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by Kathy Valin 02.20.2015 37 days ago
Posted In: Dance at 01:31 PM | Permalink | Comments (0)
 
 
oneway

Performance and Time Arts Series Hosts Original Production

Examination of unrequited love debuts this weekend at College Hill Town Hall

Performance and Time Arts (PTA), a project of Contemporary Dance Theater, is the longest-running performance art showcase in the city, but until this weekend it has never been host to a single production. One Way Road on a Two Way Street, an original multi-act examination by an all-female cast of unrequited love and its ramifications, debuts Friday and Saturday at the College Hill Town Hall. Producer, flugelist (yes, someone who plays the flugelhorn), dancer and choreographer Shakira Rae Adams reveals that the theme is derived from personal experience. “A certain woman has sparked this creation — someone very close to my heart,” she says.

Acts include spoken word, dance, live and recorded music, visual media and theater. A post-performance reception offers pastry treats from Oliver’s Desserts.

Adams, born in Findlay, Ohio, is an outgoing personality with a contagious smile who describes herself as an “outside-the-box nerd.” Her life so far has included pre-med and nursing studies, work as a doula (a person trained to assist in childbirth) and a trip to West Africa, from which she brought back the African dance techniques she uses to teach her own choreography. Oh, and she also designed and teaches a class on the dissection of the human body for kids 5-14.

“I found dance through jazz dance, and it’s help me keep my sanity,” Adams says. “I think music and science and dance all go together. Anyhow, it’s worked for me. I hope One Way Road on a Two Way Street inspires people to be more honest and open with their emotions, not to be locked down like the society we live in.” 

ONE WAY ROAD ON A TWO WAY STREET takes place at 8 p.m. Friday and Saturday at Contemporary Dance Theater Studios at College Hill Town Hall. More info: http://cdt-dance.org/1502pta
 
 
by Amanda Gratsch 02.13.2015 44 days ago
Posted In: Film, Dance at 11:26 AM | Permalink | Comments (0)
 
 
ctrl-alt-dance-film

Cincinnati Filmmaking and Dance Collide in 'Ctrl+Alt+Dance'

Local film premieres Friday-Saturday at Memorial Hall

Move over, movie theater chains. While several films open in theaters this weekend, there’s one you won’t find at AMC or other traditional movie joints. Reaching a following across the globe, the locally made independent feature film Ctrl+Alt+Dance will have its world premiere this weekend at Memorial Hall.

When an unemployed security software specialist takes an adventure with dance, the definition of courage is surely illustrated — and that’s what audiences can expect to explore. Inspired by the Lindy Hop Movement, producer Brian Crone and producer/director Gex Williams have worked side by side on this low budget independent film that has flourished and received widespread recognition in the dance community. Filled with swing dancing, passion and an unfolding romance, it’s the perfect flick for Valentine’s Day.

Gex Williams has worked on multiple professional film projects and served as the producer and Artistic director of SAC Family Theater in Lexington, Ky. CityBeat caught up with Williams and discussed the inspiration behind the film and the experience of starting out as a small independent project. 

CityBeat: Are you and Brian Crone both originally from the Cincinnati area?

Gex Williams: Yes, we both grew up in the Northern Kentucky area but we knew each other growing up. We went to high school together and made some feature films.

CB: How did your film Ctrl+Alt+Dance come about?

GW: I became an avid swing dancer in high school through college. I was aware of this film community throughout the world and no other movies catered to this kind of dance, so I was like, “Hey, I want to make a movie.” I actually wrote the initial script in 2011 but wanted to sit on it to get other projects under by belt.

CB: What was your initial inspiration for the film?

GW: In 2011 I wrote the script, sat on it, and decided to move forward with it. It has a phenomenal story and [Brian and I] reworked a ton of it in early 2013 as we wrote a fresh script together on this draft. The film had dancing, but we needed a story to carry it along. We knew we didn’t have the budget to hire a huge actor and to be solid in the entertaining experience for the audience members. And then we ended the film in summer in 2013 two years from the initial start of pre-production. It went full force in the beginning of 2014 and we’ve been cranking on it ever since. We’re really happy. With an independent film it’s very hard on a low budget and we had phenomenal team members and people.

CB: After a few offers to shoot the film across the country, why was it important for you to film it here in Cincinnati?

GW: There were a few producers who were interested in shooting it out there, but it was really important for us to shoot it in Cincinnati because we love it so much and we’ve traveled some for business and we loved going back to Cincinnati. It’s a great place to come home to and what it offers. The city holds phenomenal landmarks and has a variety of locations.

CB: What were some of your favorite spots to film?

GW: One of my favorite shots of the film was a beautiful shot at Roebling Bridge set up on the Kentucky side, and you see this beautiful river flowing underneath the city and is lit up. And we had other phenomenal locations like Memorial Hall, which is gorgeous on the inside.

CB: What are some prominent themes in Ctrl+Alt+Dance?

GW: Action overcoming fear. We really wanted to communicate that. We [Brian and I] started our own business after college, a full-time gig and there was fear in our own selves and others. We wanted to tell a story about this and the dance was a catalyst to show how that takes place in the film. It’s a great story and a really cute romance. The dancing is amazing and we encourage people to feel good about it and hopefully inspire them to take risks in doing that.

CB: I see that you had difficulty getting into large chain theaters. Tell me about your experience with that in regard to the film.

