Dormeshia and friends swing out at The Joyce

Dormeshia
(photo: Eduardo Patino)

And Still You Must Swing
by Dormeshia
at The Joyce Theater
December 3-8

No hype. Dormeshia has been crowned Queen of Tap and, while some might find the notion of regal hierarchy in the arts a bit distasteful, there's no denying the evidence of one's eyes and ears. Mastery is mastery. Moreover, the refined ability of this artist to make and switch up minute mental/physical calculations with every passing microsecond qualifies her for superstardom. Go see And Still You Must Swing, one of Aaron Mattocks' great tap presentations at The Joyce this season. All hail the Queen.

Dormeshia's show, which premiered in Summer 2016 at Jacob's Pillow Dance Festival, teams her with veteran dancers and frequent running buddies, Derick K. Grant and Jason Samuels Smith, of whom we can never ever see enough. The tap firepower is strong with this endearing trio, as we've come to expect. But look who's also in the house: Camille A. Brown, top-notch performer and in-demand choreographer of contemporary and Broadway dance. Her unmatched embodiment of Black culture and legacy adds a distinct, dedicated underpinning of wokeness/awareness to this seamlessly entertaining show.

From left to right:
Derick K. Grant, Dormeshia, Camille A. Brown and Jason Samuels Smith
(photo: Christopher Duggan)

Jason Samuels Smith
(photo: Christopher Duggan)

And Still You Must Swing, a 75-minute suite of dances and musical interludes, has a tight, intermission-less structure with generous fun but no time for fluff. Choreographed and "improvographed" solos, duos, trios and quartets each aim, jump and achieve high spots you think can't possibly be topped, all supported by a vivacious jazz band as sumptuously warm as it is driven--musical director and pianist Carmen Staaf, drummer Winard Harper, bassist Noah Garabedian and percussionist Gabriel Roxbury. And the linkage between the lush, expressive fluidity of swing in dance and swing in music--and the roots of all this in Black experience and sensibility--comes across clearly without being forced. If you can't imagine why a djembe, the iconic West African drum, deserves to get a highlighted moment in the middle of a tap show, no one will get up and tell you. But just wait for Brown's solos; she channels the innovations of enslaved African taking back the power of intense vibration and rhythm, preserving and expressing this freedom through the body. Drums, you see, were forbidden to a stolen people but never truly silenced.

Brown adds outrageous gutsiness and quirk to Dormeshia's lineup. The charming bros--often bookending sleek, slithery Dormeshia--add hoofericious heft while dazzling us with the possibly limitless variety of ways heels, toes and sides of feet can ring changes on the meeting of metal and wood. Legs and feet fly like the digits of a 75 wpm typist.

Breathless, you eventually stop thinking How'd they do that? and surrender to your own connection to the music.

Good. They got ya.

Original music: Allison Miller and Dormeshia
Lighting design: Sue Samuels/Divine Rhythm Prod./Event Systems & Design Inc.
Costume design: Javier Pedroza

And Still You Must Swing continues through Sunday, December 8 (Wednesday, 7:30; Thursday and Friday, 8pm; Saturday and Sunday 2pm and 8pm). If any tickets remain--and that's chancy--grab them here. In the event of sold-out shows, there will be a ticket line for hopefuls starting one hour before curtain time.

The Joyce Theater

175 Eighth Avenue at West 19th Street, Manhattan

(directions)

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DISCLAIMER: In addition to my work on InfiniteBody, I serve as Senior Curatorial Director of Gibney. The postings on this site are my own and do not necessarily reflect the views, strategies or opinions of Gibney.

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"Raising The Bar" at New York's Tap Family Reunion

Last night, Da Super Villainz (top) put on a show
to honor jazz, tap and Bill "Bojangles" Robinson.
Photo: Courtesy of Billy Rose Theatre Division,
The New York Public Library Digital Collections 

Up in Harlem last night, the tap fam turned out for the signature event of the first annual Tap Family Reunion. Raising The Bar--created by formidable tap stars Dormeshia Sumbry-Edwards, Derick K. Grant and Jason Samuels-Smith--celebrated National Tap Dance Day, birthday of ancestor Bill “Bojangles” Robinson. Hosted Schomburg Center for Research in Black Culture, the show was cookin' like the first barbecue of Memorial Day weekend. People, without exaggeration, this was one of the best and hottest shows of New York's jam-packed season. Following a brief introduction by the three co-conspirators--they do call themselves Da Super Villainz--and a blessing from renowned Debbie Allen, the evening took off with the warm, sumptuous jazz of Igmar Thomas's quartet.

Intergenerational by design, the show mixed solo turns by well-respected entertainers like tap guru Brenda Bufalino, Maurice Chestnut (Bring in 'da Noise, Bring in 'da Funk) and Broadway's Karen Calloway-Williams with peppy ensemble numbers created for youngsters who brought refined training, charm and notable confidence. For this celebration of two American inventions--jazz and tap--the bar for rigorous thought and execution was raised especially high by Chicago's Star Dixon (M.A.D.D. Rhythms) and Nico Rubio (Tap Company 333). Bring us more from Chicago, please.

