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Grace Symmetry - Rachel Meyer & Darren Devaney
Thursday, February 20, 2014



 
Darren Devaney

Quite a few years ago then editor of Vancouver Magazine, Malcolm Parry, threw and expensive wide angle lens at me and told me, “You are making the motions. Go back and take some good photographs.”

I have never forgotten his passionate fit of rage. Since that time I have tried to put as much passion as I can with what I do.

And I must report herewith that after seeing tonight’s first performance of Grace Symmetry, a Ballet BC collaboration with the Turning Point Ensemble, that there was enough hot passion to perhaps ease us into an early spring. That heat was comforting and thrilling.



Lauri Stallings & Owen Underhill
 But we live in a city with a penchant for forgetting its past. Our memory is fractured.

I remember a day in 1997, during rehearsals for Ballet BC's Boy Wonder when I first met composer Owen Underhill. He was a warm, self-effacing man with a gently smile and rarely seemed to speak beyond a whisper. At the time I was absolutely smitten by a ballet BC dancer called Lauri Stallings. She seemed to be a dancer from another planet with an exquisite style that was so different that when she danced I could recognize her from the ankles down.

I asked her if she would pose with Underhill for a photograph. I asked her to be his muse.

The resulting photograph (I didn’t bother to check that my picture was much too close and I should have given it more room) is the one you see here.

But it is one of the most satisfying photographs I have ever taken and I have been a fan of those two passionate beings and what they represented. One was the passion of Ballet BC the other of modern music of which now as the Artistic Director of the Turning Point Ensemble I can more often dip into when I feel the cold setting in.

It might seem strange that this blogger and amateur (no expert but in the 19th century sense of being enamored by it) follower of new music and dance would even mention a dancer long gone from Ballet BC (who is happily heading a dance company in Atlanta).


Kevin O'Day & Owen Underhill
I may be at an advantage over any real dance critics here. Most usually base their essays on watching a performance and or interviewing people with the long distance feeling of a phone. If anything our diminishing media does not inform us because so many of their writers remain within the confines of their offices. They don’t inform us because they miss a lot of the peripherals which can be most interesting and can enhance the pleasure of a performance.

Consider that tonight a little bird sitting very near me told me that dancer Gilbert Small (you cannot miss him as he is Ballet BC’s sole black dancer) sprained his ankle on Monday. The little bird was afraid that Small might have gone to a hospital. But Small’s role was big in all three works and he danced as I and the little bird bit our fingernails figuratively. We expected something terrible to happen. It never did!

The second piece of the evening Prelude by choreographer/dancer Medhi Walerski from the Netherlands Dance Theatre had to be changed from what I saw in the initial rehearsal on Monday of the other week. The change had to do with the white back wall of the Arts Umbrella’s rehearsal hall. A crucial part involved the seeing of black string across the stage while dancer Darren Devaney weaved and ducked with the lines. The Queen Elizabeth’s dark back wall made it difficult for an audience to see this.

It was Walerski who explained this to me when I spotted him in the audience. I asked him what had led him to select Devaney for the piece. Walerksi put his right hand over his heart and told me, “He touched me here.” 



The last piece, Here on End with choreography by Kevin O’Day (who told me he was from Detroit via Germany) had extraordinary lighting by James Proudfoot. When I first saw Here on End at the Arts Umbrella rehearsal studio on 7th Avenue, I watched Proudfoot with his iPad as he recorded Here on End. The lighting was high fluorescent. I asked him if he knew what he was going to do. He told me that he did not know.

Here on End begins with a dramatic overhead spotlight that lowers itself onto one dancer. Then during the whole performance several banks of these spotlights are raised and lowered (sometimes dramatically low). The look I found nicely reminiscent with the swirls of lights of flying saucers in Close Encounters of the Third Kind. And to think that it all began with an iPad!


Ben Kinsman, horn, Tom Shorthouse, trumpet, Jeremy Berkman, trombone

All three works explored different configurations of the Turning Point Ensemble.

The first one, In Motion by choreographer Wen Wei Wang and with music composed by Underhill had lots of moments of special silence where you could hear the swish the pointe shoes. The ensemble (a smaller one) was behind the dancers, on stage and not on the pit. The music like its composer was quiet and gentle not at all scary like some who shun new music might tell you. If anything the music seemed to go very well with Wen Wei Wang’s gentle and elegant touch. Proof of this was the solo performance of  Brenda Fedoruk on flute and violinist Mary Sokol Brown who separately went on stage while a dancers (in the first it was Alexis Fletcher) weaved around them. 

Dancing trombone mutes
 The second piece, Prelude choreographed by Medhi Walerski and with music composed by a Russian resident of New York, Lera Auerbach was unique in that it had only two performers, not seen on stage. They were violinist Peter Krysa and pianist Jane Hayes.

