Valerie-Jean Miller - Page 3

One Performance Only! This Sunday, November 3, 2019! Long ago but not far away at all, there were many TV Variety Shows, Award Ceremonies, Music Centers and Theatre abounding with live Musical Performances, all with massive budgets; and dancers in this town, Los Angeles, made a darn good living, albeit having to work their asses off to do so, but it was a good and plentiful, fulfilling life. Besides myself, there was a plethora of working, professional dancers who ended up bonding together pretty easily, as a dancer's life is one of a nomad, or gypsy, going from one job to another, but in doing so, finding kindred spirits and lifelong connections. Jay Johnson, husband of one of these dancers and artistically gifted himself, was part of the artistic community, as was his wife, Sandi, and, typical with dancers, became close friends and comrades with other dancers, choreographers, and like-minded performers. As Jay was earning international fame as a ventriloquist, actor and comedian, and starring on the hit TV Series 'Soap,' us dancers were slaving away, happy to be able to make a living doing what we loved. Jay is best known for his role on ' Soap' as Chuck Campbell, a ventriloquist who believed his puppet Bob was real and demanded everyone treat Bob as human.

Based on the iconic novel by George Orwell, a?oe1984a?? is the story of Winston Smith, who has come to the attention of the state of Oceania, the authoritarian state. Initially written in 1949, meaning that it was projecting 35 years into the future at that time, it is uncanny, that, 35 years later, it is being presented yet once again, and, terrifyingly, it is probably more relevant than ever before. With the brutal soul-searching, diary-exposing help of four Party Members of a?oeThe Ministry of Truth,a?? and a maiming stun gun, Winston is forced to confess his Thoughtcrimes before an unseen questioner, and the audience (surrounding the square stage in the middle on all four sides; it's almost as if they are secretly witnesses and jury) is up close and personal witnessing the torture and depredation being dealt to Mr. Smith.

There are four different playlets, newly written and presented by Eugene Pack, narrated by Rebecca Lane, that are 'put on their feet,' as the actors hold scripts and improvise their newly seen dialogue. This is now happening monthly. They delve into the crazy, neurotic, blundering, very relatable characters with relish, which works very nicely for that feeling where audiences and performers share all having fun together, feeding off of each others' enthusiasm. That's what you call a 'Good House.'

There's a new Dance Movie, which opened nationwide Friday, October 11th, that's sure to advance the genre in popularity.  In the last few decades “Dirty Dancing,” “Footloose,” “Flashdance,” “Saturday Night Fever,” “Staying Alive” and more recently “La La Land” all caused quite a stir when they hit theatres, and many of them are still quite popular today.   “High Strung Free Dance” and it's predecessor “High Strung' (2016) has everything you could want to see and hear in a film about dance, music and dancers. Written and produced by professional dancer Janine Best Damian “Solid Gold” and numerous film and television appearances, and her talented actor/singer/director/composer/husband Michael Damian (Joseph in “Joseph and the Amazing Technicolor Dreamcoat”/Broadway; 18 years appearing on “The Young and the Restless,” among many other credits for directing, as a vocalist and creating soundtracks for films he's also directed). This latest film is one out of 13 films he has written and produced with Janeen, as well as directed; ”Marley and Me: The Puppy Years,' the “Flicka” franchise, and more.

Saturday, September 27-29, 2019 The Los Angeles Youth Ballet's Artistic Director, Andrea Paris-Gutierrez, introduced the program for the evening, giving a warm welcome to the audience. The first half of the 'bill' was entitled 'Mixed Motions.'  Talented Choreographer Cedric Dodd, mounting his work on the company members of the Youth Ballet, gives a fantastic opportunity for these young Company members, getting to learn different styles of choreography, then performing it, in their growth as dancers.  

Body Traffic is a world-renown contemporary dance company, based in Los Angeles, and is The Wallis's 2019/20 Company-in-Residence.  A perfect match-up with the Wallis's imaginative and varied program schedule for the year. Lillian Barbeito and Tina Finkelman Burkett, the Artistic Directors, founded BODYTRAFFIC in 2007. They have nurtured this company for twelve years and it shows.  The entire company has evolved into something vital, representing many current issues on the minds of everyone these days.

September 21, 2019 Olga Pericet presents her unique flamenco flair, in “La Espina... que quiso ser flor o la flor que soñó con ser bailaora” or 'The Thorn That Wanted to Be a Flower, or The Flower That Dreamed of Being a Dancer' Having recently been the recipient of the National dance prize in 2018, one of the highest acknowledgments that can be received in Spain, and bestowed with innumerable honors and awards previously. Pericet, now in her 15th year as a choreographer,  brings her original, unique and authentic performance to the John Anson Ford Theatre.

