Minneapolis, Minnesota
In 1962, Loyce Houlton founded a small dance school near the University of Minnesota that became the Minnesota Dance Theatre (MDT). Known for blending classical with contemporary dance, MDT engages the community and cultivates young dancers. For four decades, the company has performed the “Nutcracker Fantasy,” originally choreographed by Houlton and one of the most sought after holiday events in Minnesota.
“Houlton’s Legacy: The Magic of Dance” is a colorful survey and exhibit of MDT's evolution. The exhibit features selections from the University of Minnesota Libraries’ Performing Arts Collection and includes personal notes and choreographic sketches from Houlton, photos of the company, original costumes, props, set designs, and continuous viewing of live performances from the past to the present.
An essay by arts journalist Camille LeFevre, "A life in Dance, Resurrected" details the horrifying and dramatic story of how MDT's records were saved from destruction 20 years ago, and describes how they are displayed in the current exhibit.
Houlton's Legacy: The Magic of Dance, thru Feb. 20, 1st floor gallery, Elmer L. Andersen Library, West Bank Campus, University of Minnesota, Minneapolis. 8:30am-4:15pm M-F; 9am-1pm Sa. Free.
Showing posts with label Minnesota Dance Theatre. Show all posts
Showing posts with label Minnesota Dance Theatre. Show all posts
Tuesday, February 3, 2009
Saturday, January 24, 2009
Writers to share
Minneapolis, Minnesota
Allow me to introduce four writers – Brittany Fridenstine-Keefe, Penelope Freeh, David Frum, and Nicholas Nash – whose words I find valuable for various reasons. Collectively, their thoughts fit within the mission of Minnesota Mist: Writings about dance, the arts, politics, and culture. Links to their blog sites are listed in the left-hand column of this blog, under "My Favorite Places on the Web."
Brittany Fridenstine-Keefe pens and posts Empowering Thoughts for Dancers. She also chairs the Dancer Council of Dance/USA, the national service organization for nonprofit dance in America. Currently, she performs as a member of the American Repertory Ballet in New Jersey, and appeared last summer in a solo program in Germany and Italy. I have known Brittany and her husband, Matthew Keefe, for several years; both danced with James Sewell Ballet during my tenure as its executive director. Born in Idaho, Brittany grew up in Seattle where she studied dance at the School of the Pacific Northwest Ballet. Her performance credits include Pittsburgh Ballet Theatre, Ballet Memphis, and Minnesota Dance Theatre. Brittany has developed a dance therapy program for children with special needs and is certified in the GYROTONICS® exercise system.
Penelope Freeh has written Thoughts on Dance for three years, since January 2006. A native of Ohio, Penny started her dance studies at the Dayton Ballet before moving to New York City where she danced with several companies. She came to Minnesota in 1994 to join James Sewell Ballet, where she continues to perform and serves as artistic associate. As a choreographer, her work has been produced by the James Sewell Ballet, Minnesota Orchestra, Walker Art Center / Southern Theater, Weisman Art Museum, and Ballet Builders. Penny is the monthly dance writer for TC METRO magazine; she wrote a feature column for Dance Magazine in May 2008.
I have been aware of David Frum since his days as a special assistant and economics speechwriter to President George W. Bush in 2001-2002. During last fall's campaign, some members of the conservative movement branded him as a traitor and persona non grata for questioning the credentials of Sarah Palin and her fitness to serve as president. I wrote to David on Nov. 14, following his appearance on The Rachel Maddow Show on MSNBC:
He replied to thank me, and I have since followed his writing. Regardless of the party in power, we need a strong, loyal opposition, one that is reasoned, principled, and civil. David's voice provides that on the new website he edits, NewMajority,com. The site is dedicated to the reform and renewal of the Republican Party and the conservative movement. I do not vouch for the other writers he features, nor do I share his objective of a new majority of the right, but he provides an intellectually honest discourse with his own words.
Born in Toronto, David earned BA and MA degrees from Yale and a law degree from Harvard, and became a naturalized U. S. citizen in 2007. He is a resident at the American Enterprise Institute, the author of six books, and a regular commentator on American Public Media's "Marketplace." Like me, he is a fan of Abraham Lincoln and American Civil War history. His wife, the author Danielle Crittenden, is a contributor to the HuffingtonPost.com. Here is an example of David's viewpoint from a recent post:
I have known Nicholas Nash for many years through my work in Minnesota's arts community, and always have regarded him as what "they" used to call a "true gentleman and scholar." Like me, he has had more than one Scottish terrier in his life and household, and that is just the beginning of the good character traits of this self-described teacher, school administrator, professor, public radio program director and broadcaster, entrepreneur, and theater aficionado.