GW: I can’t fault them because it is different for an independent film to get the mass distribution that an A-list film would get because they don’t have the budget to hire famous actors like Morgan Freeman. For large theaters, it’s a risk to put their movie in there that they won’t have people to support it. It’s so cool that that we have it in countries like Russia and China and were blessed that it was quite strong. We aced that challenge and we knew we had a strong following so we wanted people to see it. So we ended up contacting theaters ourselves and said we’d like to run a campaign in your city so people buy tickets for a one-night premiere showing. A lot of theaters responded.

CB: With a following in more than 80 different countries, how did word of the film spread so quickly all before the world premiere next weekend?

GW: It’s never been showed, but Cincinnati will be the world premiere. Because the Lindy Hop Swing Movement is huge around the world in countries like Spain and London and it’s really quite astounding that a lot of them they really tuned in. Our main actors, their acting is amazing, they’re international dance champions. People were aware of them and interest grew. We worked hard and wanted this film to benefit the community all over the world and we contacted local groups and wanted the proceeds to go back to local communities. We felt so blessed by the support we received and reached a considerable percentage to help others.

CB: What were your initial expectations for the film? Did you expect it to reach the magnitude it did?

GW: We’re blessed in something that is not at all normal for a normal independent project. A lot of projects start out with a grandiose idea and get small and less feasible and it’s a reality check. It’s difficult. And we’ve been so blessed with the talented people and how it blossomed from day one. We said we’re going to do this no matter what. We had talent and it’s grown and we hope it will continue to grow.

CB: Once it started gaining success, did you get any opportunities later on from corporate theaters?

GW: We are just at the beginning of our public awareness. We’ve had interest from larger producers and we’re definitely exploring our options to get a wider distribution of it.

CB: What are your hopes for the film after the big world premiere at Memorial Hall?

GW: We’ve been working hard to deliver the film in a way for people to access. We wanted to work hard to continue to pave a way and find a way to show this film to anyone who wants to see it. We’ll be talking to distribution companies for a possibility of larger scale so we have the resources to get it out there.

Ctrl+Alt+Dance premieres Feb. 13 and 14 at Memorial Hall. More info here.

 
 
by Charlie Harmon 10.31.2014
Posted In: Dance at 10:35 AM | Permalink | Comments (0)
 
 
get4ld3zlbltjochcadargihyyxyf5rrsf_exhzg4ra

Cincinnati Ballet to Bring 'Peter Pan' to Children's Hospital

Ballet continues partnership with The Cure Starts Now

Cincinnati Ballet will be spreading their wish to inspire hope and enchantment in the community by broadcasting the 2 p.m. performance of Peter Pan on Nov. 8 to Cincinnati Children’s Hospital live from the Aronoff Center. Patients and their families who might otherwise miss the magic will now be able to experience the spectacular tale of the flying boy who never grows up — straight from their hospital room.

The Ballet recently came together again with The Cure Starts Now, a cancer research and awareness foundation they’ve been working with since 2009, to bring oncology patients at Children’s the third year of “Ballerina for a Day.” In this behind-the-scenes event, children and their families were offered a chance to see the background of the ballet world with makeovers, crafts, dancing and costumes. With the show streaming right to the comfort and safety of their rooms, they can now complete the full circle of the ballet experience by enjoying a live show.

Cincinnati Ballet has also invited Leah Still — the dance-loving daughter of Devon Still battling stage 4 neuroblastoma and who has brought a plethora of attention to organizations like The Cure Starts Now — to perform in the show with a walk-on role. If her parents and doctor give the go ahead, this would mark 4-year-old Leah’s debut in a professional stage performance.

This wondrous benefit for dozens of children marks an incredible collaboration by various members of the regional community. Unions have waived fees, Children’s has cooperated in arranging the broadcast and camera operators have donated the use of their time, talent and gear in order for this to be possible, according to Victoria Morgan, artistic director and CEO of Cincinnati Ballet.

Peter Pan hits the stage Nov. 7-9, with performances 8 p.m. Friday, 2 and 8 p.m. Saturday and 2 p.m. Sunday. Look out for an interview with composer and music director Carmon DeLeone in next week’s issue.

 
 
by Rick Pender 06.13.2013
Posted In: Theater, Dance, Visual Art at 08:42 AM | Permalink | Comments (0)
 
 
cirque

Cirque du Soleil's Quidam Is a Flight of Imagination

Onstage at Dayton's Nutter Center through June 16

Cirque du Soleil's classic show, Quidam, opens with Zoé (Alessandra Gonzalez), a bored little girl whose parents ignore her. We enter the world of her imagination when Quidam, a headless wanderer under an umbrella, hands Zoé his blue bowler hat. (This imagery will resonate with those who know the surrealist paintings of René Magritte, a 20th century artist whose paintings challenged traditional perceptions of reality.) Zoé's self-absorbed parents float away and we are transported to the magical reality of Cirque's physically astonishing performers.

The "world" presently inhabited by Quidam is Dayton's Nutter Center, on the campus of Wright State University, through Sunday, June 16. The show, which originated as a big top production (it spent several weeks in Cincinnati in August and September 2006 in a "grand chapiteau" on the Ohio River bank near the Suspension Bridge) is now an arena show, and it works beautifully in the Nutter. Five giant metal arches are used to suspend performers in mid-air, but you quickly lose sight of the mechanics thanks to the artistry, visual and musical, of Cirque.

