REVIEW: CCB's Body & Movement Explored by David Ligon

Philip Ingrassia and Autumn Hill - photo by Ashley Concannon The art scene has progressed immensely in Columbia, SC over the past decade, and while Columbia City Ballet may have previously seemed to lag behind, performing the same pool of two- and three-act story ballets since William Starrett took over, only creating new ones every few years, the company seems to be moving forward of late and progressing along with the city.


On Friday, February 20 at 7:30 PM Columbia City Ballet presented its third annual Body & Movement Explored series. This event is a departure from what the company typically performs. Starrett has said this is an experimental project for the dancers as well as emerging choreographer to see if it can bring in an audience, and one day be presented on a bigger stage.


It is always exciting to see dancers you have become familiar with onstage be able to share another part of themselves with the audience. Most of the choreography was by Columbia City Ballet dancers. This year marks the first time choreographers came from out of state and volunteered their time to create works, including Rachel Leonard, a freelance choreographer from Florida; Jenny Broe, Owner of StudioFX in Charleston; Kevin James of Smuin Ballet; and former CCB principal dancer, Wayland Anderson. The Columbia City Ballet choreographers included soloist Philip Ingrassia, and corps members Ashley Concannon, Amanda Summey, and Denis Vezetiu.


Mr. Vezetiu choreographed two pieces as well as co-choreographed one with Ms. Concannon. His most captivating was his pas de deux, "Walk," which showcased his incredible strength and control as he manipulated dancer Nadine Tetrick around his body. She never touched the floor, as he was always controlling her. Her port de bras reacted to him like movement through water. They were one body moving together creating something beautiful to Ludovico Einaudi's minimalist score.


Ludovico music was used in four different pieces, as well as other minimalist composers including Philip Glass and Zoe Keating. What is interesting is how these composers created an atmosphere and texture with their music, rather than becoming monotonous because of its repetitiveness, lack of dynamic contrast with only slight rhythmic and melodic variations.


Jenny Broe, one of the visiting choreographers, created an enthralling contemporary piece of work to an up-tempo, club remix version of Bryan Adams’ “Wicked Games.” The choreography was seamless throughout, creating a battle between the dancers as to who could out dance whom. There was no pause for the dancers who moved from one structure to the next in groups or in pairs. The dancers would enter or leave the arena by walking fiercely like runway models. The other stand out choreographer was Rachel Leonard, who choreographed the opening piece “Speak” as well as the finale “Garcons et das Filles et des Bancs”. The last piece was set to operatic music with four sets of couples divided by gender and sitting on benches. There were phallic movements and a titillating flirtation from the four girls and four boys making it humorous and engaging fun. The boys unfortunately, missed some of the musical cues that would've made her vision really come to life.


Starrett recently commented that this is an experimental show trying to find an audience and support. He choreographed a pas de deux, “All for You,” for real life married couple Ingrassia and Autumn Hill. It was a tongue and cheek country western, on the bayou piece with choreography familiar to anyone who has seen Starrett’s previous work. For the music he collaborated with Josh McCaa who is married to CCB principal, Claire McCaa. McCaa’s country western music and voice were great, but didn’t quite sync up to the choreography. Starrett’s work with CCB is typically classical story-line fairytale ballets, like CCB’s upcoming “Cinderella.” “All For You” gave Starrett a chance to try something on a smaller scale and in a less-serious mood. It might have seemed that Starrett was going for laughs at times rather than substance, but maybe the programming of a light piece provided a good contrast with the passionate and personal work of the other choreographers.


Amanda Summey's piece “Identity Crisis” was fresh and thought provoking. Hip-hop, with elements of contemporary ballet, the eight women were wearing red masks that covered the lower half of the face and wearing street clothes. With their faces covered, they had to rely completely on body movement for expression. The music used was just a rapper with no instruments, but the rap voices layered on top of each other, creating a vocalized rhythm. Summey is a poly-artist: a visual artist and sketcher, ballet dancer, choreographer, and theater graduate from Northwestern University, she brings graffiti street art and intellectualism to her work.


The dancers who stood out were the constant duo, Bonnie Boiter-Jolley and Claire Richards. They were in the most pieces but were always paired together. Although these two compliment each other physically – they are tall, slender and blond – it would have been nice to see them dance separately, for each brings her own versatility to the stage.


