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Saturday, February 8, 2014

Relevance, and a cloud of dust

Posted by on Sat, Feb 8, 2014 at 7:39 AM

In order for a dance company to keep moving forward after 30 years, it has to balance tromping on the accelerator with checking its mirrors. Urban Bush Women, opening its 30th season with Duke Performances at Reynolds Industries Theater Friday night, might not be hurtling into new territory anymore, but it keeps its mission of racial and gender activism, as well as its straightforward storytelling method, firmly in view in its rear-view mirror. And, after a two-week residency at Duke, this might be more important.

Urban Bush Women perform at Dukes Reynolds Industries Theater, Feb. 7 and 8.
  • Courtesy of Urban Bush Women
  • Urban Bush Women perform at Duke's Reynolds Industries Theater, Feb. 7 and 8.
Opening with the world premiere of Hep Hep Sweet Sweet, a poignant, documentary-like reminiscence by company founder Jawole Willa Jo Zollar, the program was buoyed by an almost handpicked audience including attendees of the weekend’s "Dancing the African Diaspora: Theories of Black Performance" conference at Duke. Sassy hip thrusts and shoulder rolls elicited plenty of “mmm-hmms” from the auditorium.

Hep Hep Sweet Sweet beautifully evoked Zollar’s childhood in Kansas City, as well as the role the city played in the Great Migration, despite its descent into heavy-handed documentary storytelling. In the piece’s strong, lively opening, seven dancers summon a blues club by taking turns bringing classic tap and dance hall movement to the fore while cheering each other on from chairs around the perimeter of the stage. Then Zollar, in voiceover that could be reused for her PBS American Masters episode someday, begins narrating her family's history.

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Thursday, August 1, 2013

Temple of acoustic music: Duke unveils the long-awaited Baldwin Auditorium facelift

Posted by on Thu, Aug 1, 2013 at 4:21 PM

Baldwin before and after. Ray Walker (obscured) points out a detail of the renovations on the other side of a photo of the old interior. - PHOTO BY DAVID FELLERATH
  • Photo by David Fellerath
  • Baldwin before and after. Ray Walker (obscured) points out a detail of the renovations on the other side of a photo of the old interior.

A small group of clearly excited Duke officials greeted the media this morning. The occasion: the unveiling of a shimmering, newly renovated Baldwin Auditorium. As Duke Performances director Aaron Greenwald noted in preliminary remarks, the 685-seat facility is designed exclusively for acoustic music and as such, it will fill a niche in the area's acoustic music spaces.

Greenwald pointed out that Raleigh's Meymandi Concert Hall, the Triangle's premier recital venue, is more than twice the size of Baldwin.

Although the exterior of the building, which was completed in 1927, looks the same, the interior was gutted. Now, $15 million worth of renovations later, the auditorium is ready to become a world-class concert venue, according to Vice Provost for the Arts Scott A. Lindroth.

Lindroth believes the renovated Baldwin will become an artistic and cultural destination for not only the Duke community, but the Durham community as well. The Duke Endowment of Charlotte funded the renovation as part of a multi-building proposal that included Page Auditorium and others on campus.

While enhanced aesthetic appeal was a contributing factor to Baldwin’s renovation, the primary reason for the work was a much-needed improvement of sound quality. Ray Walker, the staff architect for the project, said renovations have been in the works since 2007. The school called in an architectural firm and a Connecticut-based group of acousticians to take on the project.

An acoustical shell of curved wooden panels, subtle modifications to the dome ceiling, acoustic draperies and a slew of other contemporary methods of controlling sound reverberation are part of the new design.

Most of the original architecture has remained intact throughout the remodel, and the new additions essentially create a more contemporary theater within the existing auditorium.

Greenwald said Duke Performances and the Department of Music will share the space and lists new chamber arts and vocal ensemble series as part of its upcoming performance season.

Duke's Department of Music will host an inaugural gala concert Sept. 14. Information here.

The first event by Duke Performances in the space will take place Sept. 21 and feature the Ciompi Quartet with the Kruger Brothers. Information here.

A few photos are below.

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Thursday, February 14, 2013

Some assembly required? Meow Meow in Beyond Glamour at PSI Theatre

Posted by on Thu, Feb 14, 2013 at 2:54 PM

Caburlesque performer Meow Meow
  • Karl Giant
  • Caburlesque performer Meow Meow
BEYOND GLAMOUR
Meow Meow
3.5 stars
(out of 5)
PSI Theatre, Durham Arts Council
Through Feb. 14

It doesn’t always look that way, I know. But critics usually don’t go to a show for the purpose of basking in their own smugness and perceived superiority over the material, the genre, the company or the audience. (At least, they shouldn’t. When one does—and occasionally it happens, even here—little more is served than their own ego.)