To me, the greatest wonder — beyond the physical precision and discipline of Cirque's athletic artists — is the universality of shows like Quidam, which tour the world. (In a few months, this company will be performing in Europe, playing to audiences in cities including Vienna, Munich and London, where it has a month-long engagement at Royal Albert Hall.) The performers are ethnically diverse and the storytelling spans cultural boundaries: Wordless clowning (Quidam features a segment about making a silent movie that recruits a few audience members as "actors") is laugh-out-loud funny, and the ringmaster John (Mark Ward) borders on intentional incompetence in a way that endears him to the crowd even as he moves us from act to act without saying a word.

And what acts we see: German Wheel (a pair of man-sized double hoops containing a guy who rolls around the stage); Diabolo (spinning Chinese yo-yo's tossed high into the air from a string and caught); Aerial Contortion (Tanya Burka is an amazing silk contortionist, many feet above the stage); Skipping Ropes (using 20 acrobats); Aerial Hoops (three women spinning and pivoting through the air); Hand Balancing (incredible strength and flexibility by a woman on yard-high canes); Spanish Webs (five fellows on high, hanging and twisting on ropes); Statue (a mesmerizing performance by Yves Décoste and Valentyna Sidenko who slowly and powerfully balance in various positions); and finally Banquine (acrobatics). The latter section, Quidam's finale, uses 15 artists, launching tumblers high into the air and catching them. At one point they build a tower of four humans atop each others' shoulders. Each assemblage or toss seems more daring than the previous.

Quidam might be the product of Zoé's boredom, but the show expands imaginative horizons. It's definitely worth a one-hour drive from Cincinnati.
 
 
by Julie Mullins 09.15.2012
Posted In: Dance at 03:40 PM | Permalink | Comments (0)
 
 
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Cincinnati Ballet's 'New Works' Opens with Emotion

Contemporary new work's moments of stillness and quiet grab you and draw you in

The intense energy between Principal dancers Cervilio Amador and Janessa Touchet is so palpable you can feel it — even when their hands aren’t touching.

Their expressive duet in Heather Britt’s world premier “Opus 5.5” provided an inviting opening to Cincinnati Ballet’s annual Kaplan New Works season opener last Thursday evening.

The production offers a rare chance to see dance up close, as it takes place in the company’s home performance studio at the Cincinnati Ballet Center.

There’s nothing like watching live performance, but there’s something even more exciting and visceral about seeing the dancers glowing and their muscles flexing.

Full of emotion, Britt’s sweeping contemporary new work has the dancers really moving all over: across the stage in sculptural lifts, through the air in expansive leaps and extravagant extensions. But it’s really the rare moments of stillness and quiet that grab you and draw you in closer.

New Works’ stock in trade has always been pushing stylistic boundaries.

“It’s our R&D,” says Cincinnati Ballet CEO/Artistic Director Victoria Morgan. “We need to scare ourselves, to try things we’ve never done before.”

But this year is noteworthy for another reason: For the first time, all of the choreographers featured are female.

Dance-wise, the women also stand out in the spotlight this year more than usual. Though, as always, there are plenty of equally fine turns by the men as well.

Paige Cunningham Caldarella’s “Without Consideration,” the program’s most offbeat piece, presents a topsy-turvy look at social media and its pleasures and pitfalls.

Its five short sections comprise a modern dance piece cut with classical ballet. It’s by turns satirical, ominous and oddly compelling.

Clad in a lime green tee-shirt and a short, ruffled floral skirt, Corps de Ballet dancer Courtney Hellebuyck shines in her solo.

She attacks each movement with ferocious intensity. Her dramatic facial expressions and stage presence are spellbinding. She and the other four dancers appear equally comfortable switching between styles — instant, by instant — in this mash-up of ballet and modern. The women even manage to perform modern floor drops in pointe shoes.

A physical wall (think social media) covered in paper provides the backdrop and set piece. The dancers write on it, hurl themselves against it, and press into it. They connect and disconnect, or nearly connect with each other. But at times, they just miss, undulating away from each other. Individual gestures are repeated, such as one’s own hand suddenly turning the head and face away in a slo-mo sideways “slap.” It seems to suggest the struggle to turn one’s attention away from staying online all day.

Amy Seiwert, San Francisco-based Resident Choreographer for Smuin Ballet (where she was also a longtime dancer), has created a thoroughly delightful getaway world in her world premier modern ballet ,“Think of You Often.”

The weather is balmy. The light-colored clothing, designed by the Cincinnati Ballet Wardrobe Department, is carefree and casual. The women collectively become an ocean tide, even in their pointe shoes. Its feel-good soundtrack, music by the Swedish group Koop, delivers effusive swing and a touch of Latin flair.

Principal dancer Sarah Hairston warmly embraces her role, full of flirtation and feline sassiness. First two, then four men lift and sway her — and no doubt cater to her every need.

But don’t let the piece’s escapist playfulness belie its underlying choreographic sophistication. The partnering throughout is highly complex, original, and technically demanding.

In a most striking duet, Zach Grubbs and Jacqueline Damico make the most intricate sequences look as easy and natural as an ocean breeze.

Jessica Lang’s contemporary neoclassical work “La Belle Danse” (2007) presents a slightly quirky court dance of sorts. Set to a score of the likes of Handel and Mozart, it’s the sole work here that the Ballet has presented previously, in 2009.

It’s the most classical piece on the program — relatively speaking — yet unexpectedly it marks the only one where the women wear soft shoes.

Displaying a very different, more sacred type of passion in this role’s solo, Hairston demonstrates her versatility as  dancer, and a performer.

The large cast brims over with expressive dancing, filled with plenty of leaps, turns, waltzing… and conducting gestures.

