Valerie-Jean Miller - Page 2

The evening, at the fabulous Avalon Hollywood, which used to be where they filmed The Hollywood Palace back in the day, filled with pizazz, fabulous old Hollywood theatre decor, gorgeous people on and off stage, awards and honors given in appreciation, former honoree recipients in attendance, and spectacular, titillating and awe-inspiring, boundary-pushing performances

Artistic Director and Choreographer David Parsons himself introduced the single performance evening at The Segerstrom to a thirsty audience, eager to see the dance company that had been lauded in advance at the beginning of this year's season and of course the much awaited return to live performances and audiences. He gave us a revised rundown of the pieces that were to be performed that night. He is very personable, relatable and captivating as he explains their endeavors, processes and the added hardships Covid placed on the company. The dancers, over the past year-and-a-half were in seven separate 'bubbles' to be able to work on and perfect the choreography. We learned after the performance, in a short Q & A with the dancers and David, that some of the dancers had only been with the company a few months! Their repertoire is quite extensive and precise with many lifts and lots of technique; not an easy feat! And not easy on the feet! They did not disappoint!

Off The Lane will host their 2nd Annual Empower Artists Gala on Monday November 8th at 7:30pm ET. The hour-long event will honor Ann Reinking’s legacy through the launch of the Ann Reinking Scholarship Program, with special performances by Tony Nominee and Grammy Award Winner Brenda Braxton (Chicago, DreamGirls, Smokey Joe’s Cafe), and Helen Hayes Award Winner Bianca Marroquin (Chicago, Fosse/Verdon, The Pajama Game, In the Heights), hosted by Ann Reinking Advisory Board member and Golden Globe Nominee, Marilu Henner (Chicago, Taxi, Grease, Over Here!, Getting the Band Back Together).

For me, an exciting evening in the theater and in the world of ballet. The name Ballet'X' connotes a modern term denoting non-gendered, non-binary, and inclusivity. I instantly discerned that this company was on top of the latest consciousness, and has incorporated not only this, but the latest trend of mixing forms of dance together, the latest in staging and technology, and superbly trained young, up-and-coming dancers. The program for the evening consisted of three new works, by three diverse, world-renowned choreographers, all set on the dancers in the company. This young company, based in Philadelphia, is amazingly together with an eclectic repertoire, presenting a clean, fully executed array of interesting choreography and interpretations.

September 28, 2021 The evening was quite lovely in temperature and there was excitement in the air for this performance to mark the beginning of coming back after so very long. There were many eager Flamenco fans in attendance, for a sold out performance. After their ceremonious entrances, they each began to solo with Cantinas that were festive and engaging to watch. Lakshmi Basile, a nimble and persuading dancer who is much revered in Spain for all of her accomplishments, as well as being a sought-after teacher in the art of Flamenco, excited the crowd with her stylized rendition. Tito Nunez blended in but initiated his own rhythms, aided by the guitarists, Juan Moro and Kambiz Pakan, who skillfully guided his timing as he delighted the audience with his attitude, his stance and his demanding footwork. Reyes Barrios is the symbol of authentic, historic Flamenco dance and all its many facets. Her timing and build-up of dramatic intensity while performing is masterful. The respect among the performers is clearly seen, and is part of the character and respect assumed in Flamenco dancing.

They got hit with a double whammy. Not only were they sidelined first by the pandemic for a year and a half, but to now present 'The Chandelier' all this time later, and still under many Covid restrictions, the entire piece, which was to be 'site-specific' had to be reworked and reimagined. Heidi Duckler, the Founder/Artistic Director of Heidi Duckler Dance, and Choreographer of the piece gave a short introduction explaining how this World Premiere presentation came to be. 'The Chandelier' was inspired by a novel of the same name written by Brazilian Clarice Lispector and published originally in 1946. The book was translated recently from Portuguese into English by Magdelena Edwards and Benjamin Moser. The piece was first constructed to be performed at the Wallis Annenberg Center, highlighting different areas and spaces inside and outside of the theatre, different architectural patterns and settings, to tell the story of a young woman, Virginia, through her own musings and ideations. That was the original plan, however with all the Covid rules and restrictions still in place, it was realized it needed to be performed outside, and contained in one space, with the audience socially distanced. What was created was an innovative, stylized space that became different sets/places as the narrative unfolded, magically and mystically bringing her inner imagination to life.