In the future, CCB should model this show after other workshops around the country by auditioning choreographers to present full-length works (20-30 minutes) so the dancers can get fully invested in the work. There are theaters that can host such an event, other than the informal black box, that won’t run up the cost as much as putting it on at the Koger Center would. Having a professional event at such an informal space has its downsides: there isn’t enough lighting to explore the space, and the sound was a little low, which in turn meant we could hear every step and breath taken on stage. I believe the Columbia arts community will support a mixed-repertory series. Body & Movement Explored should be expanded and promoted bringing one-act ballets of various lengths with plot-less rather than story line structures. I think the series could be artistically and fiscally viable.

The Beauty of Mixed Rep Ballet -- Body & Movement Explored next week at CMFA

Next week, from Tuesday through Friday nights, artists from Columbia City Ballet are stepping out of the studio and off of the Koger Center Stage to bring us a dance event the likes of which Columbia has not seen in a very long time.  Pure, clean, innovative dance that, rather than tell you a story as full-length narrative ballets typically do – shows you a story that you create with your own interpretations, reactions, and emotions as engaged and enlightened audience members.


We don’t get a lot of mixed repertory dance here in Columbia—Columbia City Ballet hasn’t done anything with mixed rep in years. We typically get it from USC and the amazing opportunities Stacey Calvert gives to her young dancers there; as well as the through-the-roof work that Thaddeus and Tonya Wideman-Davis do which few people ever hear about. (Seriously, how about advertising, folks? Let us work with you!) Columbia Classical Ballet has been more likely to offer mixed rep, but usually only via Life Chance which typically brings an excellent caliber of dancer in, but gives us the same old classical variations over and over. (My stomach turns every time I hear the opening notes to the male variation from both La Bayadere and Le Corsaire these days.)


But as Columbia dance audiences have grown to be more astute, more critical, more engaged in the dance they see, the demand for mixed rep has grown. We are ready to trust ourselves more as dance audiences; to go to the next level of engagement with dance. We don’t necessarily want to always read the storyline from ballets in our dance bills and we’re not that concerned about sets or costumes. We want the full experience of dance. We want to feel (if you’ll excuse my sentimentality) like we are on the stage ourselves, soaring through the air, moving through the music. The confines of story lines make it much more difficult to participate in the dance experience. Narrative ballets tell us stories, which is nice; but they talk to us – not with us.


I had the chance to talk to Columbia City Ballet company member Wayland Anderson about his choreography which is being featured, along with five others’, in next week’s performances, and this is what he said about mixed rep ballet, the shows next week, and the opportunity, as a dancer and choreographer to take part in this exceptional Columbia dance opportunity.


“A mix rep performance gives the audience several different perspectives or approaches to dance. It puts the audience in charge of forming their own ideas on what they experience. Full length ballets tend to utilize the boy meets girl and falls in love formula. In a mix rep show anything can happen.”

The ballets that are considered classics today were comments on their time when they were created. Mix rep shows give today’s choreographers an opportunity to speak on the world as they experience it. This process will keep the art form alive and relevant to today's generations. We must pass the torch to the next generation. It is similar to the cycle of life.”

“This opportunity has allowed me to embark on a journey with 12 amazing dancers. During the choreography process it was important that I allowed the dancers to shine through their interpretation of my movement. Together we will share our love for dance and present a ballet that honors our journey and honors the love ones that we have lost.


Wayland Anderson is a professional ballet dancer, teacher and choreographer with a Master of Fine Arts in Dance from the University of Maryland. Mr. Anderson is presently a dancer with Columbia City Ballet. He has performed soloist roles in William Starrett’s Nutcracker, Off the Wall and Onto the Stage: Dancing the Art of Jonathan Green, and he danced the principal role of Darius Rucker in the world of premiere of The Hootie and The Blowfish Ballet. His choreographic piece for next week is called The Survivors with music from Avro Part's Fratres.


Body and Movement Explored is a unique performance where the visual and physical collide created by Columbia City Ballet Dancers, local choreographers, and local artists in partnership with Jasper Magazine.  Body and Movement Explored will be held at the CMFA Art Space off of Pulaski Street. The $20 tickets can be purchased by calling the ballet offices at 803.799.7605.  Or via Brown Paper Tickets at  Buy Tickets Tuesday February 26 until Friday March 1 at 7:30 pm.