Barrettwerks & Voci Dance.......Written by Carl Gauze INK 19 - 2008
Choreography by Ellie Potts Barrett
Johnny Holloway Theatre, Orlando, Fl
So often, the coolest stuff happens in the spaces with the worst seats. The Johnny Holloway Theater lurks in an unexpected industrial area off East 50, and features carpet-covered bleachers for the Extreme Dance Enthusiast. The more comfort oriented can grab a Wal-Mart lawn chair and sit off to one side with a good view of the wings. It’s worth the inconvenience as tonight’s show features the choreography of St Augustine based dance legend Ellie Potts Barrett, and the virtuoso Voci dancers.
We open with “Sonata Cantata,” featuring the entire company of over a dozen dancers. The music is one of J.S. Bach’s greatest hits, and while we regard him as a WMFE long hair, the dancers were clapping and dancing, tying today’s pop sensibilities to the same genera of 4 centuries ago. Voci stalwart Mila Makarova next appears for “Interlude”, a simple, alluring performance set over a dark and moody Jazz arrangement from Simon Henneman. “And Yet another Tango” introduces a pair of dancing couples, improvising on the classic tango moves with a bit of vinegar, then joining up for a clever foursome united in one dance formation.
Genevieve Bernard interjects a piece I’ve seen before, but still find enjoyable – the video age “Monitor.” Constantly regenerating arrays of dancers play video games over a Space-age sound track. Their thumbs never stop moving, their bloodshot eyes never lose focus, and the defeat of entire star systems are summarized with half of a high 5, followed by another epic pixel battle.
The enigmatic “Two For Tutu” wraps up the first half of the show with a soft parody of “Swan Lake”. I think I see a swan dying up there, but it might just be some loose Sugar Plum Fairies. The images are iconic, and by pushing the edges of the moves and costumes of Tchaikovsky, we tie modern dance to the classics, just as in the Sonata Cantata does with the pop hit.
The highlight of the second half, “For Opal”, is based on a true story of a young woman who went insane and spent most of her life in an institution. Here Barrett dances us thought the journey from a relatively carefree youth into the horrors of state institutions and the loss of freedom of will and actions. It’s a difficult piece, at least for the audience, but shows that dance can depart the completely abstract and portray the real world without reducing itself to mime.
While the dancing was superb, the transitions from piece to piece felt over long, and with the packed house tending to chat amongst themselves, that production flaw lessened the impact of the evening. Nevertheless, the Holloway is an excellent dance space, and sometimes it’s good to suffer for the art you care about.
Choreography by Ellie Potts Barrett
Johnny Holloway Theatre, Orlando, Fl
So often, the coolest stuff happens in the spaces with the worst seats. The Johnny Holloway Theater lurks in an unexpected industrial area off East 50, and features carpet-covered bleachers for the Extreme Dance Enthusiast. The more comfort oriented can grab a Wal-Mart lawn chair and sit off to one side with a good view of the wings. It’s worth the inconvenience as tonight’s show features the choreography of St Augustine based dance legend Ellie Potts Barrett, and the virtuoso Voci dancers.
We open with “Sonata Cantata,” featuring the entire company of over a dozen dancers. The music is one of J.S. Bach’s greatest hits, and while we regard him as a WMFE long hair, the dancers were clapping and dancing, tying today’s pop sensibilities to the same genera of 4 centuries ago. Voci stalwart Mila Makarova next appears for “Interlude”, a simple, alluring performance set over a dark and moody Jazz arrangement from Simon Henneman. “And Yet another Tango” introduces a pair of dancing couples, improvising on the classic tango moves with a bit of vinegar, then joining up for a clever foursome united in one dance formation.
Genevieve Bernard interjects a piece I’ve seen before, but still find enjoyable – the video age “Monitor.” Constantly regenerating arrays of dancers play video games over a Space-age sound track. Their thumbs never stop moving, their bloodshot eyes never lose focus, and the defeat of entire star systems are summarized with half of a high 5, followed by another epic pixel battle.
