By Perry Tannenbaum
January 29, 2016, Charlotte, NC – Ever since the event was created in 2003, when Charlotte Ballet was known as North Carolina Dance Theatre, Innovative Works has been a special event in the company’s season, performed at a special venue that further set it apart. The size of these venues, the length of the pieces on the program, and the number of dancers in each work were all smaller than the big ensemble pieces staged at Belk Theater and, more recently, at Knight Theater. Charlotte Ballet artistic director Jean-Pierre Bonnefoux was not only providing a platform for edgier, lapidary pieces, he was also establishing an incubator for new choreographers, usually dancers or former dancers in the company, to expand their creativity and pave a pathway to their afterlives when they were no longer onstage.
Works first seen at Innovative have not only enriched the repertoire of Charlotte’s pre-eminent performing arts group, they have served as springboards for further choreographic creations and for the formation of new companies outside Charlotte established by the former fledglings. This year’s collection of miniatures, running at the Patricia McBride and Jean-Pierre Bonnefoux Center for Dance through February 20, presents the brainchildren of current and former troupe members wedged among works by the company’s resident choreographers. Included on the bill are pieces by Dwight Rhoden, Mark Diamond, Sasha Janes, David Ingram, Sarah Hayes Harkins, David Morse, Gregory Taylor, and Josh Hall.
That’s a bunch, to be sure, but three of the works choreographed by current dancers – the “Dancer Spotlight” – are presented in rolling rep, so each evening consists of six pieces. The first two, Rhoden’s “Ballad Unto” and Ingram’s “Omologia,” are staples in every performance of the run. Taken together, they exemplify how Innovative has evolved. Intimacy and chamber size are no longer requisites of new choreography unveiled at the McBride. Both of these pieces were long enough to present on the Knight Theater mainstage, and by the time they were done, we had seen 18 dancers perform, including three up-and-comers from the satellite Charlotte Ballet II company.
Although scenery is still outlawed in this studio setting, lighting has become very sophisticated. In fact, the hard-edge lighting designs by Jennifer Propst are very much at the forefront of both experiences. Further blurring the difference between Knight and McBride presentations, the previously filmed “Behind the Dance” segments, where the choreographers talk about either their aesthetic or the genesis of the piece we’re about to see, are now as much a part of Innovative as they were last October in Fall Works at the Knight.
Photos by Peter Zay
Rhoden’s “Ballad Unto” sets Bach’s famed Chaconne, prerecorded on violin, upon five couples, yet this destination is preceded by a setting to assorted sounds, textures, and rhythms that seemed equally long and substantial. Jamie Dee Clifton and Josh Hall were the couple that grabbed my attention most dynamically, but Ben Ingel and Raven Barkley were also charismatic standouts. All ten of the performers delighted in both the high-speed handwork and the footwork that Rhoden challenged them with, consistently accenting the beat with precision. Rhoden himself had fresher, livelier ideas than you might expect from him this deep into his career responding to Bach. Propst had a fairly a fairly stunning reaction to the choreography, setting five squares on the floor in an M formation for the five couples, occasionally replacing them with – or superimposing them on – an inverted V.
Interaction between the dancers and Propst’s lighting design was even more salient in Ingram’s “Omologia.” As the eight dancers advanced toward us at the outset of the piece, set to Corelli’s “La Follia,” a bright illuminated line across the stage seemed to daunt their progress. Once the dancers took possession of the stage, we discovered that there would be two more lines of lights connected to the first – and that each of the three lines was actually comprised of three adjacent squares. So while the dancers danced in close sync with the music, the nine pre-programmed squares, blinking on and off, were similarly wed to the movements and the shifting tableaus of the dancers. Numerous permutations of the nine squares flashed before us, including U shapes formed by seven of the squares that opened out at various moments to all four points on the compass.
From these lengthy baroque abstractions, we suddenly transitioned to a very real subject with Harkins’ “#Hatehurts,” the sort of high-concept piece that has typified Innovative in the past. Diagonally across the stage from each other when the lights came up, Sarah Lapointe in the foreground and Ingel upstage sat in front of laptop computers, reacting to online bullying and its fatal consequences. Of the six dances, this was the only one that didn’t come to us paired with a filmed introduction. Sure, it was the piece that least required explanation, but it was also so short that a prelude may only have drawn further attention to the piece’s brevity. Perhaps if the seated opening tableau didn’t seem to be such a substantial portion of the piece, the effect would have been more powerful, for the dance seemed to end as it was just getting started once the couple converged at the middle of the stage. The ratio between the prerecorded bullying and suffering we heard about and the anguish we saw live from the dancers ultimately struck me as too message-rich, an effective presentation for middle schoolers, perhaps, but artistically too thin for me.
John Adams’ “Short Ride in a Fast Machine” served as both title and soundtrack for David Morse’s piece, brilliantly danced by Harkins and Hall. In costuming, lighting, and choreography, Morse divides his work in two. The dancers come on in dim light, Hall in a waistcoat and Harkins in a long flowing blouse. Turning up their intensity, the dancers shed these upper garments as the lights come up fully. This moment of liberation is amplified by the ensuing choreography, which utilizes the entire stage. Morse’s piece returns to the rotation during the evenings of the final weekend of the run, February 18-20. Next weekend, Morse’s spot is taken by Gregory Taylor’s “Requiem of a Meaning,” and Hall shows off his “Social Butterfly” on the third weekend.
Hall will be borrowing rookie dancer Ryo Suzuki for his solo piece. Meanwhile, he is featured in “Yamato, earth/nature/drum,” a three-part celebration of Japan by Diamond, demonstrating that he’s no less eager to pursue new directions than Rhoden. The 12 people in this piece form a spherical mass as Propst’s shimmering lighting comes up, with Suzuki slapped across it horizontally. Then the ball explodes in big-bang fashion to an original score arranged by Rocky Iwashima, heavy with taiko pounding. Ultimately, the group regathers downstage in a tableau that is analogous to the spherical beginning but with Suzuki in an uplifted, triumphal posture. Inside of this effective framing, Suzuki and Addul Manzano are the dominant presences, although Barkley is hard to ignore whenever she’s involved.
Photo by Christopher Record
For his new work, “Sketches from Grace,” Janes veered from his intent to create settings for works by Leonard Cohen, opting instead for a four-piece suite of settings to cuts by Jeff Buckley – including his cover of Cohen’s “Hallelujah,” which became a posthumous #1 hit for Buckley in 2008. The work showcases a punkish set of costumes by Katherine Zywczyk with faint, silvery highlights, beginning with Buckley’s most distinctive original, “You and I,” a brooding, floating, dreamy song that would seem to defy choreography. Yet Chelsea Dumas and James Kopecky fully conveyed the smoldering energy lurking in the lyric. Once covered by Nina Simone, “Lilac Wine” took the tempo up to a bluesy dirge, given an aching elegance by Ingel partnering with Alessandra Ball James. Bringing the tempo further up to a lethargic shuffle, “Hallelujah” was undoubtedly the climax of the suite, danced with such heartbreaking perfection by Hayes and Hall that the audience applauded as if it were the finale, although Janes’s video intro had promised us that all three couples had a concluding segment together. That closing ensemble was a more driven Buckley original, “Lover You Should Have Come Over,” very appropriate for the hubbub of three couples strutting their stuff simultaneously. Those last pushes in tempo, spectacle, and animation gave the audience one more reason to cheer.