreated by the dancers under the
restaging concept of Jane Startzman.  

Saturday night opened with the exciting and fun-filled
‘FOREVER FLING,’ an Irish hoedown.  Fourteen year-old
wunderkindt, Austin Thomas, stole the hearts of the
audience.  A lanky six-footer, Thomas moved quickly
with confidence and competence and accomplished
amazing vertical leg kicks that brought squeals of
delight from the audience.  Also impressive in the
number were Mark Tomasic and Robert Wesner.  Wesner
made a major breakthrough in his performance skills. 
Abandoning his usual overly-dramatic, stilted hand
sweeps and classical stiff body running off stage at
the end of his solos, his face gleamed with real
emotional reactions.  His body interpreted and lived
the music.  I don’t know if it was the Poll influence,
Cortez’s directions or Wesner realizing that reality
is more important than window-dressing, but the
adjustment worked and worked well!

The high point of the evening was ‘CHICHESTER PSALMS,’
choreographed by Cortez to music by Leonard Bernstein.
 The well-conceived, beautifully structured piece
wowed the audience.  Brooke Wesner, who coupled with
her husband, Robert, was outstanding.  Trad Burns’
lighting perfectly paralleled the musical sounds in
its ever changing intensity and flow.  The marriage of
dance, music and lighting was impressive.

The evening ended with Poll’s ‘ELEGIAC SONG.’  Based
on Poll’s personal memories of wartime Germany, the
choreography impressively mirrored the grieving woman
drawings of artist Kathe Kollwitz.  The visual images
precisely paralleled the haunting music by
Shostakovich.  

In a well-planned tribute, Elizabeth Flynn, a
long-time Cortez friend,who is leaving the company,
danced the lead roll in “ELEGIAC SONG.’   Her final
bow was met with hundreds of roses being thrown on
stage by her devoted followers and a tearful goodbye
speech by Cortez.

Verb Ballets will be conducting HOOPLA, a unique fund
raiser consisting of 15 small get-togethers ranging
from a live piano concert in a South Park home to the
premiere of ‘CLEVELAND BARES,’ a Broadway burlesque
featuring Cleveland’s hottest dancers.    The
company’s next public appearance will be on September
15 and 16  at the Cleveland Museum of Natural History.
 For information on HOOPLA or the fall concert call
216 231-1177.

CAPSULE JUDGEMENT:   As their slogan states, ‘Verbs
the word,” and again the company proved the truth of
that statement.   Bravo!

Groundworks Dance at CPT’s Danceworks ‘06

David Shimotakahara’s Groundworks Dance is one of my
favorite companies.  I look forward to each of their
offerings.  In their latest concert, which was part of
the Cleveland Public Theatre’s DANCEWORKS ‘06,’ as
always, the dancing was superb. Unfortunately, as a
friend who I was sitting with said, “This wasn’t up to
their usual level.”  They were speaking of the program
selections.  As much as I hate to admit it, I agree.  

‘INSIDEOUT,’ in its world premiere, was a series of
short pieces developed around the interplay of
internal and external perceptions.  It was performed
as a series of intimate duets in which inner and outer
worlds were expressed through word and dance.   Though
the idea was clever, at times there was a disconnect
between the words and movements.  This was, in part,
caused by the decision to speak the words as if they
were a flat melody, often ignoring the phrasing which
would have increased the clarity of the message. 

The segments ranged from comedy shticks to enactment
of serious problems.  Two segments, which weren’t word
supported were piece highlights.  A delightful
interlude found Shimotakahara and Mark Otloski using a
pair of baggy pants and an oversize jacket to twist,
roll and gyrate through, under, around and in.   
Another excellent segment found Felice Bagley and
Jennifer Lott interacting with two vivid white spots
in an otherwise black space.  Bagley was superb. 
Lott, a trainee who is still learning Shimotakahara’s
precision movements, often flowed in her arm and body
movements rather than using precise maneuvers
ingrained into the psyches of the other dancers.  

A segment that highlighted the weakness of the concept
took place late in the program when Amy Miller and
Mark Otloski beautifully danced an introspective
concept.  The spoken segments, however, didn’t
parallel the dancers’ moods and movements. 

In its Cleveland premiere, ‘TIPPING POINT,’ as
choreographed by KT Niehoff, found the dancers sitting
on the floor for most of the number.  The piece was
intended to explore “the relationship between intense
isolation and the group mind.”  Set to Sarah Murat’s
discordant repetitive beating music, the twenty-minute
offering became mind numbing after a while.   As
someone behind me said, “Why don’t they get up and do
something, already?”  Well, maybe that was Neihoff’s
intention.  By repeating the same head, arm and body
movements at varying speeds, after a while, like work
on an assembly line, the participants get to their
tipping point.  Even with that clarity of explanation,
the over-all effect of the piece was not extremely
positive.

CAPSULE JUDGEMENT:  I have high expectations  for
Groundworks Dance concerts.   My expectation of superb
dancing was met, but the programming left something to
be desired.

Groundworks will be presenting an evening of dance at
Cain Park’s Alma Theatre on June 30, July 1 and 2. 
For tickets call Cain Park at 216-371-3000.  For
further information about the company go to
www.notsoobvious.com.

Ohio Dance Theatre presents ‘CARMEN’

Oberlin based Ohio Theatre will premiere Artistic
Director Denise Gula’s ‘CARMEN’ on Friday, March 31 at
8 p.m. in the Ohio Theatre of Playhouse Square. 
Gula’s version, which is danced to the music of Bizet,
focuses on the psychological aspects of the story. 
The program will also feature Balachine’s ‘VALSE
FANTAISE,’ Foreman’s ‘MEAN OLD WORLD,’ and the past de
deux from ‘DON QUIXOTE.’   For tickets, which range in
price from $22 to $35 call 216-241-6000.


Roy Berko's web page can be found at www.royberko.info.  His theatre and dance reviews appear on NeOHIOpal, an on-line source.   To subscribe to this free service via the World Wide Web, visit http://lists.fredsternfeld.com/mailman/listinfo/neohiopal.

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