The enigmatic “Two For Tutu” wraps up the first half of the show with a soft parody of “Swan Lake”. I think I see a swan dying up there, but it might just be some loose Sugar Plum Fairies. The images are iconic, and by pushing the edges of the moves and costumes of Tchaikovsky, we tie modern dance to the classics, just as in the Sonata Cantata does with the pop hit.
The highlight of the second half, “For Opal”, is based on a true story of a young woman who went insane and spent most of her life in an institution. Here Barrett dances us thought the journey from a relatively carefree youth into the horrors of state institutions and the loss of freedom of will and actions. It’s a difficult piece, at least for the audience, but shows that dance can depart the completely abstract and portray the real world without reducing itself to mime.
While the dancing was superb, the transitions from piece to piece felt over long, and with the packed house tending to chat amongst themselves, that production flaw lessened the impact of the evening. Nevertheless, the Holloway is an excellent dance space, and sometimes it’s good to suffer for the art you care about.
THE ARTISTIC TYPE: A BLOG OF THEATER, ARTS AND CULTURE:
How to Succeed in Business Without Really Trying' from Orlando Philharmonic
May 11, 2013
|By Matthew J. Palm, Orlando Sentinel Theater Critic
In "How to Succeed in Business Without Really Trying," corporate climber J. Pierrepont Finch is on his way up. The Orlando Philharmonic Orchestra closed its 20th-anniversary pops series Saturday with two performances of the Broadway musical, conducted by Christopher Wilkins and directed by Frank McClain.
Unlike the character of Finch, Saturday afternoon's performance never quite reached the highest heights, though it did succeed. In part that's due to the show's set-up that cleverly lets the audience latch onto the character of Finch and root against all the morons who hold us back.
In the show, it's 1961 and window washer Finch (Robert Johnston) buys a book that teaches him the easy way to succeed in business. Turns out, it's mostly about charm, guile and connections — not ability. Along the way, secretary Rosemary tries to land career-focused Finch for herself.
The recent Broadway revival of the show employed the star power of Daniel "Harry Potter" Radcliffe and a Jonas brother as Finch. Here, Johnston is charming enough to hold his own with that company and his pleasant tenor makes the self-centered song "I Believe In You" much easier to swallow.
There are plenty of other echoes of that Broadway revival in this production, from Lisa Buck's brightly colored honeycomb-like scenic design to Ellie Potts Barrett's choreography for big number "The Brotherhood of Man" to Finch's bowtie.
But echoes pale in comparison to the real thing, of course, and this production shows how the razzle-dazzle of a full-out Broadway staging helps hide the dated aspects and other creaks in the story line. Songs such as "The Company Way" and "Grand Old Ivy" are fun to hear, but just don't sparkle without the benefit of bigger production numbers.
As besotted Rosemary, Hannah Laird has a strong singing voice trapped in a role that modern women surely scorn. But the kicky1960s hairstyles by Robert Kuntz and vibrant costumes coordinated by Bobbie Demme-San Filippo make her need for a man more palatable by creating an aura of dress-up.
In secondary roles, Natalie Cordone as Rosemary's friend, and especially Cameron Matthews as Finch's nemesis, show off their mastery of comic timing. Cordone has just the right brittle touch for Smitty and the requisite brassy pipes for "Coffee Break" and "Been a Long Day." Matthews, too, has a strong singing voice, and when he lets his long-limbed frame go slack, he's the perfect object of comic scorn.
Michael Edwards is very funny as the stuffed-shirt company president, and Michelle Knight puts on a grating voice to good effect as his paramour, making it all the stranger that their comic duet was cut from the show.
The Philharmonic, at center stage, gave extra heft to the more sweeping moments in the score, especially romantic duet "Rosemary." Having the musicians on stage also provided an extra laugh at Finch's declaration that being in love is "like music all around me! Like a symphony!"
The unexpected star of the performance? Maestro Wilkins. The Philharmonic's music director played a minor role and did a bit of mugging with the actors, successfully injecting moments of fun.