During the interim, after our long COVID restrictions in Los Angeles began to lessen, The Music Center, and with the generosity of Glorya Kaufman and her continual support for Dance, created a fabulous summer program for Los Angeles, entitled 'Dance After Dusk' in the outdoor area in between the three theatres, the Ahmanson, the Mark Taper Forum and the Dorothy Chandler Pavilion. The tentative plans are to open up the theatres for live performances in the near future. 'The Jerry Moss Plaza' was created to present outstanding dance performances this summer, in a beautiful setting, culture, abounding all around, and the intense longing to see live and electrifying performances of hope, beauty and talented visionaries. There is a beautiful stage erected in the middle of the Plaza facing west, so as the sun was setting behind the stage, the performance began. No disappointments whatsoever with this third and final offering with Alonzo King's LINES Ballet Company. Indeed, the talent, the expertise and the intent of this stellar dance company is incomparable! The technique of every member of the company, with every movement they make, will fill you with awe. Stunning flexibility, extension, ballon, reach, strength, endurance, passion and fluidity is masterfully executed.

With a lovely intro by Janet Roston, the Director, Choreographer and Artistic Director of Mixed eMotions Theatrix, standing outside on a beautiful California sunny day atop the Glendale Library and Arts Center grounds in Glendale, we are given a verbal road map about what we are about to see. The setting alone makes me want to take the trip already. Such a beautiful location to watch dancers experience the freeing and exhilarating feeling of dancing or flying through the air with the freedom of no walls, barriers or roadblocks in and around natural surroundings with beautiful architecture and sculptured landscaping to form patterns around.

This was the second Company to perform in The Brand Associates/Glendale Library Dance Series that has been absent during the pandemic, and it is thrilling that it now is back!! The Versa-Style Dance Company brings a new element to the mix of dance styles and appearances from former years, although they have performed in this series in the past. With a unique urban vibe, funky and down-into it and a free-form mix of styles... by that, I mean more improvisational, than say ballet or jazz. It gives you a free, uplifting and joyous feeling and is very infectious.

Informative, Inquisitive, Inclusive, Invigorating,  Illuminating, Interesting and Introspective.  That’s how I would describe the Insightful Conversation between Misty Copeland and Dada Masilo, which was Curated and Produced by The Music Center, with Dance Media and Dance Magazine..

“L’ INVALIDE” Viewable ON LINE @:  https://luminarioballet.org/movie We see some very tall, spindly trees above that we are surrounded by, as a cover of “White Rabbit,” circa late ‘60s by Jefferson Airplane and Grace Slick is heard.  Next a voiceover begins to tell the story of Alice in Wonderland, and some wild and cut to a different scene altogether.  From this moment on, I knew this was going to be a trippy, artistic and somewhat psychedelic journey into someone’s subconsciousness. That someone is Judith FLEX Helle, the director and choreographer of this unique piece of film.  It blends together altered states, symbolism, beautiful movement, and much emotion.  It’s loosely autobiographical, in that it portrays how she imagines she felt at a certain time in her life. Produced by Judith FLEX Helle, Allen Walls and Luminario Ballet, this 12-minute content-packed film will leave you gasping at what just transpired.

Films.Dance, a groundbreaking global film series produced by and under the creative direction of LA-based Jacob Jonas The Company continues on February 22 with EDGING NORMAL, the fifth of 15 short dance films to be released to the community at no cost every Monday through May 8, 2021. 

The PGK Dance Project (Peter G. Kalivas, Founding Artistic Director) has announced that the Company's fall 2020 season will begin with INSIDE/OUT, an immersive virtual dance performance event, on Saturday, October 17, 2020 at 7:30 p.m PST.

MONDAYS For BIDEN, a group conceived by Broadway’s Jeffrey Schecter, announces their interactive virtual fundraising event “DANCING For DEMOCRACY” in partnership with Broadway Sessions and Broadway for Biden on Monday October 5th at 9:00pm EST. The group was formed to provide a virtual place for busy artists, humanitarians, parents and all who want to help JOE BIDEN become our next US President. 100% of donations raised during this event go directly to the Biden Victory Fund. MONDAYS For BIDEN and DANCING For DEMOCRACY creator, Jeffrey 'Shecky' Schecter will host along with fellow Broadway veteran and A Chorus Line alum, J. Elaine Marcos. It promises to be a spirited and dynamic one-hour virtual experience featuring performances and testimonials by some of Broadway and Hollywood’s most well-loved performers. You’ll get to hear first hand why a Joe Biden presidency is important to them and to the future of this country.