Educated at Harvard, Nick carries the title Le Grand Fromage at The Nash Company where his largest selling products include nose flutes and conducting batons. He is a man of character, conviction, and subtlety who maintains several blogs, including Hobbling Through The Zeitgeist, Islay The Scotty, and Thoughts While Shaving. Here is a sample of this Renaissance man's prose:
Allow me to introduce four writers – Brittany Fridenstine-Keefe, Penelope Freeh, David Frum, and Nicholas Nash – whose words I find valuable for various reasons. Collectively, their thoughts fit within the mission of Minnesota Mist: Writings about dance, the arts, politics, and culture. Links to their blog sites are listed in the left-hand column of this blog, under "My Favorite Places on the Web."
Brittany Fridenstine-Keefe pens and posts Empowering Thoughts for Dancers. She also chairs the Dancer Council of Dance/USA, the national service organization for nonprofit dance in America. Currently, she performs as a member of the American Repertory Ballet in New Jersey, and appeared last summer in a solo program in Germany and Italy. I have known Brittany and her husband, Matthew Keefe, for several years; both danced with James Sewell Ballet during my tenure as its executive director. Born in Idaho, Brittany grew up in Seattle where she studied dance at the School of the Pacific Northwest Ballet. Her performance credits include Pittsburgh Ballet Theatre, Ballet Memphis, and Minnesota Dance Theatre. Brittany has developed a dance therapy program for children with special needs and is certified in the GYROTONICS® exercise system.
Penelope Freeh has written Thoughts on Dance for three years, since January 2006. A native of Ohio, Penny started her dance studies at the Dayton Ballet before moving to New York City where she danced with several companies. She came to Minnesota in 1994 to join James Sewell Ballet, where she continues to perform and serves as artistic associate. As a choreographer, her work has been produced by the James Sewell Ballet, Minnesota Orchestra, Walker Art Center / Southern Theater, Weisman Art Museum, and Ballet Builders. Penny is the monthly dance writer for TC METRO magazine; she wrote a feature column for Dance Magazine in May 2008.
I have been aware of David Frum since his days as a special assistant and economics speechwriter to President George W. Bush in 2001-2002. During last fall's campaign, some members of the conservative movement branded him as a traitor and persona non grata for questioning the credentials of Sarah Palin and her fitness to serve as president. I wrote to David on Nov. 14, following his appearance on The Rachel Maddow Show on MSNBC:
For a few brief moments last evening, you and Rachel Maddow had very human and real conversation. You and I are not fellow travelers, politically, but I appreciated your quoting of Gandhi and planting a seed with Rachel – whose style I mostly enjoy – regardless of whatever combination of things motivated you. Thanks for making the appearance.
He replied to thank me, and I have since followed his writing. Regardless of the party in power, we need a strong, loyal opposition, one that is reasoned, principled, and civil. David's voice provides that on the new website he edits, NewMajority,com. The site is dedicated to the reform and renewal of the Republican Party and the conservative movement. I do not vouch for the other writers he features, nor do I share his objective of a new majority of the right, but he provides an intellectually honest discourse with his own words.
Born in Toronto, David earned BA and MA degrees from Yale and a law degree from Harvard, and became a naturalized U. S. citizen in 2007. He is a resident at the American Enterprise Institute, the author of six books, and a regular commentator on American Public Media's "Marketplace." Like me, he is a fan of Abraham Lincoln and American Civil War history. His wife, the author Danielle Crittenden, is a contributor to the HuffingtonPost.com. Here is an example of David's viewpoint from a recent post:
Today's Republican Party is an unhealthy and unhappy organization. ...Parties do not rebuild by shutting out their members – or engaging in tough guy talk when asked basic and obvious questions about past promises. They rebuild with transparency, responsiveness and competence. Let's have some, please.
I have known Nicholas Nash for many years through my work in Minnesota's arts community, and always have regarded him as what "they" used to call a "true gentleman and scholar." Like me, he has had more than one Scottish terrier in his life and household, and that is just the beginning of the good character traits of this self-described teacher, school administrator, professor, public radio program director and broadcaster, entrepreneur, and theater aficionado.