The Orlando Sentinel
How to Succeed in Business Without Really Trying' from Orlando Philharmonic
May 11, 2013
|By Matthew J. Palm, Orlando Sentinel Theater Critic
In "How to Succeed in Business Without Really Trying," corporate climber J. Pierrepont Finch is on his way up. The Orlando Philharmonic Orchestra closed its 20th-anniversary pops series Saturday with two performances of the Broadway musical, conducted by Christopher Wilkins and directed by Frank McClain.
Unlike the character of Finch, Saturday afternoon's performance never quite reached the highest heights, though it did succeed. In part that's due to the show's set-up that cleverly lets the audience latch onto the character of Finch and root against all the morons who hold us back.
In the show, it's 1961 and window washer Finch (Robert Johnston) buys a book that teaches him the easy way to succeed in business. Turns out, it's mostly about charm, guile and connections — not ability. Along the way, secretary Rosemary tries to land career-focused Finch for herself.
The recent Broadway revival of the show employed the star power of Daniel "Harry Potter" Radcliffe and a Jonas brother as Finch. Here, Johnston is charming enough to hold his own with that company and his pleasant tenor makes the self-centered song "I Believe In You" much easier to swallow.
There are plenty of other echoes of that Broadway revival in this production, from Lisa Buck's brightly colored honeycomb-like scenic design to Ellie Potts Barrett's choreography for big number "The Brotherhood of Man" to Finch's bowtie.
But echoes pale in comparison to the real thing, of course, and this production shows how the razzle-dazzle of a full-out Broadway staging helps hide the dated aspects and other creaks in the story line. Songs such as "The Company Way" and "Grand Old Ivy" are fun to hear, but just don't sparkle without the benefit of bigger production numbers.
As besotted Rosemary, Hannah Laird has a strong singing voice trapped in a role that modern women surely scorn. But the kicky1960s hairstyles by Robert Kuntz and vibrant costumes coordinated by Bobbie Demme-San Filippo make her need for a man more palatable by creating an aura of dress-up.
In secondary roles, Natalie Cordone as Rosemary's friend, and especially Cameron Matthews as Finch's nemesis, show off their mastery of comic timing. Cordone has just the right brittle touch for Smitty and the requisite brassy pipes for "Coffee Break" and "Been a Long Day." Matthews, too, has a strong singing voice, and when he lets his long-limbed frame go slack, he's the perfect object of comic scorn.
Michael Edwards is very funny as the stuffed-shirt company president, and Michelle Knight puts on a grating voice to good effect as his paramour, making it all the stranger that their comic duet was cut from the show.
The Philharmonic, at center stage, gave extra heft to the more sweeping moments in the score, especially romantic duet "Rosemary." Having the musicians on stage also provided an extra laugh at Finch's declaration that being in love is "like music all around me! Like a symphony!"
The unexpected star of the performance? Maestro Wilkins. The Philharmonic's music director played a minor role and did a bit of mugging with the actors, successfully injecting moments of fun.
The Orlando Sentinel
ALSO FROM CARL GAUZE.............INK 19...from a VOCI DANCE Concert in Orlando...Following was the enigmatic “Parcht” (Choreography by Ellie Potts Barrett). While it’s often hard to assign meaning to all dance, the muted orange and brown costumes made me think: “Fall. They are dancing to fall.” Blunt, perhaps, but subtlety isn’t always essential for good art.
Review: 'La Traviata' from Orlando Philharmonic Orchestra
When the chorus members let out their first notes in the Orlando Philharmonic's "La Traviata," I sat a little taller in my seat. How absolutely delightful to hear such a robust ensemble. With crisp entrances and rich tone, the 40 or so singers filled the Bob Carr stage with glorious sound.
By the time they were demonstrating precise control of their volume levels, in the call-and-response of "Morning is coming and we must leave," I wanted to call out, "No, no, stay awhile longer."
The strength of the chorus was just one of several happy surprises at "La Traviata," the final production of the Phil's 2013-14 season.