DIAVOLO Architecture in Motion presents This Is Me: Letters From The Front Lines.

Inspired by archival remnants of Martha Graham's “Immediate Tragedy,” a solo she created in 1937 in response to the Spanish Civil War, and in collaboration with composer Henry Cowell, the Martha Graham Dance Company, the Los Angeles-based Wild Up music collective, and The Soraya have created an innovative Digital Dance creation, Immediate Tragedy.

Corona Choreographic Chronicles: Dulce Capadocia & The Silayan Dance Company were the featured honorees for the first ever FilipinaFest planned to honor the late Sonia Capadocia, Silayan Dance Company Founder in celebration of National Women's History Month.  Earlier this year, plans were set to honor the creator of the Los Angeles-based Silayan Dance Company by her daughter Dulce, a choreographer trained in both Philippine traditions and American Modern Dance forms.  Silayan is the first Philippine-American dance company as well as the first culturally specific arts organization founded in Historic Filipinotown in Los Angeles, California.  Sonia, in addition to being an award winning director, teacher and civic leader was also a talented seamstress.    The Philippine Expressions Bookshop in San Pedro, California offered to create an installation of her personal collection of beautifully hand-sewn gowns and elaborate Silayan costumes.  This was to commemorate a series of book readings in celebration of National Women's History Month.  As word got out in the larger Philippine-American community,  it grew into an entire Festival - aligned to be the first 'Filipina-Fest' Los Angeles Festival.  First.  Ever.  Produced in partnership with FilAm Arts (the Association for the Advancement of Philippine-American Arts and Culture) and spearheaded by Giselle Tongi Walters, the event was to take place at Philippine Expressions in San Pedro at the end of March to recognize the important contributions of Filipina leaders who greatly contribute to the civic life of our great city.   Important women civic leaders and 'movers and shakers' in the community were chosen to participate and partake in an exciting live dance performance, fashion show and festival parade of the handmade garments.

Since the shelter-in-place order in mid March for all of California, there have been no Theatre productions, no Live Performances, not even a class available in Los Angeles to take to keep working on your craft. Slowly but surely, Artists and Producers are adjusting and finding new ways to present their creations and their viewpoints through different sources, and in new and unique ways.

We are first introduced to a young girl, a very assertive, opinionated young girl, definitely with a strong sense of identity, and self worth. She is heard speaking, which we come to find out is us hearing her inner thoughts and feelings, through her a?oeMind's Eye,a?? her vocally taped diary, into a recorder. The time is 1968. We first view her as she runs, into, outside ~ an elderly man who has fallen in their garden, helping him up and, concerned, guides him inside her home, where she spends much of her sheltered life. Patty, played quite brilliantly by Peyton Kirkner, is both honest and earnest in her connection with her new and only friend, Calhoon (played wonderfully and with much heart by Lloyd Pedersen). They were instant friends; and even though Patty is legally blind they easily shared conversation. The actors totally conveyed that feeling, so it was all the more heart-wrenching when her mom, Lola Henderson, played determinedly by Maria Kress, who, understandably, is ultra protective, comes home and just couldn't fathom this new connection ~ having been the caretaker-mom all of Patty's life, this was a concern she had not yet encountered. Flash forward, and back and forth, throughout the rest of the play, this played out and developed one of the underlying themes while at the same time we were fast-forwarded to Patty (aka now renamed by herself, Trish) as a school teacher in 1981.

The Theatre was abuzz with excitement. The long anticipated performance by the Los Angeles Ballet Company of George Balanchines' work was upon us. February 26, 2020, a night of glorious dancing! Preceding the performance, the Artistic Director Colleen Neary gave us a brief history of the makings of these pieces to be presented, and some facts and anecdotes to boot, as she is the one who has staged this entire evening and recreated pieces she was a part of during the creation of them. Talk about your inside story! Colleen Neary and Thordal Christensen founded the LAB in 2004, the one and only professional classical ballet company in Los Angeles. Of all ballet companies in existence, this company is a valuable resource for not only preserving classic ballets, but nurturing the creativity of the future work to be evolved.