While Hayes did tell me apologetically, after the performance, that her piano was electronically enhanced I can attest that she could have done without any enhancement. This piece also had nice long moments of no music that compensated for a few, very loud, use of the piano for what it is, an instrument of percussion. This was unlike the third piece, Choreographer Kevin O’ Day and music by John King, Here on End.

Here on End had dancers constantly dancing to music that did not give ground. What came to mind was a school of sharks unable to stop movement. It was a perpetual motion machine and Turning Point Ensemble filled the pit with as many musicians as it could muster. After the performance, in the lounge on the third floor I spotted composer John King chatting with lots of laughter and excitement with Co-Artistic Director Jeremy Berkman who had a big grin on his face. I can tell you why. Berkman is the Turning Point Ensemble’s trombonist and Here on End had a nice long, very loud and very beautiful trombone part!

To me it seemed that Ballet BC in the past was short on men. Or it seemed then that I noticed the women but ignored the men whom I saw as "picker uppers" and fillers. There were quite a few exceptions of which I will not mention here but I must now note that I notice the men, lots. You would never have suspected unless you read your program that former Arts Umbrella Dance Company’s Scott Fowler was not a full fledged dancer of the company but is listed as an apprentice dancer with that other colleague from Arts Umbrella, Ryan Genoe who I am sure will very soon also have a longer time on stage.

I believe that many if not most of Ballet BC’s dancers would stand out if the choreographer gives them the part. As a dance ensemble you also have to fit in. It's that mix that makes some stars and some not. But I can safely say that none in Ballet BC just make the motion. They make motion with passion.

It is difficult for anybody watching dance to not have favourites. When you list your favourites you might be seen as insulting those who did not stand out simply because you might have been looking elsewhere. So you are careful and try to be diplomatic. I won’t have to because is would seem that my faves have the nod of all three choreographers.

Jane Hayes, piano
Two of those dancers (my absolute faves) are Rachel Meyer and Darren Devaney. More on these two below.

I missed Dario Dinuzzi, an excellent male dancer has suffered an injury that kept him out most of last year and this year. Alexander Burton shined in Wen Wei Wang’s In Motion (in a duet with Rachel Meyer). Thiboult Eiferman, (the Parisian Newyorican) was smooth and especially when he danced with his friend Devaney. Peter Smida got suddenly sick today and had to be relieved. He is a very strong and masculine dancer. I missed him but happily Gilbert Small, Connor Gnam and Daniel Marshalsay made me almost forget Smida’s  sudden departure.

Rachel Meyer & Darren Devaney

But back to the real stars, the divas, the super dancers of the evening. They are Rachel Meyer and Darren Devaney. The former you notice before she even moves. It could be her striking face and her seriousness or her body which has no fat and is all sinewy muscle. The latter, Devaney you would not notice at first. He is quiet, smallish. But then he moves, then you cannot look at anybody else with the exception of his partner in Prelude, Rachel Meyer.

I am no expert on these matters but when Meyer dances everybody else fades away, though given a chance Alexis Fletcher can give her a run for her money.

David Owen, Oboe
Luckily for us all, Ballet BC dancers are not baseball players so Meyer and Devaney will not be demanding more money and a new contract for next year. On the other hand I would not blame them if they did.

At the lounge I went up to Devaney and asked him about his signature alternating movement of his chest and stomach (in and then out) as he breathed heavily at one point. “What do you call it?  His answer was short, “Posturing movement.” And with that, like Medhi Walerski, I knew he had touched my heart.

And from the heart I would like to go back to the head. And that’s Emily Molnar, Artistic Director of Ballet BC who has the class and the credibility to get choreographers of the caliber of those avant-garde dance companies from Europe while nurturing our very own local ones like Wen Wei Wang.



Rachel Meyer



     

Previous Posts
Dr. Eric Vogt - November 12, 1929 - February 19, ...

The Last Temptation Of Bond

The Blood Promise - Mark Pryor, Cary Grant & James...

That Odd Couple

Wong & Huisman Inject New Steam Into Vancouver Art...

Mavis Gallant - 11 August 1922 – 18 February 2014

Carmen Alatorre - Costume Designer - Diseñadora De...

