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The Buzz, 10-17: Engaged
Danspace Projects; What's the Pointe?; Stowell Starts
By Paul Ben-Itzak
Copyright 2003 The Dance Insider
What's a disclosure,
in the journalistic sense? Well, for example, I would tell you before
the following rave that two of the three companies referenced feature
good friends and colleagues as dancers or choreographers, and I
would also tell you that the presenter being raved advertises on
the Dance Insider. Now, to my mind, that's not why I'm raving, but
it's not for me as the raver to determine my objectivity -- you
as the reader need to know all the facts. Then, after reading the
item, you can determine if I was sincere or under the influence.
This fall season isn't
the first time that Danspace Project at St. Mark's Church has introduced
dance companies into the rarified and occasionally insular realm
of the big New York three, the Joyce and Dance Theater Workshop
making up the other too. (For the purposes of this rave, I'm discounting
the Kitchen, the Brooklyn Academy of Music, PS 122 and other theaters
with multi-genre programming.) But looking at this venue's fall
line-up, one can't help but notice, and I've got to rave, that just
this month alone, three of of the companies DS executive director
Laurie Uprichard and her team are presenting are companies that
(by their tenure, not their talent) would usually have to toil a
lot longer before being admitted into the circle of the big three:
Eun Jung Gonzalez & Catey Ott, reviewed here Tuesday by Tom Patrick; Heather Harrington, who
opened last night and which Darrah Carr will be reviewing for us;
and Jordan Fuchs with "Rest Stop Rendezvous," which opens October
30 and which I reviewed in 2002.. (Disclosure: Ott and Fuchs dancer Veronica
Dittman are DI contributors and PBI friends.)
As one can read in Tom's
and my reviews, Fuchs and Gonzalez/Ott have artistic chops, and
assuming Harrington does too, this would be the reason Danspace
Project programmed them. But a presenter must also take into account
factors like "box office" and "draw," and these considerations often
(and understandably) can dissuade a theater from programming an
artist who has something to say but not necessarily a proven audience
who wants to hear it. So the Buzz salutes Uprichard and company
for moving in this direction, and encourages you, New York dance
insider, to check Harrington this weekend, regardless of whether
you've every seen or heard of the company. (For more info, please
visit the Danspace Project web site.)
When potential conflicts of interest arise, there's another way
to go besides disclosure: Recusal. While this happens a lot at the
Dance Insider, as a general policy it would be impractical and unfair
because most of our writers are dance insiders -- active dancers
and/or choreographers who work or have worked with other dancers
or choreographers we review, or who merit being reviewed themselves.
(For the latter, we have a policy of limiting reviews of concerts
by choreographers who also write for us to one per year.) Their
being involved in the field also gives them a unique insight to
the artists, so as long as we disclose any and all connections,
the benefit to the readers and artists of such insight makes it
worth it.
Similarly, Henning Rubsam
no doubt had a unique perspective to bring to his profile, in the
current issue of Pointe magazine, of prima ballerina assoluta Eva
Evdokimova, who he's worked with before. And if anything, Evdokimova,
a longtime touring partner to Rudolf Nureyev, doesn't get the exposure
she deserves, at least in the US media. Knowing Henning, I trust
that his interest in writing about her was to expose more young
ballet dancers to this major artist, and had nothing to do with
promoting his Joyce Soho concert this month featuring her in his
work. But Pointe's readers should have been informed of that connection,
and they were not. (Additionally, serious allegations were made
about Evdokimova's treatment by Boston Ballet, where she was ballet
mistress last season, with no opportunity provided to the ballet
company to respond, a serious lapse in news judgment.)
Unfortunately, it's
no surprise that Pointe's editors wouldn't catch this omission of
disclosure. The same issue -- appalingly -- prints as "News" the
announcement of a new product by American Harlequin, which just
happens to be a major advertiser in... Pointe.
Meanwhile, Pointe has
finally decided that a publication which promises "ballet at its
best" should include some coverage of what ballet dancers at their
best do, which is to dance. Yes, the magazine has begun publishing
reviews. The bad news is that they're not really reviews, but demi-reviews.
Rather bizarrely, all the reviews end with the note "continued on
pointemagazine.com." Print-Web synergy can be a good thing, but
the way it's usually done is that the print publication lets its
readers know of additional reviews to be found online. By so truncating
its print reviews and making readers go to its web site to see how
they finish, Pointe may drive its numbers up on the web site, but
it's not serving the artists, writers, or reading audience.
Speaking of ballet at its best, Christopher Stowell definitely represented
that in his years as a principal at the San Francisco Ballet. I've
never seen anyone shape like Stowell; I remember watching him once
in a Helgi Tomasson ballet and blurring my eyes just to see the
patterns Stowell described.
Stowell retired from
San Francisco Ballet in 2001 (read Aimee Ts'ao's Flash of his farewell
performance by clicking here), and is now carving out programs at Oregon Ballet
Theater, where his inaugural season as director was celebrated in
a black-tie opening Saturday. From Portland, where she was staging
Paul Taylor's "Company B" for company Stowell (an unforgettable
Boogie-Woogie Bugle Boy at SFB), former PT etoile (and emeritus
DI promotion director) Rachel Berman writes, "Christopher is shaking
things up in Portland! I am so proud of him. He is doing a fabulous
job and the dancers are wonderful. The first concert consisted of
Balanchine's 'Rubies,' Helgi Tomasson's 'Twilight,' (father) Kent
Stowell's 'Duo Fantasy,' and 'Company B.'"
In Portland for the
opening were Stowell's SFB colleague, Joanna (no relation, no disclosure
necessary) Berman, with her husband and 5-month old twin boys; Stowell's
parents and directors of Pacific Northwest Ballet, Francia Russel
and Kent Stowell; Tomasson and his wife, Marleena Tomasson; PNB
principal Patricia Barker; BodyVoxers Ashley Roland and Jamey Hampton;
Joe Goode's Jennifer Cook and other SanFran colleagues. And here's
a nice, dance insider twist: Not just the choreographers, but the
stagers too were invited to take curtain calls, reports Rachel.
"After Chris's bow -- to a standing ovation -- they did a red white
and blue balloon drop and a reprise of the Pennsylvania Polka (from
'Company B')... and then had a champagne reception onstage. The
whole city seemed a buzz! The dancers were wonderful.... The show
went off without a 'hitch.' 'Company B' was, of course, the crowd
pleaser. Everyone seemed refreshed to see beautiful neo-classical
ballet.... Christopher is going to be a great director and the company
will be one to watch on the West Coast."
Speaking of the West Coast, this one goes out to Karen (disclosure:
la belle-soeur), who's always engaged.
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