It was a landmark year for Pittsburgh dance, 2019, where much of the dance broke new boundaries for adventure and excitement. So if I had to pick one to top the list, I couldn’t. As a result, I picked two, both of which occurred at the Kelly Strayhorn, perhaps a culminating symbol of the impact that the KST’s departing executive director, janera solomon, has had on the Pittsburgh dance community.
David Rousseve/REALITY (Kelly Strayhorn Theater, Feb. 2). David gave the Kelly Strayhorn and Pittsburgh-at-large a fabulous gift: a work, Halfway to Dawn, that depicted the life, times and music of Billy Strayhorn. If you thought you knew Strayhorn, Rousseve uncovered even more nuggets with projected texts. And if you thought you knew his music, Rousseve enhanced it with brilliant choreography.
Camille A. Brown & Dancers (August Wilson Center, Mar. 9). I’ve always been appreciative of the Pittsburgh Dance Council and how it has introduced the city to the latest and the greatest movers and shakers. Brown falls into the category, certainly one of the hottest and busiest choreographers today. It was great to see her at her peak, along with the company in ink, an unflinching look at the African diaspora.
STAYCEE PEARL dance project (various venues, June 5-9). It was pretty astounding that a small dance company could assemble five days of dance like this, mostly emanating from the New Hazlett Theater, and packed with guest artists like Sidra Bell and Pittsburgh Ballet Theatre departing principal, Julia Erickson. Then there were the local companies, not the least of which was her own.
Firewall (Carnegie Stage, June 27). Elisa-Marie Alaio is a young artist with a lot to say. For her eighth full-length production (really!), called Error, Elisa-in-Wonderland translated the iconic English story into a video game, replete with mini-trampolines and collaborators worthy of her intrepid spirit: Luke Paulina’s fantastical video design and animation and composer Reni Monteverde, who was back for a well-deserved encore after Alaio’s Eff.Ul.Gents. A fascinating trio that could bode well for Pittsburgh’s performing arts scene.
The Blanket (Carrie Furnaces, July 5). Caitlin Scranton and Matt Pardo have introduced well-chosen pieces by out-of-the-box New York choreographers, who have transferred their work onto Pittsburgh bodies. I unfortunately wasn’t around for the performance of Yolk & Grove, which was skillfully reviewed by guest writer Ella Moriah Mason, but her words spoke The Blanket’s truth in dance.
Attack Theatre (Andy Warhol Museum, Sept. 14). As this iconic Pittsburgh company celebrates 25 years, it unfolds the immense variety. But I chose the format that most defines it, Some Assembly Required. I still remember going to one of the first performances at The Frick in Breezewood. Now, so many years later, the artists took over the Warhol and it was still fresh, energizing, interesting and interactive…hence, on the Attack.
Olivier Tarpaga (KST, Sept. 28). Olivier has become a familiar face in Pittsburgh and KST got the world premiere of When Birds Refused to Fly. He has unveiled several ways to see the African culture through his eyes. Declassified Memory Fragment (2015) created a textural environment of the continent with a magnificent all-male cast. His latest, Birds, connected that birthplace to his adopted homeland in the U.S., employing his usual breath of fresh air and holding a mirror up to America with a reflection that was hugely unexpected.
Conservatory of Dance (PNC Theater, Oct. 10) Point Park University plays a dual role in the Pittsburgh dance scene, as both an arts institution that exposes its students to the latest in dance and an educational school that provides opportunities for them. Best of all was the fact that it gave us four talented women for its Contemporary Choreographers who gave us one of the strongest programs PPU has assembled. Yin Hue’s politically-tinged Citizen, a preview of Pearlann Porter’s surprising Now: Playing (see below), Amy Hall Gardner’s Cadences, packed almost like two ballets in one and Martha Nichols’ fabulous finale, full of dance conversations and precise group dynamics, The Decline From a Sound and Prosperous Condition. (Kudos to rehearsal director Kijaunta Lucas for her due diligence in honing a group of 45 performers into an impactful dance army.)
Beth Corning (New Hazlett Theater, Oct. 23) Even as the body morphs over the years, the mind takes over in new ways. Thanks to Beth’s probing intellect, we have opportunities to explore a choreographic perspective through the lens of artists who have a similar perspective. We never see that, given the boundaries that dance usually imposes. Not so with THE WORLD AS WE KNOW IT: by 6 women of a certain age — Charlotte Adams, Simone Ferro, Heidi Latsky, Li Chiao-Ping, Endalyn Taylor and Corning herself.
Pittsburgh Ballet Theatre (Benedum Center, Oct. 25-27). It was PBT’s 50th anniversary, the company chose a traditional ballet in Giselle. But of all the full-length productions, this one suits the company the best technically and artistically. As such it was able to mount three casts, all with something to say.
Conservatory of Dance (PNC Theater, Dec. 7) Continuing its support of women, PPU funded another full-length world premiere, Beyond Before, by staff member Kiesha Lalama. A love story that transcends time, it has the palpable energy that is a trademark of this choreographer.
Pearlann Porter (Kelly Strayhorn, Dec. 8) Pearlann’s artistic trajectory has been fascinating to watch over the past 15 years, gradually paring her dance down to the bare essentials, but nevertheless creating a remarkable vision virtually bereft of technology. Now its ba-a-ack (the technology), with a savvy work, NOW: PLAYING, where Porter designed the lighting via computer and used PJ Roduta’s tantalizing sound score, also via computer. The middle section had the makings of a sensuous Calvin Klein ad, bordered by a mesmerizing cast of Point Park University graduates brilliantly improvising, serious playing under Porter’s direction. It showed us the realm of so many dance possibilities.
P.S.: Hamilton/Jesus Christ Superstar. What can we say about these Broadway bookends, opening and closing the year at the Benedum Center? Alright, it began with the touring production of Lin Manuel Miranda’s hit Broadway show Jan. 1, buffed to extraordinary polish. Between director Alex Lacamoire and choreographer Andy Blankenbuehler, it redefined the idea of a Broadway musical. A landmark production. And New Year’s Eve brought Superstar, bold, incessant, with driving choreography by Drew McOnie, a name to remember.
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