Speaking with Seibi Lee and Rachna Nivas (of the Leela Dance Collective) Performing in the Los Angeles Premiere of 'Son of the Wind' An All-Female Production of India's Ancient Epic, the Ramayana I had the great pleasure to speak with both Seibi Lee and Rachna Nivas, of the Leela Dance Collective, both directors, performers and disciples of the art form of Kathak, (pronounced Ka'ta'k'); both choreographers, followers, leaders, teachers; devoted, focused, grateful, studied and deeply, intelligently guided artists. In the truest sense. I could go on, but I must write about the performance they are to give on September 14th, 2019 at The John Anson Ford Theatre, World Premiering the Indian saga 'Son of The Wind,' a full-length telling of a story through dance, emotions, traditions, belief, wisdom, beauty, ancestry, soul-searching, the tempered future, and perfected performance. I am so excited to witness this amazing piece of theatre.

Celebrating the centennial of the Nineteenth Amendment granting women the right to vote; assembled and produced by Deborah Brockus, artistic director of the annual Los Angeles Dance Festival. Deborah Brockus has assembled another TKO of a presentation.  This time at the aesthetically invigorating and lovely renovated Ford Theatre; originally entitled, prophetically first named, The PILGRIMAGE Theatre.  It was an enlivening evening from start to finish.  Ms. Brockus is a hands-on participant, besides organizing, directing, choreographing and publicizing and cheerleading all involved, she was there to greet the theatre goers and anyone coming to support and witness this celebration.  Take note of her tenacity and perseverance.  

July 25, 2019 The best and most satisfying way to beat the heat and be delightfully entertained on a boiling hot summer day in the San Fernando Valley is to head to Marina del Rey, to Burton Chase Park on a designated Thursday to see and hear an exciting orchestra play, take in the lovely surroundings, breathe in the gentle breeze and watch dancers bring alive the superb orchestral offerings. The L A County Supervisor Janice Hahn and The Department of Beaches and Harbors has been presenting these wonderful concert gatherings for many years now, and each year they top themselves. With the amazing and animated Frank Fetta as Artistic Director and Conductor, the fabulous Marina del Rey Orchestra and Nancy Dobbs Owen, who provided the breathtaking choreography for the evening we were treated to an incredible program of music and dance. The program began as the sun began to set in these beautiful surroundings with Igor Stravinsky's (A Russian immigrant who lived in Los Angeles most of his years) Firebird Suite. Before the downbeat, Mr. Fetta recounted his own working experience with Stravinsky here in Los Angeles.

One heck of a blast was had at 'RENNIE HARRIS FUNKEDIFIED,' a funk-filled celebration of breakers, lockers, poppers, and kick-ass musicians doin' their thing, outside at the Ford Theatre, under the moonlight on a gorgeous summer eve up against the hills of Hollywood as the backdrop. This particular performance was also a Benefit Fundraiser for the Ford Theatre Foundation, and is part of the IGNITE @ THE FORD series, bringing contemporary artists whose work is thought-provoking and reflective of today's world to L A Theatre goers. What an energized evening! The Director/Choreographer/Writer/Creator Lorenzo Rennie Harris assembled a fantastic group of stylized entertainers, from the incredible RHF Band: Dave Levy, trumpet, Osei Kweku, Bass, Nicholas Marks, piano and Samir Zarif, saxophone, The Versa-Style Dance Company and so many other guest artists, to give an all-out visual motif of the '70s and all the funk and fantasticness it produced.

The Los Angeles Philharmonic Orchestra, conducted by Gustav Dudamel, played magnificently July 16, 2019 as they first featured award-winning Pablo Ferrandez in Antonin Dvorak's Cello Concerto in B minor, Opus 104 in a most passionate and stirring performance. The piece was written by Dvorak about his sister-in-law, who never acknowledged her affection for him, giving this piece an extraordinary range of emotions that Ferrandez fervently played, seeming to feel every note and every nuance with his body and his soul. He is an extraordinary musician, and fully captivated the audience; so much so there were numerous encores of appreciation. It was a moving, heart-felt performance, and I would go anywhere to hear and watch him play again, play anything, as this performance was exalting. Part two of the evening was a reprise, or rather reworking of the performance L. A. Dance Project originally performed at the Walt Disney Concert Hall, which I reviewed, in 2018. (https://www.broadwayworld.com/los-angeles/article/BWW-Review-ROMEO-JULIET-at-Walt-Disney-Concert-Hall-20181106)

The Hollywood Bowl presented Siudy Flamenco Dance Theatre and Los Angeles guest artist, dancer Manuel Gutierrez with percussionist Diego Alvarez and the Los Angeles Philharmonic for an evening of fabulous Flamenco music and a production of El Amor Brujo. With the Los Angeles Philharmonic Orchestra, conducted by Palio Bortolameolli, the first half of the evening began, playing an extraordinary Ravel piece, 'Alborada del gracioso,' or 'Morning Song of the Jester' that was a perfect intro for the evening ahead. Originally composed as a piano piece, it became part of a full length composition entitled 'Miroirs' and has a definite Spanish influence to it, akin to the seguidilla. Different sections went from a wide sweeping melody by the string and wind instruments, to pizzicato violins and harps hinting of Flamenco rhythms and a descriptive bassoon solo passage that led to an intricate full-sounding, rich ending.

