The Wiz & DTH: How We Celebrated 20 Years of Friendship in NYC
Michelle, Alise, and I at the Ailey studios in NYC
Have you ever visited Dayton, OH?
Some might say there’s not much to do there. And maybe they are right. But, for me, Dayton was the place where I met two of the best people in the world. They are my friends, my bridesmaids, and as one defined so well, my dance sisters. We met as members of Dayton Contemporary Dance Company II.
This past weekend, we celebrated 20 years of friendship on our nearly annual girls trip.
Our destination? NYC
It was an amazing trip filled with great food and even better conversation. For me, it was also a bit of nostalgia for a city I lived in years prior. So many seemingly unremarkable spots held core memories of the hustle and joy of teen and early adulthood.
And while I’d love to write about some of those adventures, today’s mission is to do a little review of the shows we witnessed!
The Wiz, Marquis Theatre - in previews when I watch on April 11
If you know me, you know that after I danced for Dayton Contemporary Dance Company II, I became a performer at Sight & Sound Theatres in Lancaster! It was my first foray into the world of theatre and I had a such a good time.
How many people can say that about their workplace?
Don’t get me wrong, there were some definite downsides (you can watch my workshop to learn about that) but I met great people and established wonderful friendships.
I think that’s one of the best thing about the arts— the relationships that are forged.
Anyway, I love live theatre. I’ve seen touring shows at my local theatre, but this is the first Broadway show I’ve seen since An American in Paris in 2015!
The breakdown
While anyone can enjoy this show, the Wiz is for the culture. Writer and comedian Amber Ruffin provided additional material which sprinkled the original book with modern day references. The star studded cast includes the gorgeous singer-songwriter-producer Deborah Cox as Glinda and actor-comedian-TV host-singer Wayne Brady as the Wiz. (Clearly 50 is the new 30) Nichelle Lewis makes her stunning Broadway debut as Dorothy.
We experienced powerhouse vocals from beginning to end; the musicians gave us the groove that had everyone moving. It’s a good thing the Playbill reminded us not to sing along.
Shout out to Melody A Betts (Aunt Em/Evillene) for her singing and I loved Phillip Johnson Richardson’s interpretation of the Tinman.
The show was still considered to be in preview. I would have loved some different costumes for Brand New Day. They were tie-dyed bottoms and solid tops or just all tie-dyed. Simple bright colors would have served the cast better in my opinion.
Tribute to Lorraine Graves in the program. I had the opportunity to study with her at the age of 13.
Dance Theatre of Harlem
As I mentioned, my friends and I met at a contemporary dance company. We all have backgrounds in classical ballet and some connection to Dance Theatre of Harlem. Two of us attended the Dance Theatre of Harlem summer intensive. As a younger dancer, I got to spend time studying first with Robert Garland and then the late Lorraine Graves in a nearly semi-private setting. So, we were more than ready for this show.
The breakdown
We attended the concert on HBCU and Divine 9 night. There was a DJ’d dance party for the audience an hour before the curtain. (The party continued after the show too!) There was such a sense of energy and excitement in the air that dancers would have had to completely bomb to disappoint this audience.
Not surprisingly, they came to deliver.
They opened with Robert Garland’s “Return.” I know that this piece is very special to the company because it is the first piece that Arthur Mitchell allowed Robert Garland to create for the company. It has Mitchell’s blessing. While there are remarkable moments, like the opening of the 4th movement featuring the incredible Amanda Smith, I struggled a bit with it. It is fun and gives a glimpse into what Garland can do with ballet vocabulary. However, the transitions between ballet and social dance are not seamless. Furthermore, I didn’t agree with the style of costume that the men were wearing. I would have much preferred to see the movement in a straight-leg slack and shirt rather than a tight-fitted leotard with tight pant.
Next up was Robert Bondara’s “Take Me With You,” performed by Amanda Smith and Elias Re. It features emotional strong, contemporary movement and partnering. It is brief but effective and left us wanting more.
Following an intermission, we saw Balanchine’s “Pas de Dix.” I’m not sure who is responsible for the music recording, but the sound turned a professional concert into a recital. The difficulty in being a repertory company is in doing every genre with excellence and having enough time to devote to each style to do so. DTH is up to that task. Based on the cast I watched, I don’t believe this particular ballet shows off the best of the company. I think its worth a look through the Balanchine catalogue for a different pick.
Rehearsal clips on Instagram appeared much stronger than what I saw on stage. To execute this ballet well, petit allegro definitely needs dedicated attention in company class.
The program closed with William Forthye’s “Blake Works IV (The Barre Project).” It looked like a completely different company than the one that had just performed Pas de Dix. The dancers were fearless, slinky, and dynamic as they performed to the music of James Blake. In this ballet, they were all soloists who could capture our attention. They were transformed and confident under the mood lighting in contrast with the bright lights of the Balanchine ballet which preceded it.
A friend of mine wasn’t thrilled with the purple velvet leotards that the women wore. Leotards and bare legs don’t bother me, but these leotards reminded me of my old Mirella velvet leos from the late 90s. So, my feeling is neutral.
I have to agree with dance critic Gia Kourlas that the Dance Theatre of Harlem is in good hands with Robert Garland. I watched the company under the direction of Virginia Johnson, perform at Kutztown University a few years back. Sadly, I must admit that I was underwhelmed at their performance. I do not place the blame on Ms. Johnson. She deserves full credit for all of her work in leading DTH back from a nearly indefinite hiatus in 2012.
This was not same. I’m ready for this new era of DTH dancers. I can’t wait to see them again soon.
Want to learn more?
Check out 10 Mistakes Your Making on Your Dance Studio Website and How to B.O.O.S.T. Your Dance Studio Revenue