Amador and Touchet rapid-fire their way through pirouettes and petit allegro galore. Although their style here sharply contrasts their opening duet, this superb pairing brings this production — one of the best New Works in recent years — full circle.




 
 
by Jac Kern 03.12.2012
Posted In: Dance, Arts community, Classical music at 11:56 AM | Permalink | Comments (1)
 
 
the+2010+namm+show+day+2+weuaxzj9jkpl

Cincinnati Ballet Announces 2012-2013 Season

Cincinnati Ballet today announced its 49th season schedule. Dance fans can expect an array of popular classics and exciting premieres for 2012-2013. The season kicks off Sept. 6 and runs through April 27, 2013.

The Kaplan New Works Series (Sept. 6-16, Cincinnati Ballet Center): This annual season opener celebrates new ideas and creative movement showcasing the female choreographer and focusing on local artists. This world premiere features dancers Amy Seiwert and Paige Cunningham, two SCPA alum, Director Heather Britt and choreographer Jessica Lang.

Alice in Wonderland (Oct. 26-28, Music Hall): After its world premiere with Washington Ballet, Cincinnati will be the first to jump down the rabbit hole with Alice & Co. Cincinnati Symphony Orchestra will perform Matthew Pierce's original score. Choreographer Septime Webre (Cincinnati Ballet's Peter Pan) and costume designer Liz Vandal (Cirque du Soliel) will create a wild world for Alice to romp through that will ignite the senses of audiences.

Frisch's Presents: The Nutcracker (Dec. 14-23, Aronoff Center): Victoria Morgan re-imagined the classic for 2011's world premiere, The New Nutcracker. This whimsical interpretation returns in 2012, complete with dancing cupcakes, flying bumblebees and a Sugar Plum Parade, where audience members will be invited to walk acrid stage and get a closer peek at the sets, costumes and dancers.

Romeo & Juliet (Feb. 14-16, Aronoff Center): Just in time for Valentine's Day, Shakespeare's romantic tragedy comes to life in a new way. Victoria Morgan blends classical dance with contemporary movement to capture audiences' favorite moments.

Prodigal Son with Extremely Close (March 22-23, Aronoff Center): Neo-classical choreographer George Balanchine comes to Cincinnati with his rendering of the classic parable about sin, redemption and unconditional love. On the same bill, Extremely Close is Alejandro Cerrudo’s thoughtful contemporary work. The performance opens on a stage of falling feathers, reflecting the delicacy and fluidity of movement, and connected throughout, punctuated by a surprising, thought-provoking ending.

Ballet Toybox (March 24, Aronoff Center): Designed to introduce children and families to the joy of dance, this performance delivers a mix of classic and modern favorites. Clocking in at less than 60 minutes, this "mini-performance" is an easy and affordable way to enjoy the ballet with the whole family.

Frampton & CB Come Alive (April 26-27, Aronoff Center): Legendary guitarist Peter Frampton will create a new work specifically for the performance and play live alongside choreography collaboration from Cincinnati Ballet and Exhale Dance Tribe.

New subscriptions and subscription renewals are now available at the Cincinnati Ballet Center (1555 Central Pkwy., Over-the-Rhine) or by calling 513-621-5282. Individual tickets to the following shows will be available July 22 at cballet.org.

 
 
by Jason Gargano 10.03.2011
 
 
emery-building-cincinnati

Emery Theatre Announces Restoration Plans

The Emery Theatre is finally on its way back. After years of dormancy, the 100-year-old Over-the-Rhine venue is in the midst of a restoration that will allow artistic endeavors of varying stripes to grace its stage.

The Emery Center Corporation Board and The Requiem Project — the nonprofit brainchild of Tara Lindsey Gordon and Cincinnati native Tina Manchise, a duo intent on restoring the Emery's historic legacy — announced over the weekend that the Emery has secured two architects to take on the renovation: locally based John Senhauser Architects, and Cleveland-based Westlake Reed Leskosky, a firm that specializes in opening closed arts venues.

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by Julie Mullins 08.23.2011
Posted In: Dance at 08:07 AM | Permalink | Comments (0)
 
 
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A Stellar Gala of International Dance Stars

You know it’s going to be a good Gala when you get chills down your spine within the first five minutes — the first act, no less. Marshall Davis, Jr.’s “Summertime in Cincinnati” kicked off a stellar show with his knock-em-dead tap dancing to the sounds of Lonia Lyle’s lovely vocals and Christopher Lyle’s electric bass. Gershwin’s “Summertime” has seldom sounded so good.

And the thrills kept coming. Aim cincinnati — aim stands for arts innovation movement, the organization formerly known as ballet tech Cincinnati — presented its 10th annual Gala of International Dance Stars at the Aronoff Center Aug. 13.

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by Steven Rosen 03.24.2011
Posted In: Funding, Visual Art, Theater, Classical music, Dance at 12:58 PM | Permalink | Comments (0)
 
 
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ArtsWave Samplers Draw Strong Crowds

ArtsWave has put out a very positive press release about the attendance for its first three Sampler Weekends, as well as information for the next three — including one this Saturday.

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by Julie Mullins 08.17.2009
Posted In: Dance at 03:23 PM | Permalink | Comments (0)
 
 
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Making Connections at the Gala of International Dance Stars

This past Saturday (Aug. 15) marked this year’s one-night-only installment of ballet tech cincinnati’s annual Gala of International Dance Stars at the Aronoff Center.