But what do we make of a performance in which the performer appears to be doing this instead? That is the riddle posed by one Melissa Madden Gray, whose caburlesque performance under the stage name Meow Meow, Beyond Glamour, closes this evening in PSI Theatre at the Durham Arts Council.

By themselves, the 15 songs in this cabaret-concert-with-a-twist take us on a willfully eclectic trip. After an opening out of the American songbook, Gray quickly goes continental, mixing multiple selections by Edith Piaf and Astor Piazzolla with works by Bertolt Brecht and Monique Serf, best known during the 1960s as the single-name French songstress, Barbara. (Over half of the songs sung in this performance are in their original tongues; translations are provided for some, but not all.) These are interspersed with fashionably downbeat numbers by Radiohead, Fiona Apple and Patty Griffin (with an ostensible cameo by John Cage in the midst).

But, as Dr. Lamaze repeatedly observed, it’s all in the delivery. Unfortunately, Gray’s renditions of these works evokes more question marks at times than exclamation points.

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    As Dr. Lamaze repeatedly observed, it's all in the delivery.

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Saturday, February 26, 2011

TERMINUS impresses most when its rhymes impress us least

Posted by on Sat, Feb 26, 2011 at 7:03 PM

Catherine Walker, Declan Conlon and Olwen Fouere in Abbey Theatres TERMINUS
  • Catherine Walker, Declan Conlon and Olwen Fouere in Abbey Theatre's TERMINUS
TERMINUS
3.5 stars
(out of 5)
Abbey Theater of Dublin
Duke Performances
Carolina Theatre

If you want to explore some of the outer limits of theatrical discourse this evening, you now have two choices, not one.

For as chance—and producers’ schedules—would have it, less than half a mile away from IN THE HEIGHTS’ amazing musical fusion of slam poetry, rap and meringue-edged songs at DPAC (which earned our latest 5-star review earlier this week), Dublin's Abbey Theatre pursues a different form of verbal gymnastics in a production of Irish dramatist Mark O’Rowe’s latest work, TERMINUS, at the Carolina Theatre.

Given the edgy spoken-word jazz already intrinsic to O’Rowe’s work (which the region savored in a Delta Boys’ production of HOWIE THE ROOKIE in March 2008), the literary dare he undertook here is at least understandable: to write a contemporary full-length play, using rhyme, from first to last. The few indulgences allowed by technique—since rhymes, after all, can be broken, perfect, internal, off-center or slant—are likely the only factors permitting any other outcome here besides kitsch.

With a gripping tale, grippingly told by this trio of actors, TERMINUS is not a disaster by any means. But as much as I’d like to report that O’Rowe bests his self-set challenge, when literary filigree upstages the drama as often as it happens in TERMINUS, the work can't be called the artist's best.

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Saturday, February 5, 2011

A bittersweet homecoming for the Merce Cunningham Dance Company

Posted by on Sat, Feb 5, 2011 at 1:40 AM

MERCE CUNNINGHAM DANCE COMPANY
Presented by Duke Performances
@Durham Performing Arts Center
Feb. 4-5

The Durham Performing Arts Center was energized Friday night with the North Carolina homecoming of the Merce Cunningham Dance Company. Cunningham founded the company in 1953 at Black Mountain College in western North Carolina; he died a year and a half ago, and his will outlined plans for a final two-year tour for his company, which will disband for good in December. Though turnout on Friday night was modest, those who did turn out were treated to a spectacular farewell for the storied troupe, which will perform one final time tonight.

The first dance, Duets, featured pairs of male and female dancers who took the stage in turn, moving in and out of synchrony, accompanied by a percussive score by Cunningham’s longtime companion and collaborator, John Cage. The musicians took advantage of DPAC’s elaborate sound system, sending skittery, trebly clicks and bass thumps 360 degrees around the space.

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Thursday, February 3, 2011

From the archives: Merce Cunningham—an interview and review

Posted by on Thu, Feb 3, 2011 at 11:14 PM

Two stories from the archives, before this weekend's performances by the MERCE CUNNINGHAM DANCE COMPANY on its farewell "Legacy Tour," for those seeking further background on his work: a revealing interview from last summer with Cunningham dancer and dance reconstructor JEAN FREEBURY, followed by an earlier critical review from his company's last appearance at the American Dance Festival.

Cunningham dancer and reconstructor Jean Freebury
  • Cunningham dancer and reconstructor Jean Freebury
Last summer, ADF belatedly asked Freebury to place his ISLETS 2 on students over six weeks. After dancing with Merce’s company from 1992 to 2003, she has taught his work now for 15 years. In our July 2010 interview, she gave a revealing look into what his work looks and feels like from the inside; one woman’s personal, guided tour through his art.

