Men + Dance = Men in Dance

11 Oct

I’m pretty sure (as in I know) I write for a predominantly female audience…historically, women have found me more entertaining than men have.  However, I would like to dedicate this post to my male audience…all three and a half of you, and in particular the homosexual readers in honor of National Coming Out Day.  As far as I know, I shall attempt to tie this in with a review of a festival showing I went to yesterday, Men in Dance, featuring all male dancers in works by various choreographers.

First, a little anecdote.  I was in a bit of a foul mood yesterday…but lock yourself out of your apartment, lose your key and not so happy you will be!  Normally I’m a very careful person and I don’t make mistakes but when I do they tend to be of the catastrophic variety.  You know the saying: “go big or go home” and that’s what I manage to do…except I couldn’t go home because I lost my key in the taxi, which of course dropped me off within feet of my doorstep.  Irony tastes like crap, and I’ve been mentally vomiting on myself since (which will probably continue until I fix this mess).  So of course because I’m one of those people that has to beat myself up I didn’t sleep well and was quite tired after a restless night at a friend’s house.  Not to mention I had to do the whole “walk of shame” wearing the same clothes from the day before as my landlord let my roommate and I in with the spare key.  The whole condition was exacerbated by the fact that I had to leave my contacts in overnight thus irritating my eyes, and also because I didn’t have time for a shower before heading to Capitol Hill for Men in Dance.  I don’t even remember how I got there—all I remember is zombie-walking to the bus stop messy-haired and red demon eyed, then somehow managing to appear in front of the Broadway Performance hall.

The show featured a great variety of dance styles, beginning with a preshow where a group of men danced outside, in the lobby, on the stairs leading to the theatre and eventually on one corner of the stage.  As they explored these spaces, sometimes they danced at you…not for you, at you (I almost tripped over one going up the stairs).  The preshow also included a small tap ensemble, clad in black, white and shades of grey pedestrian clothing, executing complicated footwork with such ease I wanted to believe that I too, could do such a thing…but that’s the mark of great hoofers; they make it look insanely easy.  In this sense, I often feel tap is the most deceiving dance form.

Following the preshow came Cypher, a male pas de trois that consisted of a number of dizzying turns and leaps…perhaps, too many.  Here’s the thing about bravura steps…when you have a lot of pirouettes and leaps it’s one of two things; it’s a variation/coda or the piece is being overpowered by an excess of such movements.  When it comes to a modern ballet, I don’t look for specific turns or jumps but what is the effect of a turn or jump?  Does it emphasize a musical phrase or show visual contrast in levels?  I wasn’t feeling much of a sense of purpose, other than to show off…which is an entirely legitimate choice but I felt that the pirouettes and leaps actually detracted from some of the more interesting choreography.  There were wonderful moments of texture—smooth classical lines as well as smaller staccato movements, set to a compelling score entitled Trilobita, which I assume translates into trilobite (and you know I’m a huge fossil geek).  It’s a fine line any time you put in a coupe jeté followed my multiple pirouettes because it can get competition dance-y very quickly.

Following that was an interesting piece with a group of young men performing a…running(?) dance, with a lot of acrobatic maneuvers and tiny jogging shorts.  It was one of those pieces with no music, which tends to freak me out but what’s interesting is that without music, dancers have to tap into a sort of mass, innate, biological rhythm that we often lose touch with.  I imagine it’s the same “force” that informs a school of fish to change directions at the exact same time or a flock of geese to fly in a V.   Speaking of mysterious forces, then came Wade Madsen’s pas de deux, Breath of Light.  This piece was stunning—an intimate duet for two men that really investigated the connection between two people.  There was of course close contact in the partnering but there were also moments where one dancer would run his hand along the contours of his partner’s body without touching him, making tangible the energy that can be felt radiating from another person.