It was a night of connections. Connections are necessary for any performance worth its salt—both with the audience and amongst the performers. But when it comes to dance, connectivity arguably becomes even more central to success and enjoyment.

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by Kathy Valin 02.20.2015 37 days ago
Posted In: Dance at 01:31 PM | Permalink | Comments (0)
 
 
oneway

Performance and Time Arts Series Hosts Original Production

Examination of unrequited love debuts this weekend at College Hill Town Hall

Performance and Time Arts (PTA), a project of Contemporary Dance Theater, is the longest-running performance art showcase in the city, but until this weekend it has never been host to a single production. One Way Road on a Two Way Street, an original multi-act examination by an all-female cast of unrequited love and its ramifications, debuts Friday and Saturday at the College Hill Town Hall. Producer, flugelist (yes, someone who plays the flugelhorn), dancer and choreographer Shakira Rae Adams reveals that the theme is derived from personal experience. “A certain woman has sparked this creation — someone very close to my heart,” she says.

Acts include spoken word, dance, live and recorded music, visual media and theater. A post-performance reception offers pastry treats from Oliver’s Desserts.

Adams, born in Findlay, Ohio, is an outgoing personality with a contagious smile who describes herself as an “outside-the-box nerd.” Her life so far has included pre-med and nursing studies, work as a doula (a person trained to assist in childbirth) and a trip to West Africa, from which she brought back the African dance techniques she uses to teach her own choreography. Oh, and she also designed and teaches a class on the dissection of the human body for kids 5-14.

“I found dance through jazz dance, and it’s help me keep my sanity,” Adams says. “I think music and science and dance all go together. Anyhow, it’s worked for me. I hope One Way Road on a Two Way Street inspires people to be more honest and open with their emotions, not to be locked down like the society we live in.” 

ONE WAY ROAD ON A TWO WAY STREET takes place at 8 p.m. Friday and Saturday at Contemporary Dance Theater Studios at College Hill Town Hall. More info: http://cdt-dance.org/1502pta
 
 
by Amanda Gratsch 02.13.2015 44 days ago
Posted In: Film, Dance at 11:26 AM | Permalink | Comments (0)
 
 
ctrl-alt-dance-film

Cincinnati Filmmaking and Dance Collide in 'Ctrl+Alt+Dance'

Local film premieres Friday-Saturday at Memorial Hall

Move over, movie theater chains. While several films open in theaters this weekend, there’s one you won’t find at AMC or other traditional movie joints. Reaching a following across the globe, the locally made independent feature film Ctrl+Alt+Dance will have its world premiere this weekend at Memorial Hall.

When an unemployed security software specialist takes an adventure with dance, the definition of courage is surely illustrated — and that’s what audiences can expect to explore. Inspired by the Lindy Hop Movement, producer Brian Crone and producer/director Gex Williams have worked side by side on this low budget independent film that has flourished and received widespread recognition in the dance community. Filled with swing dancing, passion and an unfolding romance, it’s the perfect flick for Valentine’s Day.

Gex Williams has worked on multiple professional film projects and served as the producer and Artistic director of SAC Family Theater in Lexington, Ky. CityBeat caught up with Williams and discussed the inspiration behind the film and the experience of starting out as a small independent project. 

CityBeat: Are you and Brian Crone both originally from the Cincinnati area?

Gex Williams: Yes, we both grew up in the Northern Kentucky area but we knew each other growing up. We went to high school together and made some feature films.

CB: How did your film Ctrl+Alt+Dance come about?

GW: I became an avid swing dancer in high school through college. I was aware of this film community throughout the world and no other movies catered to this kind of dance, so I was like, “Hey, I want to make a movie.” I actually wrote the initial script in 2011 but wanted to sit on it to get other projects under by belt.

CB: What was your initial inspiration for the film?

GW: In 2011 I wrote the script, sat on it, and decided to move forward with it. It has a phenomenal story and [Brian and I] reworked a ton of it in early 2013 as we wrote a fresh script together on this draft. The film had dancing, but we needed a story to carry it along. We knew we didn’t have the budget to hire a huge actor and to be solid in the entertaining experience for the audience members. And then we ended the film in summer in 2013 two years from the initial start of pre-production. It went full force in the beginning of 2014 and we’ve been cranking on it ever since. We’re really happy. With an independent film it’s very hard on a low budget and we had phenomenal team members and people.

CB: After a few offers to shoot the film across the country, why was it important for you to film it here in Cincinnati?

GW: There were a few producers who were interested in shooting it out there, but it was really important for us to shoot it in Cincinnati because we love it so much and we’ve traveled some for business and we loved going back to Cincinnati. It’s a great place to come home to and what it offers. The city holds phenomenal landmarks and has a variety of locations.

CB: What were some of your favorite spots to film?

GW: One of my favorite shots of the film was a beautiful shot at Roebling Bridge set up on the Kentucky side, and you see this beautiful river flowing underneath the city and is lit up. And we had other phenomenal locations like Memorial Hall, which is gorgeous on the inside.

CB: What are some prominent themes in Ctrl+Alt+Dance?

GW: Action overcoming fear. We really wanted to communicate that. We [Brian and I] started our own business after college, a full-time gig and there was fear in our own selves and others. We wanted to tell a story about this and the dance was a catalyst to show how that takes place in the film. It’s a great story and a really cute romance. The dancing is amazing and we encourage people to feel good about it and hopefully inspire them to take risks in doing that.

CB: I see that you had difficulty getting into large chain theaters. Tell me about your experience with that in regard to the film.