Educated at Harvard, Nick carries the title Le Grand Fromage at The Nash Company where his largest selling products include nose flutes and conducting batons. He is a man of character, conviction, and subtlety who maintains several blogs, including Hobbling Through The Zeitgeist, Islay The Scotty, and Thoughts While Shaving. Here is a sample of this Renaissance man's prose:
You should be willing to discover our own contemporary artists and composers with enough oomph so that whether their time comes now or not for another century and a half, they might believe that their commitment to their art will always have value.
Friday, October 17, 2008
Review: Minnesota Dance Theatre, Minneapolis
Minneapolis, Minnesota
For the fall performances of the Minnesota Dance Theatre, Artistic Director Lise Houlton assembled a group of dances that mirrors much of Minnesota's dance community, reflecting a diversity of choreographic impulses, a strong level of technical competence and artistic expression, and an earnest desire to impress. While the articulation of a clear and compelling purpose and vision has not been the troupe's strong suit, the present program was more cohesive and satisfying than many of its recent stagings.
The program, presented this weekend at The Lab Theater in Minneapolis's Warehouse District, offered two world premieres. Mathew Janczewski's Trébuchet was the more successful. Working with a variety of pulsing music tempos by Alexander East, Janczewski created a tight ensemble work that featured dynamic duets for Sam Feipel and Eve Schulte, and Justin Leaf and Melanie Verna, along with brief solos for each. The dance contains the large, athletic movement that characterizes Janczewski's signature style, but injected a welcome level of textured subtlety and nuance that has been absent in his modern choreography. His own company, Arena Dances, will perform next weekend at the Southern Theater.
Choreography comes less easily to Houlton. Her strong concepts benefit from decent ensemble patterns whose flow often is interrupted by awkward movement and phrasing for duets and trios. Point of Departure, her new ballet set to Haydn's Symphony No. 45, introduced a sharp and angular vocabulary that repeated and became more rounded and fluid over the course of the four movements as she connected more fully with the music's whimsy and humor. The company's three women, particularly Verna, smiled and moved gracefully in this showcase for the company's seven dancers. The men, however, were pressed to keep pace and to own the sometimes inorganic movement. An exception was Maxamillian Neubauer's solo turn in the last section when moments of personality emerged. Overall, a pleasant 30 minutes of dancing.
The choreography of Lynne Taylor-Corbett is a frequent choice for many artistic directors who came of age as dancers during the 1970s and 1980s. Her Appearances, created for the Atlanta Ballet in 1984, juxtaposed gestures and imagery that loomed large against the cool jazz music of Pat Metheny with a smooth movement texture, not unlike good yogurt! It was danced cleanly by Verna, Schulte, Leaf, Feipel, Justin Marie Miller, and Abdo Sayegh.
Excerpts from two other ballets were performed expertly by guest artists Kaitlyn Gilliland and Ask la Cour. If one must see the Act 2 pas de deux from Swan Lake yet again, it should be performed with the high level of precision and effortless partnering displayed by these members of the New York City Ballet. While technically masterful, I found their performance cold and passionless, a view my companion did not share. On the other hand, there was no dispute about the passionate commitment that coursed through the duet from Agon, George Balanchine's neoclassic classic from 1957. Gilliland and la Cour danced it exquisitely, providing the evening's artistic highpoint.
Unlike their counterparts in theater and music who enjoy larger and more consistently loyal audiences for their work, many dancemakers and dance organizations eschew the use of program notes to explain what they are about. Not so with Minnesota Dance Theatre for these performances; let us hope their inclusion continues and inspires others.
Like a good many dance organizations, Minnesota Dance Theatre's persona could benefit from a scouring of its marketing materials to remove misnomers such as "groundbreaking," "extreme," and "daring." Along with quotations from long-dead critics who have not seen the current company and its work, these should be replaced with straightforward descriptors and more contemporary commentary.
The performances this weekend were the first for dance presented at The Lab Theater which opened last month under the direction of Mary Kelley Leer. As the former empress of Ruby's Cabaret from 1985 to 1992, Leer helped birth Moore by Four, Ballet of the Dolls, and many others. The Lab's limestone brick walls and cavernous space lend the enterprise a stronger air of flexibility and solidity than did Ruby's various venues. Going forward, however, more than one ticket seller will be needed to accomodate the 350 guests who will flock to the new venue's more popular attractions; it is not acceptable for a program to begin 11 minutes past the posted curtain time.