After that sensual pas de deux, came the most amazing pas de quatre…linked to Jules Perrot’s famous divertissement for the four legendary ballerinas, Carlotta Grisi, Lucille Grahn, Marie Taglioni and Fanny Cerrito.  Using Cesare Pugni’s same score, choreographer Eva Stone made the piece in the image of four modern women with contemporary choreography and set to out to do the same for four men, but decided to keep the women’s choreography and simply had men perform it.  Under the title Me Over You, the new pas de quatre had four men with diva attitudes trying to outshine one another on stage in a myriad of movement styles, from balletic to modern and even gestures of vulgarity (“the finger” if you must know).  The result was a comedic dance that drew raucous laughter from the audience and squees of glee from those who could tell that Stone even quoted a bit of Perrot’s Pas de Quatre.

The first piece after intermission was a nice solo…modern, lyrical, with interesting points of origin and alighting.  The standout of the afternoon however, was an excerpt from artistic director of Whim W’Him, Olivier Wevers’s new work Monster, which debuted at the festival (Whim W’him will perform the full version of Monster in January).  Monster embodied the anguish felt by homosexuals over the disenfranchisement that comes from being a part of a marginalized population.  The performance was dedicated to the teens that committed suicide because of bullying based on their sexual orientation (although the piece was obviously created and rehearsed before—that kind of dance doesn’t happen overnight…usually).  I’m so pleased to see that such a topic is so forthrightly observed in Seattle’s dance community.  I think this subject matter is often avoided because some people in the dance community feel that evasion of it is the best way to combat so called “negative” stereotypes about male dancers while others are so beyond acceptance that it’s completely a non-issue.  There’s not as much open dialogue about the “middle” and I think that’s whom this dance is for.  Not everyone can grow up in a liberal city like Seattle or New York and those who don’t tend to suffer the most.  I certainly had my share (if not the brunt) of it growing up so I could relate to the piece a lot.  For example, normally in a promenade in ballet, the danseuse is in a position like an attitude or arabesque—something expansive that really fills a space but Monster had these low promenades in a tucked, almost fetal position, trying to make the body look as small as possible as if shrinking away from society.  The truth is, sometimes diminishing (and inadvertently belittling) oneself was the only way to avoid being hurt by others.  At other times there were these huge, sprawled out extensions that expressed the impossibility of trying to contain one’s own spirit.  Both dancers (PNB company members) were sublime, and I really enjoyed watching Lucien Postlewaite in this performance.  I remember seeing him in Balanchine’s Square Dance earlier this year and Monster is such a departure from that it’s great to see such versatility in a performer.  Random note, I’d like to ask him what it feels like to have super strong, obedient legs…does it feel as awesome as it looks?

At any rate, I think it’s noteworthy that Wevers and Postlewaite are actually married, and because this is Seattle it’s not gossip but casual information.  It’s interesting because the sexuality of dancers is as I said, often not discussed because most people in the dance community don’t care one way or another.  Unfortunately it’s jerks outside of the dance community that exploit stereotypes and make fun of dancers, both professional and aspiring.  For that reason, I think some dancers also avoid discussing it for fear that public interest in their personal lives will supersede their professional ones…it’s all very “Anderson Cooper” if you will, who is believed/known to be gay and is sometimes harshly viewed by the gay community for not publically discussing his personal life.  The resentment is perhaps understandable—people want role models but at the same time nobody should be required to discuss something so personal and in that sense I think people who take that route represent an ideal, of the way society should be.  On the other hand, society isn’t there yet and we do need role models and for that we can look to Marcelo Gomes who did publically “come out” and it hasn’t affected his career at all—in fact, he’s often crowned “the most in demand partner in the world.”  So young friends who are gay and struggling with confidence, look to the likes of these gentlemen and know that your success is possible, regardless of stupid people around you.

The penultimate piece was a solo by former New York City Ballet principal, who apparently came out of retirement (though the end of the piece seemed like a farewell to the stage) to dance an Agon-esque solo choreographed by Donald Byrd.  There was something oddly Agon-y about the solo, and perhaps because Boal has danced Agon what, eighty-five million times?  I likened it to a “West Coast Agon” though, Seattle-fied with jeans and a t-shirt (a comment from the peanut gallery noted that the only thing missing was the Birkenstocks).  Then came the final dance of the evening; sharp, modern, percussive and with a clear beginning, middle and end.  Lots of changes of direction, reversals and athletic lifts that made for a high-energy conclusion of the afternoon.