GW: I can’t fault them because it is different for an independent film to get the mass distribution that an A-list film would get because they don’t have the budget to hire famous actors like Morgan Freeman. For large theaters, it’s a risk to put their movie in there that they won’t have people to support it. It’s so cool that that we have it in countries like Russia and China and were blessed that it was quite strong. We aced that challenge and we knew we had a strong following so we wanted people to see it. So we ended up contacting theaters ourselves and said we’d like to run a campaign in your city so people buy tickets for a one-night premiere showing. A lot of theaters responded.

CB: With a following in more than 80 different countries, how did word of the film spread so quickly all before the world premiere next weekend?

GW: It’s never been showed, but Cincinnati will be the world premiere. Because the Lindy Hop Swing Movement is huge around the world in countries like Spain and London and it’s really quite astounding that a lot of them they really tuned in. Our main actors, their acting is amazing, they’re international dance champions. People were aware of them and interest grew. We worked hard and wanted this film to benefit the community all over the world and we contacted local groups and wanted the proceeds to go back to local communities. We felt so blessed by the support we received and reached a considerable percentage to help others.

CB: What were your initial expectations for the film? Did you expect it to reach the magnitude it did?

GW: We’re blessed in something that is not at all normal for a normal independent project. A lot of projects start out with a grandiose idea and get small and less feasible and it’s a reality check. It’s difficult. And we’ve been so blessed with the talented people and how it blossomed from day one. We said we’re going to do this no matter what. We had talent and it’s grown and we hope it will continue to grow.

CB: Once it started gaining success, did you get any opportunities later on from corporate theaters?

GW: We are just at the beginning of our public awareness. We’ve had interest from larger producers and we’re definitely exploring our options to get a wider distribution of it.

CB: What are your hopes for the film after the big world premiere at Memorial Hall?

GW: We’ve been working hard to deliver the film in a way for people to access. We wanted to work hard to continue to pave a way and find a way to show this film to anyone who wants to see it. We’ll be talking to distribution companies for a possibility of larger scale so we have the resources to get it out there.

Ctrl+Alt+Dance premieres Feb. 13 and 14 at Memorial Hall. More info here.

 
 
by Charlie Harmon 10.31.2014
Posted In: Dance at 10:35 AM | Permalink | Comments (0)
 
 
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Cincinnati Ballet to Bring 'Peter Pan' to Children's Hospital

Ballet continues partnership with The Cure Starts Now

Cincinnati Ballet will be spreading their wish to inspire hope and enchantment in the community by broadcasting the 2 p.m. performance of Peter Pan on Nov. 8 to Cincinnati Children’s Hospital live from the Aronoff Center. Patients and their families who might otherwise miss the magic will now be able to experience the spectacular tale of the flying boy who never grows up — straight from their hospital room.

The Ballet recently came together again with The Cure Starts Now, a cancer research and awareness foundation they’ve been working with since 2009, to bring oncology patients at Children’s the third year of “Ballerina for a Day.” In this behind-the-scenes event, children and their families were offered a chance to see the background of the ballet world with makeovers, crafts, dancing and costumes. With the show streaming right to the comfort and safety of their rooms, they can now complete the full circle of the ballet experience by enjoying a live show.

Cincinnati Ballet has also invited Leah Still — the dance-loving daughter of Devon Still battling stage 4 neuroblastoma and who has brought a plethora of attention to organizations like The Cure Starts Now — to perform in the show with a walk-on role. If her parents and doctor give the go ahead, this would mark 4-year-old Leah’s debut in a professional stage performance.

This wondrous benefit for dozens of children marks an incredible collaboration by various members of the regional community. Unions have waived fees, Children’s has cooperated in arranging the broadcast and camera operators have donated the use of their time, talent and gear in order for this to be possible, according to Victoria Morgan, artistic director and CEO of Cincinnati Ballet.

Peter Pan hits the stage Nov. 7-9, with performances 8 p.m. Friday, 2 and 8 p.m. Saturday and 2 p.m. Sunday. Look out for an interview with composer and music director Carmon DeLeone in next week’s issue.

 
 
by Rick Pender 06.13.2013
Posted In: Theater, Dance, Visual Art at 08:42 AM | Permalink | Comments (0)
 
 
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Cirque du Soleil's Quidam Is a Flight of Imagination

Onstage at Dayton's Nutter Center through June 16

Cirque du Soleil's classic show, Quidam, opens with Zoé (Alessandra Gonzalez), a bored little girl whose parents ignore her. We enter the world of her imagination when Quidam, a headless wanderer under an umbrella, hands Zoé his blue bowler hat. (This imagery will resonate with those who know the surrealist paintings of René Magritte, a 20th century artist whose paintings challenged traditional perceptions of reality.) Zoé's self-absorbed parents float away and we are transported to the magical reality of Cirque's physically astonishing performers.

The "world" presently inhabited by Quidam is Dayton's Nutter Center, on the campus of Wright State University, through Sunday, June 16. The show, which originated as a big top production (it spent several weeks in Cincinnati in August and September 2006 in a "grand chapiteau" on the Ohio River bank near the Suspension Bridge) is now an arena show, and it works beautifully in the Nutter. Five giant metal arches are used to suspend performers in mid-air, but you quickly lose sight of the mechanics thanks to the artistry, visual and musical, of Cirque.

