The first weekend of Men In Dance was a huge success, with nearly sold out shows. Whether the audience members were there to support friends and family, to see an entire show performed by male dancers, or simply because this festival is a Seattle tradition, it was obvious that all left having seen something that touched and inspired them.
Ten talented choreographers and thirty men performed October 8 – 10, 2010 at Broadway Performance Hall for Men In Dance’s Eighth Bi-Annual Festival.
What was most inspiring about this performance was the range of age, ability, and professional experience each piece brought. From Cheryl Johnson’s “15 to 20” featuring three talented 10th grade tappers, to Whim W’Him’s premiere of Monster with company members, and PNB dancers, Andrew Bartee and Lucien Postlewaite, this performance was a wonderful representation of all that Seattle dance has to offer.
There were a number of stand-out works, some for their technical might; others for their humor or intensity. Jason Ohlberg performed his solo Ascent, which was first presented in March 2008. The amazing thing about Ohlberg’s dancing is his ability to alight from the floor and lower back down to the ground with silence and softness. This work, based on ascending and descending, highlighted all that is wonderful about his movement. Ohlberg is also such a strong performer—breaking through the fourth wall and inviting the audience in to his private world. Ohlberg performed in Deborah Wolf’s premiere, Frattura, as well, and stole the show. In this work his maturity as a performer was amplified as he danced next to talented Cornish senior, Ian Randall, and recent graduate, Markeith Wiley. While there were many experienced performers in this year’s festival, Ohlberg truly stood out in his ability to engage the viewers.
Of course, the work of all the PNB dancers was exquisite! In Cypher, corps members Josh Spell and Ezra Thomson, and apprentice Price Suddarth were able to demonstrate their strength and agility. The work, based on hip-hop culture jam sessions, had a good fusion of ballet and modern movement, but sometimes the dancers fell back into ballet preparations and lines, which may not have been as the choreographer intended. PNB dancers could also be found in Whim W’Him’s performance, which was also technically strong and engaging, and held a poignant and current message. This excerpt from their upcoming work, Monster, spoke of the rejection and fear homosexuals feel from how society treats them. The weekend’s performance was dedicated to those teens who have taken their lives due to bullying.
David Lorence Schleiffers’ work, Hillside, though much less challenging technically, stood strong between the works of new choreographer Barry Kerollis (Cypher) and the touching choreography of Seattle pillar, Wade Madsen. This gestural work featured a great deal of creative and somewhat aggressive partnering, which gave it a “Hillside Academy for Boys” feel. In one brilliant moment of the work, the six men began rolling with abandon and diving over one another. While the choreography here must have been cleanly set, it looked quite spur of the moment. This feel of playful movement made the work unique in the weekend’s performance.
Eva Stone’s work was perhaps the most engaging of the day, but was also the least technical. Me Over You is based on Jules Perrot’s 1845 ballet Pas de Quatre. The comedic work featured Fausto Rivera, Joseph Schanbeck, David Lorence Schleiffers, and Thomas Van Doren as four sylph-like egomaniacs. With little nods to the original choreography, ridiculous movement in each of the solos, and an overall feel of “I’m better than you,” this work was quite a hit.
The festival continues next weekend with works from five new choreographers, and repeats this week's works by Alia Swersky, Cheryl Johnson, Jason Ohlberg, and Deborah Wolf. Tickets are available through Brown Paper Ticket or at the door (cash or check only). For more information on this festival, visit www.menindance.org.
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