So we are emerging from the pandemic and dance is leading the way here in Pittsburgh. Unveiling its huge New York-worthy outdoor stage (must be seen in person), Pittsburgh Ballet Theatre is the host for local artists and companies during Open Air, on display through May 30.
To start it all on Thursday’s hot summer-like afternoon, poet Vanessa German, clad in a royal blue satin gown, provided a spectacularly appropriate opening at Richard Parsakian’s Dance Showcase trumpeting “artists are different,” followed, in part, by “make a world that is new and you will be dangerous because of that.” And “catch your own fire artists and set your future alight.” Truer words were never spoken.
That clarion call preceded the first of several programs to feature a cascade of local artists and companies. Heading the program was James Gilmer, a Pittsburgh native who was trained at PBT’s school and now performs with Alvin Ailey American Dance Theater. He chose a piece, “Untitled For You,” by New York City choreographer Antonio Brown, who made his own poem for the tall, muscular dancer, filled with liquid movements on an internal plane. Sublime. Brown also brought a trio of his dancers along for “The Three of Us,” a celebratory piece well-suited for the festive setting.
Dressed in a short dress that deliciously floated with the movement, Pittsburgh choreographer Jil Stifel performed “The Secret of Hiding.” Although it was hard to understand the text, Stifel’s work still tantalized given its intelligence. On the other hand, Nick M. Daniels, who has made a reputation with a self-deprecating take on ageism in dance, took a new, more expressive direction in a solo section of his new work, “Contrapasso.”
The depth of Pittsburgh’s choreographic talent was apparent on the rest of the program. Slippery Rock University dance department chair and choreographer Jennifer Keller brought four alumnae for “Second Thoughts.” Always one to immediately clarify her intent, this piece smartly toyed with the ideas mentioned in the title — copying movements and delaying them, so that the dance never went where you expected. Former PBT principal dancer Julia Erickson continued to dip her toe into the choreographic pool with “Mutual Arising,” a duet for two women that had a lovely lyrical quality, although the idea of melding was best shown when one woman discarded her top skirt so that both looked alike at the end.
Pittsburgh’s CAPA produced two works, one by dance department head James Washington Manning, “Launch,” which had the quality of flickering flames of fire for his young women, capturing their energy in a seamless, disciplined fashion. Meanwhile, artist and CAPA modern dance teacher Kaylin Horgan created “The Night Says There’s a Sunrise in Your Eyes,” a group number that gave her young contingent a robust chance to display their wares to the audience’s delight.
Once again, Point Park University’s Rocker Verastique and Danny Herman delivered an exclamation point of a dance, this one called “Benny,” by creating a tribute to Goodman, the famed jazz clarinetist. These two have formed a partnership that is among the best that I’ve come across. With a few references to Bob Fosse’s “Sing, Sing, Sing” choreography — those arching jumps and the twisting sugar steps with dangling fingers — and plenty of RVDH pizzazz, the cast of 15 could easily bend their movements like Benny bent his notes. A wow! of an ending.
By the conclusion of the program, it became apparent to many that this format, particularly with the impressive presence of the stage, deserves to be an annual Pittsburgh outing.
That was only reinforced with Shana Simmons Dance, which performed at 6 p.m. This group doesn’t have the flash of commercial dance, but, like 20-year old single malt scotch, has a taste that lingers, smooth and satisfying.
The four pieces on the program, all choreographed by Simmons, had a differentiated range and were beautifully arranged. The first and untitled solo showed her musicality, where Simmons herself melted into the cello score. In the second, “STOP,” with Emily Jaikaran, tic toc sounds inspired a pendulum-like arm and more. She carved a clock face turn on the floor and, at the end, could have been winding down…
Then there was “Comin’ Home Baby,” so casual, so cool, much like Pink Panther’s Henry Mancini score. The six dancers (or should I say five plus a Loner?) wore black suits, a white shirt and a loose black tie. It brought smirks and a few laughs, but delighted all the way through.
Jamie Erin Murphy gave us “PASSENGER,” originally a part of Simmons’ full-length work noting the 100-year anniversary of the demise of passenger pigeons at the National Aviary. The solo represented Martha, the last to survive out of millions, and is an emotional conduit in a similar vein with ballet’s “Dying Swan.”
The program concluded with an early 2011 work, “Bits…Pieces…”. Brady Sanders performed on a tarp layered with dirt. Designed to depict “the aftermath of (you fill in the blank),” Sanders dug deep to uncover new layers of artistry hidden within him. Once a welcome addition to the company for his technique, this experience took Sanders not only to new lows, but to new heights of emotion.
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