To me, the greatest wonder — beyond the physical precision and discipline of Cirque's athletic artists — is the universality of shows like Quidam, which tour the world. (In a few months, this company will be performing in Europe, playing to audiences in cities including Vienna, Munich and London, where it has a month-long engagement at Royal Albert Hall.) The performers are ethnically diverse and the storytelling spans cultural boundaries: Wordless clowning (Quidam features a segment about making a silent movie that recruits a few audience members as "actors") is laugh-out-loud funny, and the ringmaster John (Mark Ward) borders on intentional incompetence in a way that endears him to the crowd even as he moves us from act to act without saying a word.

And what acts we see: German Wheel (a pair of man-sized double hoops containing a guy who rolls around the stage); Diabolo (spinning Chinese yo-yo's tossed high into the air from a string and caught); Aerial Contortion (Tanya Burka is an amazing silk contortionist, many feet above the stage); Skipping Ropes (using 20 acrobats); Aerial Hoops (three women spinning and pivoting through the air); Hand Balancing (incredible strength and flexibility by a woman on yard-high canes); Spanish Webs (five fellows on high, hanging and twisting on ropes); Statue (a mesmerizing performance by Yves Décoste and Valentyna Sidenko who slowly and powerfully balance in various positions); and finally Banquine (acrobatics). The latter section, Quidam's finale, uses 15 artists, launching tumblers high into the air and catching them. At one point they build a tower of four humans atop each others' shoulders. Each assemblage or toss seems more daring than the previous.

Quidam might be the product of Zoé's boredom, but the show expands imaginative horizons. It's definitely worth a one-hour drive from Cincinnati.
 
 
by Julie Mullins 09.15.2012
Posted In: Dance at 03:40 PM | Permalink | Comments (0)
 
 
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Cincinnati Ballet's 'New Works' Opens with Emotion

Contemporary new work's moments of stillness and quiet grab you and draw you in

The intense energy between Principal dancers Cervilio Amador and Janessa Touchet is so palpable you can feel it — even when their hands aren’t touching.

Their expressive duet in Heather Britt’s world premier “Opus 5.5” provided an inviting opening to Cincinnati Ballet’s annual Kaplan New Works season opener last Thursday evening.

The production offers a rare chance to see dance up close, as it takes place in the company’s home performance studio at the Cincinnati Ballet Center.

There’s nothing like watching live performance, but there’s something even more exciting and visceral about seeing the dancers glowing and their muscles flexing.

Full of emotion, Britt’s sweeping contemporary new work has the dancers really moving all over: across the stage in sculptural lifts, through the air in expansive leaps and extravagant extensions. But it’s really the rare moments of stillness and quiet that grab you and draw you in closer.

New Works’ stock in trade has always been pushing stylistic boundaries.

“It’s our R&D,” says Cincinnati Ballet CEO/Artistic Director Victoria Morgan. “We need to scare ourselves, to try things we’ve never done before.”

But this year is noteworthy for another reason: For the first time, all of the choreographers featured are female.

Dance-wise, the women also stand out in the spotlight this year more than usual. Though, as always, there are plenty of equally fine turns by the men as well.

Paige Cunningham Caldarella’s “Without Consideration,” the program’s most offbeat piece, presents a topsy-turvy look at social media and its pleasures and pitfalls.

Its five short sections comprise a modern dance piece cut with classical ballet. It’s by turns satirical, ominous and oddly compelling.

Clad in a lime green tee-shirt and a short, ruffled floral skirt, Corps de Ballet dancer Courtney Hellebuyck shines in her solo.

She attacks each movement with ferocious intensity. Her dramatic facial expressions and stage presence are spellbinding. She and the other four dancers appear equally comfortable switching between styles — instant, by instant — in this mash-up of ballet and modern. The women even manage to perform modern floor drops in pointe shoes.

A physical wall (think social media) covered in paper provides the backdrop and set piece. The dancers write on it, hurl themselves against it, and press into it. They connect and disconnect, or nearly connect with each other. But at times, they just miss, undulating away from each other. Individual gestures are repeated, such as one’s own hand suddenly turning the head and face away in a slo-mo sideways “slap.” It seems to suggest the struggle to turn one’s attention away from staying online all day.

Amy Seiwert, San Francisco-based Resident Choreographer for Smuin Ballet (where she was also a longtime dancer), has created a thoroughly delightful getaway world in her world premier modern ballet ,“Think of You Often.”

The weather is balmy. The light-colored clothing, designed by the Cincinnati Ballet Wardrobe Department, is carefree and casual. The women collectively become an ocean tide, even in their pointe shoes. Its feel-good soundtrack, music by the Swedish group Koop, delivers effusive swing and a touch of Latin flair.

Principal dancer Sarah Hairston warmly embraces her role, full of flirtation and feline sassiness. First two, then four men lift and sway her — and no doubt cater to her every need.

But don’t let the piece’s escapist playfulness belie its underlying choreographic sophistication. The partnering throughout is highly complex, original, and technically demanding.

In a most striking duet, Zach Grubbs and Jacqueline Damico make the most intricate sequences look as easy and natural as an ocean breeze.

Jessica Lang’s contemporary neoclassical work “La Belle Danse” (2007) presents a slightly quirky court dance of sorts. Set to a score of the likes of Handel and Mozart, it’s the sole work here that the Ballet has presented previously, in 2009.

It’s the most classical piece on the program — relatively speaking — yet unexpectedly it marks the only one where the women wear soft shoes.

Displaying a very different, more sacred type of passion in this role’s solo, Hairston demonstrates her versatility as  dancer, and a performer.

The large cast brims over with expressive dancing, filled with plenty of leaps, turns, waltzing… and conducting gestures.