Saturday, July 6, 2019 The tortuous true story of Mayerling was first set to music composed by Franz Liszt, by Kenneth MacMillan, in 1978; a giant Choreographer and Innovator in the world of Ballet. MacMillan's Mayerling is the forboding story of the 1889 Murder/Suicide of Emperor Franz Joseph and Empress Elisabeth's Syphilitic and addicted son, Prince Rudolf, and his teenage lover, Mary Vetsera. The Royal Ballet, which has not performed in Los Angeles in 24 years, has stepped out on a limb to present this. This is not your usual Ballet Company fare. Contrary to the usual fluffy story about love conquers all, this is not that in the least. We find flawed and even demented characters pouring their hearts out, in the name of love and adoration.

I have a special appreciation for artists who really learn their craft; that surround their entire lives dedicated to observation, listening, learning, searching then discovering, creating, improving, perfecting and twerking it a bit to make it organic and unique. When you have experienced performers who have done it all in their careers in key roles putting together a musical production of this type, it is quite apparent in the outcome. With the esteemed team that is at the 'helm' of this production, Director Josh Finkel, Choreographer Jeffrey Scott Parsons, Costumes Designed by Shon LeBlanc, Lighting Design by Derek Jones, Artistic Director of the Sierra Madre Theatre Christian Lebano, and Live One-Man-Orchestra Sean Paxton; (Google all!) it is full tilt ahead and all aboard for an evening of superb and satisfying entertainment.

June 29, 2019 Melissa Barak's Ballet Company, Barak Ballet, is becoming a staple at the Broad Stage in Santa Monica. Since 2013, they have been appearing annually and she has continually delivered her talent and creativity to her home town.  A native Santa Monican, she is now one of America's foremost rising female choreographers.  Ms. Barak spent a decade dancing for New York City Ballet and choreographing for the School and Company of American Ballet at age 22. And her tenacity has paid off.

Winner of the 2019 Encore! Producers' Award, Rewind is a Musical Tale about Love, Redemption and the Magic of Second Chances.   A powerful producer derails a young girl's promising music career and she spends the next 50 years waiting tables.  When the producer skydives out of a plane, he is met with an untimely end and is barred from Heaven.  To gain entrance he must, with a little help from the Universe, rewind Time and help her reclaim her destiny.  He's given a years' time limit.

Presented by Celebration, The Los Angeles Intimate Theatre Premiere of "The Producers" opened Friday, June 28, 2019 at the Lex Theatre in Hollywood to a sold-out crowd and garnered a deserved standing ovation at curtain. It's RuPaul meets Mel Brooks in this delicious rendition of a show that's been recreated a gazillion times, but I assure you, never quite like this! From top to bottom, the entire production was first class, perfectly cast with triple-threaters, going all out in production values as well. The original book, by Mel Brooks, Direction and Choreography by Susan Stroman, Music by Thomas Meehan and Lyrics by Mel Brooks has been united with the Artistic Direction of Michael A. Shepperd, Produced by Andrew Carlberg and Rebecca Eisenberg, Michael Matthews, Director, Musical Direction by Anthony Zediker and fabulous Choreography by Janet Roston.  And What a Team!    

Luminario Ballet of Los Angeles is a very unique and valuable, strong and powerful Dance Company. They offered up two fantastic evenings of Dance, Song, Music and a Q&A, last weekend at Club Fais Do Do, and this past weekend at the Skirball Center, in conjunction with a Fashion Exhibit of Rudy Gernreich's '60s fashions that tied in perfectly with the 2nd dance piece presented that evening. The costumes used in 'Inscape,' were originally created by Rudi Gernreich at the same time the piece was set, in 1976. 'Choose Your Identity' June 16, 2019 The evening began with singer Tawny Ellis and her band, performing several selections from her new upcoming album release 'Love Life.' Dressed in a beautiful, flowing, lacy white dress, she looked like an angel and sang like one, playing her matching white Lap Steel and omni chord instruments with a passionate, down-to-earth country sound that was soothingly sultry, with lyrics that commanded your attention. She and her talented band played selections from her upcoming release; one of them being 'Pretend Love,' which was accompanied by a beautiful dance, choreographed by the Artistic Director, Judith FLEX Helle, performed by the incredible Kelly Vittetoe, an extraordinary soloist, en pointe, accompanied by David Tai Kim and Cory Goel. The strongest ballerina I have ever seen, (Ms. Vittetoe) that up-close; performing magnificently, with one of the most beautiful bodies, face and feet, ever. She is exquisite, and her two partners were also equally impressive. The exactness of technique performed by all three dancers was just heavenly. Up close and personal. What a treat!

Lynne Jassem, a tiny, diminutive but feisty woman, tells and taps out the story of her life as a child performer, overly-smothered and pushed relentlessly by a stage-mom, who was once a Rockette, that led her into much turmoil in her following years.  She re-enacts her childhood dance classes, portraying both herself as a scared little girl and all of the elders she comes in contact with, the first being her dance teacher, Charlie, who has a gruff voice while spouting commands at her to perform overtly, which upsets her greatly, crying, singing, tap dancing and shaking her way through 'Sweet Little Alice Blue Gown,' as her mother watches critically from the corner.