The most important was the nuanced vocal performance by leading lady Elizabeth Caballero. As Violetta, she's first seen in a charming period dress, jaunty feathers in her hat, looking for all the world like the life of the party.
The period, it should be noted, is the 1920s, which makes for another happy surprise: the charming costumes by production designer Bobbie Demme San-Fillipo. In fact, there are several fun nods to the era — a glimpse of a Matisse painting during a party scene, a hint of the Charleston in Ellie Potts Barrett's choreography.
The frills, however, don't get in the way of the tragic love story at the heart of the opera. Violetta, a courtesan, falls in love with Alfredo. But Alfredo's father persuades the fallen woman to end the affair because her scandalous reputation is harming his family.
Director Frank McClain nicely balances the big party scenes with more intimate moments by the key players. Watch for the wonder on Caballero's face as Violetta realizes she has fallen in love. "How strange, how strange," she sings in Italian.
Examine the face of Alfredo's father, sung with rich conviction by Stephen Powell, as his stony resoluteness cracks as he pleads with his son to return home.
Caballero is able to shade her bright soprano with surprise, hope, resignation and despair. At a preview, Brian Jagde as Alfredo did not sing at full strength, saving his voice for the weekend performances.
"La Traviata" is music director Chris Wilkins' swan song with the Orlando Philharmonic. Five finalists in the running to replace Wilkins will conduct the Phil next season. Never the flashiest of conductors, Wilkins was a steadying presence, making his presence felt with clear, straightforward direction.
And he wasn't averse to getting in on the show.
In "La Traviata," Wilkins has a nice bit of interplay with Jagde's Alfredo. Though more low-key, it's reminiscent of his comically scene-stealing turn in the Phil's "How to Succeed In Business Without Really Trying" last year.
The maestro will be missed.
When the chorus members let out their first notes in the Orlando Philharmonic's "La Traviata," I sat a little taller in my seat. How absolutely delightful to hear such a robust ensemble. With crisp entrances and rich tone, the 40 or so singers filled the Bob Carr stage with glorious sound.
By the time they were demonstrating precise control of their volume levels, in the call-and-response of "Morning is coming and we must leave," I wanted to call out, "No, no, stay awhile longer."
The strength of the chorus was just one of several happy surprises at "La Traviata," the final production of the Phil's 2013-14 season.
The most important was the nuanced vocal performance by leading lady Elizabeth Caballero. As Violetta, she's first seen in a charming period dress, jaunty feathers in her hat, looking for all the world like the life of the party.
The period, it should be noted, is the 1920s, which makes for another happy surprise: the charming costumes by production designer Bobbie Demme San-Fillipo. In fact, there are several fun nods to the era — a glimpse of a Matisse painting during a party scene, a hint of the Charleston in Ellie Potts Barrett's choreography.
The frills, however, don't get in the way of the tragic love story at the heart of the opera. Violetta, a courtesan, falls in love with Alfredo. But Alfredo's father persuades the fallen woman to end the affair because her scandalous reputation is harming his family.
Director Frank McClain nicely balances the big party scenes with more intimate moments by the key players. Watch for the wonder on Caballero's face as Violetta realizes she has fallen in love. "How strange, how strange," she sings in Italian.
Examine the face of Alfredo's father, sung with rich conviction by Stephen Powell, as his stony resoluteness cracks as he pleads with his son to return home.
Caballero is able to shade her bright soprano with surprise, hope, resignation and despair. At a preview, Brian Jagde as Alfredo did not sing at full strength, saving his voice for the weekend performances.
"La Traviata" is music director Chris Wilkins' swan song with the Orlando Philharmonic. Five finalists in the running to replace Wilkins will conduct the Phil next season. Never the flashiest of conductors, Wilkins was a steadying presence, making his presence felt with clear, straightforward direction.
And he wasn't averse to getting in on the show.
In "La Traviata," Wilkins has a nice bit of interplay with Jagde's Alfredo. Though more low-key, it's reminiscent of his comically scene-stealing turn in the Phil's "How to Succeed In Business Without Really Trying" last year.
The maestro will be missed.