Kharkov, Kursk, Balaclava, Yalta & Sevastopol

Grace Symmetry - Swirls Of Excitement

Dances For A Small Stage Taps Jim Hibbard



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5/11/14 - 5/18/14

5/18/14 - 5/25/14

5/25/14 - 6/1/14

6/1/14 - 6/8/14

6/8/14 - 6/15/14

6/15/14 - 6/22/14

6/22/14 - 6/29/14

6/29/14 - 7/6/14

7/6/14 - 7/13/14

7/13/14 - 7/20/14

7/20/14 - 7/27/14

7/27/14 - 8/3/14

8/3/14 - 8/10/14

8/10/14 - 8/17/14

8/17/14 - 8/24/14

8/24/14 - 8/31/14

8/31/14 - 9/7/14

9/7/14 - 9/14/14

9/14/14 - 9/21/14

9/21/14 - 9/28/14

9/28/14 - 10/5/14

10/5/14 - 10/12/14

10/12/14 - 10/19/14

10/19/14 - 10/26/14

10/26/14 - 11/2/14

11/2/14 - 11/9/14

11/9/14 - 11/16/14

11/16/14 - 11/23/14

11/23/14 - 11/30/14

11/30/14 - 12/7/14

12/7/14 - 12/14/14

12/14/14 - 12/21/14

12/21/14 - 12/28/14

12/28/14 - 1/4/15

1/4/15 - 1/11/15

1/11/15 - 1/18/15

1/18/15 - 1/25/15

1/25/15 - 2/1/15

2/1/15 - 2/8/15

2/8/15 - 2/15/15

2/15/15 - 2/22/15

2/22/15 - 3/1/15

3/1/15 - 3/8/15

3/8/15 - 3/15/15

3/15/15 - 3/22/15

3/22/15 - 3/29/15

3/29/15 - 4/5/15

4/5/15 - 4/12/15

4/12/15 - 4/19/15

4/19/15 - 4/26/15

4/26/15 - 5/3/15

5/3/15 - 5/10/15

5/10/15 - 5/17/15

5/17/15 - 5/24/15

5/24/15 - 5/31/15

5/31/15 - 6/7/15

6/7/15 - 6/14/15

6/14/15 - 6/21/15

6/21/15 - 6/28/15

6/28/15 - 7/5/15

7/5/15 - 7/12/15

7/12/15 - 7/19/15

7/19/15 - 7/26/15

7/26/15 - 8/2/15

8/2/15 - 8/9/15

8/9/15 - 8/16/15

8/16/15 - 8/23/15

8/23/15 - 8/30/15

8/30/15 - 9/6/15

9/6/15 - 9/13/15

9/13/15 - 9/20/15

9/20/15 - 9/27/15

9/27/15 - 10/4/15

10/4/15 - 10/11/15

10/18/15 - 10/25/15

10/25/15 - 11/1/15

11/1/15 - 11/8/15

11/8/15 - 11/15/15

11/15/15 - 11/22/15

11/22/15 - 11/29/15

11/29/15 - 12/6/15

12/6/15 - 12/13/15

12/13/15 - 12/20/15

12/20/15 - 12/27/15

12/27/15 - 1/3/16

1/3/16 - 1/10/16

1/10/16 - 1/17/16

1/31/16 - 2/7/16

2/7/16 - 2/14/16

2/14/16 - 2/21/16

2/21/16 - 2/28/16

2/28/16 - 3/6/16

3/6/16 - 3/13/16

3/13/16 - 3/20/16

3/20/16 - 3/27/16

3/27/16 - 4/3/16

4/3/16 - 4/10/16

4/10/16 - 4/17/16

4/17/16 - 4/24/16

4/24/16 - 5/1/16

5/1/16 - 5/8/16

5/8/16 - 5/15/16

5/15/16 - 5/22/16

5/22/16 - 5/29/16

5/29/16 - 6/5/16

6/5/16 - 6/12/16

6/12/16 - 6/19/16

6/19/16 - 6/26/16

6/26/16 - 7/3/16

7/3/16 - 7/10/16

7/10/16 - 7/17/16

7/17/16 - 7/24/16

7/24/16 - 7/31/16

7/31/16 - 8/7/16

8/7/16 - 8/14/16

8/14/16 - 8/21/16

8/21/16 - 8/28/16

8/28/16 - 9/4/16

9/4/16 - 9/11/16

9/11/16 - 9/18/16

9/18/16 - 9/25/16

9/25/16 - 10/2/16

10/2/16 - 10/9/16

10/9/16 - 10/16/16

10/16/16 - 10/23/16

10/23/16 - 10/30/16

10/30/16 - 11/6/16

11/6/16 - 11/13/16

11/13/16 - 11/20/16

11/20/16 - 11/27/16

11/27/16 - 12/4/16

12/4/16 - 12/11/16

12/11/16 - 12/18/16

12/18/16 - 12/25/16

12/25/16 - 1/1/17

1/1/17 - 1/8/17

1/8/17 - 1/15/17

1/15/17 - 1/22/17

1/22/17 - 1/29/17

1/29/17 - 2/5/17

2/5/17 - 2/12/17

2/12/17 - 2/19/17

2/19/17 - 2/26/17

2/26/17 - 3/5/17

3/5/17 - 3/12/17

3/12/17 - 3/19/17

3/19/17 - 3/26/17

3/26/17 - 4/2/17

4/2/17 - 4/9/17

4/9/17 - 4/16/17

4/16/17 - 4/23/17

4/23/17 - 4/30/17

4/30/17 - 5/7/17