Minnesota Dance Theatre's fall performances continue, Oct. 18 at 7pm and Oct. 19 at 2pm, at The Lab Theater, 700 North 1st Street, Minneapolis. 612.338.0627 or www.mndance.org.
For the fall performances of the Minnesota Dance Theatre, Artistic Director Lise Houlton assembled a group of dances that mirrors much of Minnesota's dance community, reflecting a diversity of choreographic impulses, a strong level of technical competence and artistic expression, and an earnest desire to impress. While the articulation of a clear and compelling purpose and vision has not been the troupe's strong suit, the present program was more cohesive and satisfying than many of its recent stagings.
The program, presented this weekend at The Lab Theater in Minneapolis's Warehouse District, offered two world premieres. Mathew Janczewski's Trébuchet was the more successful. Working with a variety of pulsing music tempos by Alexander East, Janczewski created a tight ensemble work that featured dynamic duets for Sam Feipel and Eve Schulte, and Justin Leaf and Melanie Verna, along with brief solos for each. The dance contains the large, athletic movement that characterizes Janczewski's signature style, but injected a welcome level of textured subtlety and nuance that has been absent in his modern choreography. His own company, Arena Dances, will perform next weekend at the Southern Theater.
Choreography comes less easily to Houlton. Her strong concepts benefit from decent ensemble patterns whose flow often is interrupted by awkward movement and phrasing for duets and trios. Point of Departure, her new ballet set to Haydn's Symphony No. 45, introduced a sharp and angular vocabulary that repeated and became more rounded and fluid over the course of the four movements as she connected more fully with the music's whimsy and humor. The company's three women, particularly Verna, smiled and moved gracefully in this showcase for the company's seven dancers. The men, however, were pressed to keep pace and to own the sometimes inorganic movement. An exception was Maxamillian Neubauer's solo turn in the last section when moments of personality emerged. Overall, a pleasant 30 minutes of dancing.
The choreography of Lynne Taylor-Corbett is a frequent choice for many artistic directors who came of age as dancers during the 1970s and 1980s. Her Appearances, created for the Atlanta Ballet in 1984, juxtaposed gestures and imagery that loomed large against the cool jazz music of Pat Metheny with a smooth movement texture, not unlike good yogurt! It was danced cleanly by Verna, Schulte, Leaf, Feipel, Justin Marie Miller, and Abdo Sayegh.
Excerpts from two other ballets were performed expertly by guest artists Kaitlyn Gilliland and Ask la Cour. If one must see the Act 2 pas de deux from Swan Lake yet again, it should be performed with the high level of precision and effortless partnering displayed by these members of the New York City Ballet. While technically masterful, I found their performance cold and passionless, a view my companion did not share. On the other hand, there was no dispute about the passionate commitment that coursed through the duet from Agon, George Balanchine's neoclassic classic from 1957. Gilliland and la Cour danced it exquisitely, providing the evening's artistic highpoint.
Unlike their counterparts in theater and music who enjoy larger and more consistently loyal audiences for their work, many dancemakers and dance organizations eschew the use of program notes to explain what they are about. Not so with Minnesota Dance Theatre for these performances; let us hope their inclusion continues and inspires others.
Like a good many dance organizations, Minnesota Dance Theatre's persona could benefit from a scouring of its marketing materials to remove misnomers such as "groundbreaking," "extreme," and "daring." Along with quotations from long-dead critics who have not seen the current company and its work, these should be replaced with straightforward descriptors and more contemporary commentary.
The performances this weekend were the first for dance presented at The Lab Theater which opened last month under the direction of Mary Kelley Leer. As the former empress of Ruby's Cabaret from 1985 to 1992, Leer helped birth Moore by Four, Ballet of the Dolls, and many others. The Lab's limestone brick walls and cavernous space lend the enterprise a stronger air of flexibility and solidity than did Ruby's various venues. Going forward, however, more than one ticket seller will be needed to accomodate the 350 guests who will flock to the new venue's more popular attractions; it is not acceptable for a program to begin 11 minutes past the posted curtain time.
Minnesota Dance Theatre's fall performances continue, Oct. 18 at 7pm and Oct. 19 at 2pm, at The Lab Theater, 700 North 1st Street, Minneapolis. 612.338.0627 or www.mndance.org.
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