Nine years before that, the ADF presented Cunningham’s company, for the last time, in 2001. I was there. My critical response to WAY STATION was published in the local press, on the international dance website, DANCEINSIDER.COM—and, ultimately, in the book Who’s Not Afraid of Martha Graham?, the final work of dance history by ADF’s beloved, long-time philosopher-in-residence, Dr. Gerald Myers.

Here's what I saw on the night of July 12, 2001, in Page Auditorium:

from Cunninghams Way Station
  • from Cunningham's "Way Station"
The Many Stations of Merce
Byron Woods

DURHAM, North Carolina — You can't miss her: in the middle of "Way Station," Merce Cunningham's latest creation, seen Thursday at the American Dance Festival, a woman enters slowly from off-stage left; walking, not quite tip-toe, on the balls of her feet. Less than a fourth of the way across stage, she stops. Still extended, she proceeds to take in the world around her with no small degree of fascination; head erect, slowly turning.

The inventory doesn't stop when she gets to her own form. As she looks at her arms, legs and torso the same rare air of discovery intensifies. At points she seems to be measuring gravity itself, and its effects on the body she is in. She deliberately articulates and extends each extremity individually, observing its responses, with what appears to be predominantly an intellectual interest — but one mixed with more than a glimmer of deep delight.

It's an unalloyed sense of wonder, at both the possibilities of physical form and the world it inhabits. In these insufficiently post-postmodern days, it's as rare as it is refreshing within the realm of modern dance. Cunningham had it when he started choreographing a little over fifty years ago. Obviously, miraculously, he still has it. We saw it clearly fund three separate — and quite rigorous — explorations over the space of thirty-three years in Thursday's concert.

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Monday, November 8, 2010

How can you stay in the house... and how can you leave? Ralph Lemon at Duke

Posted by on Mon, Nov 8, 2010 at 2:04 PM

Ralph Lemon
  • Photo by Frank Oudeman
  • Ralph Lemon
Ralph Lemon: How Can You Stay in the House All Day and Not Go Anywhere?
Duke Performances
Reynolds Industries Theater
Nov. 6

“We had a lot more walk-outs last night than usual,” said lighting director and production manager Christopher Kuhl prior to the Saturday night performance of New York-based choreographer Ralph Lemon’s How Can You Stay in the House All Day and Not Go Anywhere? “Ralph is interested in it. He likes to track when people leave, when they start texting.”

The evening began whimsically enough with a video piece featuring 102-year old Walter Carter—Lemon’s muse and mentor, now deceased—wearing a silver spacesuit. Seated beneath and to the left of a large screen, Lemon spoke generously and openly; giving us full, intimate view of his intellectual inner workings, creative impulses and personal losses.

Ralph_Lemon.1.600.jpg
  • Photo by Ralph Lemon
The video screen sailed away and Lemon’s chair and mic were removed, opening a view to the completely bare stage. One figure sauntered out into the void. Thus commenced the choreographic meat of the How Can You Stay, a 20-minute, exquisitely wrought chaos of flailing, falling, pushing and enduring that Lemon and the six dancers call “the wall.” Bare once more, the stage gaped at us while the sound of weeping echoed from the walls. Slowly, performer Okwui Okpokwasili edged out into the dim light, her back to us, shoulders heaving with emotion.

From about midway through “the wall” and throughout the performance, dark silhouettes began to rise from seats in the audience and scurry up the aisles to the exits. Singly, in couples or small groups, souls simply got up and left the theater. These shadowy rustlings and quiet disruptions temporarily backgrounded the stage action, yet they were eerily in harmony with the strong currents of grief and dissolution that propelled it.

It takes a measure of depth and strength to deal with the radically disorganizing principles that Lemon harnessed for How Can You Stay, and, well, not everyone could hang. Too bad, because those who bailed early missed Jim Findlay’s magical animals: Silvery projections of creatures and birds that wandered silently on to the stage, waited patiently with us for a while, and then stepped quietly back into their invisible homes.

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Wednesday, March 17, 2010

MoLoRa: The Independent Interview with Yael Farber

Posted by on Wed, Mar 17, 2010 at 12:37 PM

After creating a series of "testimonial plays" based on South Africa's Truth and Reconciliation Commission in the 1990s, playwright Yael Farber approached a group of women from the Xhosa people in 2008, and told them the story of The Oresteia. The Greek tragic trilogy still confronts us with dilemmas our civilization hasn't fully solved. How do we distinguish justice from vengeance? What is the appropriate punishment for murder? And once "eye for an eye" violence is ingrained in a culture, how can it be stopped?

At the time she was looking for umngqokolo—traditional overtone throat singing for her new project. But the women's responses to the tale shocked the playwright. What became a spontaneous Greek—yet uniquely African—chorus sought and found a solution to this ancient dilemma of justice. It differed from the one depicted in the writings of Aeschylus.