Amador and Touchet rapid-fire their way through pirouettes and petit allegro galore. Although their style here sharply contrasts their opening duet, this superb pairing brings this production — one of the best New Works in recent years — full circle.




 
 
by Jac Kern 03.12.2012
Posted In: Dance, Arts community, Classical music at 11:56 AM | Permalink | Comments (1)
 
 
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Cincinnati Ballet Announces 2012-2013 Season

Cincinnati Ballet today announced its 49th season schedule. Dance fans can expect an array of popular classics and exciting premieres for 2012-2013. The season kicks off Sept. 6 and runs through April 27, 2013.

The Kaplan New Works Series (Sept. 6-16, Cincinnati Ballet Center): This annual season opener celebrates new ideas and creative movement showcasing the female choreographer and focusing on local artists. This world premiere features dancers Amy Seiwert and Paige Cunningham, two SCPA alum, Director Heather Britt and choreographer Jessica Lang.

Alice in Wonderland (Oct. 26-28, Music Hall): After its world premiere with Washington Ballet, Cincinnati will be the first to jump down the rabbit hole with Alice & Co. Cincinnati Symphony Orchestra will perform Matthew Pierce's original score. Choreographer Septime Webre (Cincinnati Ballet's Peter Pan) and costume designer Liz Vandal (Cirque du Soliel) will create a wild world for Alice to romp through that will ignite the senses of audiences.

Frisch's Presents: The Nutcracker (Dec. 14-23, Aronoff Center): Victoria Morgan re-imagined the classic for 2011's world premiere, The New Nutcracker. This whimsical interpretation returns in 2012, complete with dancing cupcakes, flying bumblebees and a Sugar Plum Parade, where audience members will be invited to walk acrid stage and get a closer peek at the sets, costumes and dancers.

Romeo & Juliet (Feb. 14-16, Aronoff Center): Just in time for Valentine's Day, Shakespeare's romantic tragedy comes to life in a new way. Victoria Morgan blends classical dance with contemporary movement to capture audiences' favorite moments.

Prodigal Son with Extremely Close (March 22-23, Aronoff Center): Neo-classical choreographer George Balanchine comes to Cincinnati with his rendering of the classic parable about sin, redemption and unconditional love. On the same bill, Extremely Close is Alejandro Cerrudo’s thoughtful contemporary work. The performance opens on a stage of falling feathers, reflecting the delicacy and fluidity of movement, and connected throughout, punctuated by a surprising, thought-provoking ending.

Ballet Toybox (March 24, Aronoff Center): Designed to introduce children and families to the joy of dance, this performance delivers a mix of classic and modern favorites. Clocking in at less than 60 minutes, this "mini-performance" is an easy and affordable way to enjoy the ballet with the whole family.

Frampton & CB Come Alive (April 26-27, Aronoff Center): Legendary guitarist Peter Frampton will create a new work specifically for the performance and play live alongside choreography collaboration from Cincinnati Ballet and Exhale Dance Tribe.

New subscriptions and subscription renewals are now available at the Cincinnati Ballet Center (1555 Central Pkwy., Over-the-Rhine) or by calling 513-621-5282. Individual tickets to the following shows will be available July 22 at cballet.org.

 
 
by Jason Gargano 10.03.2011
 
 
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Emery Theatre Announces Restoration Plans

The Emery Theatre is finally on its way back. After years of dormancy, the 100-year-old Over-the-Rhine venue is in the midst of a restoration that will allow artistic endeavors of varying stripes to grace its stage.

The Emery Center Corporation Board and The Requiem Project — the nonprofit brainchild of Tara Lindsey Gordon and Cincinnati native Tina Manchise, a duo intent on restoring the Emery's historic legacy — announced over the weekend that the Emery has secured two architects to take on the renovation: locally based John Senhauser Architects, and Cleveland-based Westlake Reed Leskosky, a firm that specializes in opening closed arts venues.

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by Julie Mullins 08.23.2011
Posted In: Dance at 08:07 AM | Permalink | Comments (0)
 
 
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A Stellar Gala of International Dance Stars

You know it’s going to be a good Gala when you get chills down your spine within the first five minutes — the first act, no less. Marshall Davis, Jr.’s “Summertime in Cincinnati” kicked off a stellar show with his knock-em-dead tap dancing to the sounds of Lonia Lyle’s lovely vocals and Christopher Lyle’s electric bass. Gershwin’s “Summertime” has seldom sounded so good.

And the thrills kept coming. Aim cincinnati — aim stands for arts innovation movement, the organization formerly known as ballet tech Cincinnati — presented its 10th annual Gala of International Dance Stars at the Aronoff Center Aug. 13.

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by Steven Rosen 03.24.2011
Posted In: Funding, Visual Art, Theater, Classical music, Dance at 12:58 PM | Permalink | Comments (0)
 
 
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ArtsWave Samplers Draw Strong Crowds

ArtsWave has put out a very positive press release about the attendance for its first three Sampler Weekends, as well as information for the next three — including one this Saturday.

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by Julie Mullins 08.17.2009
Posted In: Dance at 03:23 PM | Permalink | Comments (0)
 
 
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Making Connections at the Gala of International Dance Stars

This past Saturday (Aug. 15) marked this year’s one-night-only installment of ballet tech cincinnati’s annual Gala of International Dance Stars at the Aronoff Center.

It was a night of connections. Connections are necessary for any performance worth its salt—both with the audience and amongst the performers. But when it comes to dance, connectivity arguably becomes even more central to success and enjoyment.

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