So what started out as a crappy day (for me) improved vastly by concert’s end.  The festival goes for two weeks and will showcase a different set of works for this upcoming weekend and if this past weekend was any indication, attendance is highly recommended.  Let me just say the audience simply enjoyed watching men dance…because men don’t dance enough (obviously the world would be a better place if they did).  If you are a man (or boy!) in dance and people give you a hard time for it, know that you are or will be loved, so hang in there.  If ignoramuses give you a really hard time…well that calls for a swift kick to the shins.  What do you think the REAL purpose of frappes at barre is?

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8 Responses to “Men + Dance = Men in Dance”

  1. Margaret October 13, 2010 at 10:09 am #

    Thanks for this piece. I thought about attending but couldn’t. I’m a long time PNB subscriber and I’ve appreciated the growth in the men’s roles there. There are some amazing male dancers around and PNB’s got a lot of young men coming up.

    • youdancefunny October 13, 2010 at 12:14 pm #

      Thanks for commenting–I’m glad you enjoyed reading it! I definitely think PNB’s men sets it apart from other ballet companies in the US…just amazing talents.

  2. MAbeo October 13, 2010 at 7:06 pm #

    Your hilarious – love your thoughts – especially your question to Lucien. I am kinda quoting you in my review ahahah!

    • youdancefunny October 13, 2010 at 8:38 pm #

      Somebody should really ask him someday, but not me–I prefer to run away from company members so I don’t feel like a creepy stalker.

      Can’t wait to read your review!

  3. Rosie October 13, 2010 at 7:25 pm #

    Say, can you write more about Eva Stone’s piece? I didn’t get it…and it sounds like you did…and I want to, too! Also, a bit about Perrot, whom I don’t know either : ) Love the phrase squees of glee.

    I think Byrd’s piece was so Agon-y in part because of the specificity Boal brought to each step? I was actually seeing Apollo, more, in part because of the steps at the back and…well, I’d have to see it again to be able to be specific.

    I disagree about the virtuosity in Kerollis’ piece, which I really enjoyed; I thought he downplayed that. Nice to disagree.

    And nice to agree…Wevers…sigh. I’m not super in the know when it comes to modern dance, so his MiD piece for Postelwaite and Porretta years ago was the first time I saw men partner each other onstage without having it awkward or self-conscious…it was just a relationship, as special as it ought to be but also as normal as it ought to be. Monster took the concept many steps forward. I loved it!

    • youdancefunny October 13, 2010 at 8:34 pm #

      What I know of the Eva Stone piece was actually told to me by a friend who was there. As mentioned, the dance re-imagines Pas de Quatre with a modern perspective, and she told me that one of the dancers is supposed to be Katie Couric! I don’t know who the others are supposed to be, but the piece definitely plays on diva attitudes…the complete opposite of the graciousness expressed by the four legendary ballerinas it was made on! It definitely touches on the uninhibited way in which leading women can express themselves today.

      Jules Perrot was a French dancer and choreographer from the Romantic era, and his divertissement Pas de Quatre would probably be his most well known piece…were it not for Giselle. Both Jean Coralli and Jules Perrot are credited with choreographing Giselle, which was a vehicle for Carlotta Grisi (Perrot’s protégé) and because Grisi was Perrot’s student, he did most of her choreography for Giselle. The rest was done by Coralli, then ballet master of the Paris Opera. As a dancer, Perrot won acclaim for his partnership with both Grisi and Marie Taglioni.

      Hope that explains a little more…and thanks for your thoughtful comment!

Trackbacks/Pingbacks

  1. Whim W’Him with Whom? « You Dance Funny, So Does Me - January 15, 2011

    […] (even though the actual order for the evening went Raincoats, Monsters, & Shadows!) and after previewing an excerpt of Monsters in October as a part of Men in Dance, it was a treat to see the finished product, which for […]

  2. Whim W’Him…woot woot! « You Dance Funny, So Does Me - January 15, 2011

    […] (even though the actual order for the evening went Raincoats, Monsters, & Shadows!) and after previewing an excerpt of Monsters in October as a part of Men in Dance, it was a treat to see the finished product, which for […]

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