This week, those women, their musicians and three actors sing and enact the conclusions they've reached in the Farber Foundry production of MoLoRa (Ash) at Reynolds Industries Theater.

We spoke with Yael Farber by phone for an hour on March 11.

INDEPENDENT: I’m aware that South Africa’s Truth and Reconciliation Commission has had a profound influence on your work. I’m wondering what lessons you believe the rest of the world hasn’t learned yet from South Africa after the fall of apartheid. Why is a work like MoLoRa (Ash) needed—why is it a work the world should have?

FARBER: The genesis of project was actually images of New York City after Sept. 11. For days after the tragedy, there were those incredibly poignant and moving images of ashes falling down on people in Manhattan.

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Friday, November 13, 2009

Urban Bush Women at Duke

Posted by on Fri, Nov 13, 2009 at 12:41 PM

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The Nov. 12 performance by Urban Bush Women at Duke’s Reynolds Theater began with a lone dancer, her arms and shoulders rippling with muscles, standing under a misty spotlight as someone offstage read the names of African-American leaders and activists from Sojourner Truth to Malcolm X. It set the tone for the evening.

Though Urban Bush Women performances are ostensibly a form of modern dance, they’re more Toni Morrison than Martha Graham. The troupe’s six dancers avoid nearly any hint of classical ballet forms, focusing on athletic, dramatic stomps, slaps and chest bumps. Troupe founder and choreographer Jawole Willa Jo Zollar uses dance to give voice and movement to the African-American experience.

The four choreographed works performed at Duke were social commentary as performance, and not in a subtle way either. The opener to “Naked City,” a new work designed to represent the history of Harlem, began with the dancers, in turn, howling like animals as they sat in folding chairs. The show’s final moments, at the end of a long piece based on the diaries of African-American dancer Pearl Primus, showcased a kind of tribal dance hybrid, complete with chants from the dancers and an onstage reading of excerpts from Primus’s writings.

But the best moment, for my money, was from one of UBW’s earliest pieces, “Sisters,” which managed to tell a compelling and often hilarious story of childhood without a word spoken. Like Morrison’s writing, UBW’s performances are interpretive and sometimes inscrutable, but the focus on impressionistic, non-linear storytelling opens the door to something that is unconventional and beautiful, and couldn’t be expressed any other way.

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Saturday, October 24, 2009

Waiting it out: Putting a fine point on Beckett's Waiting for Godot

Posted by on Sat, Oct 24, 2009 at 12:42 PM

Wendell Pierce (right), best known as "Bunk" on The Wire, played Vladimir in the original cast of the Harlem Classical Theatre production of Waiting for Godot. J. Kyle Manzay (left) reprises his role as Estragon this weekend at Duke.
  • Wendell Pierce (right), best known as "Bunk" on The Wire, played Vladimir in the original cast of the Harlem Classical Theatre production of Waiting for Godot. J. Kyle Manzay (left) reprises his role as Estragon this weekend at Duke.

Indy freelancer Sam Wardle attended opening night of The Classical Theatre of Harlem's production of Waiting for Godot. Here's his report.

Waiting for Godot

Performed by The Classical Theatre of Harlem


Duke Campus: Reynolds Industries Theater


Friday, Oct 23

"Why people have to complicate a thing so simple, I can't make out," playwright Samuel Beckett quipped more than 50 years ago about his masterpiece, Waiting for Godot. Oddly enough, I was left wondering, after watching the Classical Theatre of Harlem's retelling of the play as a Hurricane Katrina morality tale, if this new interpretation didn't go too far in the other direction.

While critics and viewers have spent the six decades since Waiting for Godot premiered wondering who symbolized what, and why, this retelling leaves little-almost too little-to the imagination. What was once a surreal work about, well, God knows what, the Harlem reimagining places the play's six characters within parameters we can all understand, or at least recognize: The two tramps are Hurricane Katrina refugees in a wasted section of the Ninth Ward. Pozzo is a white slave owner, a throwback to New Orleans' pre-Civil War days as a center of the slave trade, and Lucky, his slave, is, well, a slave. Godot is the federal government, coming too late-or not at all-to the city that it so badly failed, and Godot's nameless spokesboy is the media, or the White House public relations machine, or whatever polite arm of society it is that the master refrains from whipping. Or maybe Pozzo and Godot are one, two sides of the same frivolous, oppressive coin.

Indeed, if there's any doubt as to the thrust of this particular Beckett renaissance, the Classical Theatre of Harlem premiered this production to massive crowds in Gentilly and the Ninth Ward. It's a tremendous and inspiring example of sheer, almost inaccessible art finding voice in a current event, but it's not necessarily true to the original.

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