Grant, Sumbry-Edwards and Samuels-Smith never danced in the show. But I can tell you the two guys' resounding play-by-play and grunts of appreciation (and occasional disbelief) greatly enhanced my viewing experience. Presenters, take note: From now on, I always want to be seated directly in front of Grant and Samuels-Smith--and maybe not only for tap shows.

Featured performers: Antoinette Montague (vocals), Maurice Chestnut, Karen Calloway-Williams, Skip Cunningham, Nico Rubio, Star Dixon, Brenda Bufalino

Ensemble performers: Ciper Goings, Demi Remick, Destiny Delancy, Eric Decaminada, Jalen Saint Phifer, Jabu Graybeal, Maia Dumas, Naomi Funaki and Nakya Fenderson

Musicians: Igmar Thomas (Musical Director; trumpet); Jason Brown (drums); Zaccai Curtis (piano) and Luques Curtis (bass)

Upcoming Tap Family Reunion events include a day of classes today taught by tap greats at the Ailey Studios, a jam session at Swing 46 and much more. For the full schedule of events and ticketing details, click here.

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It's time to E-Moves again at Harlem Stage

Kyle Marshall
(photo: David Gonsier)

Spring's here and, with it, a fresh new season of E-Moves at Harlem Stage, featuring commissioned works by "emerging, evolving and established" choreographers of color, as writes E-Moves series curator Charmaine Warren.

Running from Fridays and Saturdays only, March 31 to April 8, the programming spans a range of interests--iconoclastic approaches to ballet to an innovative blend of Indian and contemporary dance. Choreographers include Francesca Harper ((y)ourstory : Chapter one, a work in progress), Parijat Desai (JustLikeThat), Kyle Marshall (Colored) and Leyland Simmons (Traffic).

E-Moves 18 also promises nightly “Pop-Up” performances by renowned artists such as tap dancer Dormeshia Sumbry Edwards and dancers from the Bill T. Jones/Arnie Zane Company.

“Pop Up” artists:

Friday, March 31: Dormeshia Sumbry-Edwards: Tap solo created & performed by Dormeshia Sumbry Edwards

Saturday, April 1: Ronald K. Brown/EVIDENCE: SHE IS HERE (2016), Choreography: Ronald K. Brown, performed by Annique Roberts.

Friday, April 7: Dance Theatre of Harlem: Movement 3, Love from VESSELS (2014), choreographed by Darrell Grand Moultrie, performed by Alison Stroming and Francis Lawrence.

Saturday, April 8: Bill T. Jones/Arnie Zane Company: VALLEY COTTAGE (1980/1981 revised in 2011)(excerpt), Choreographers: Bill T. Jones &  Arnie Zane, performed by Antonio Brown and I-Ling Liu.

E-Moves 18 schedule

Friday, March 31, 7:30pm

Saturday, April 1, 7:30pm

Friday, April 7, 7:30pm

Saturday, April 8, 7:30pm

Each program is approximately 90 minutes. For tickets & more information, click here or call (212) 281-9240 ext. 19 or 20.

Harlem Stage Gatehouse
150 Convent Avenue (at West 135th Street), Manhattan
(map/directions)


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Harlem's "E-Moves" spotlights emerging dancemakers

Tap artist Dormeshia Sumbry-Edwards
with trumpeter Igmar Thomas
in Jason Samuels Smith's Going The Miles...
(photo: Marc Millman)

The coziness up at Harlem Stage Gatehouse for last night's E-Moves opener was enhanced by Simone Eccleston's generous, frequent expressions of welcome and thanks. As Interim Director of Programming--replacing the now @large Brad Learmonth--Eccleston has much to uphold and to celebrate: a unique, beautiful home for the arts in Harlem, a strong international community of creators and performers, a history of events that have made and continue to make memories.

Of the four commissioned dances, Jason Samuels Smith's Going The Miles... deserves to enter venerable Harlem Stage history. You'll never go wrong featuring tap champs like Samuels Smith, Derick K. Grant and Dormeshia Sumbry-Edwards. But the combination of that triple-threat sonic powerhouse with the intimacy of the Gatehouse was mindblowing. The closeness offered the chance to watch, but never quite fathom, how six feet can split musical moments into flickering microseconds, lending the overall fabric of music a refined, shimmering texture. Grant loves, is especially adept at, small, unexpected delicacies. Collaborators Igmar Thomas--a masterful trumpeter--and bassist Alex Hernandez take a journey through a trio of Miles Davis works, from 1955-1963 contributing to one of the most satisfying musical performances of this or any season.

Although already world-renowned in tap dance, Samuels Smith joined the E-Moves lineup as an "emerging choreographer," mentored by Broadway's Ted Levy.  Okay. But what of his lesser-known colleagues on the Harlem Stage bill?

Davalois Fearon in Water, Thirst & Storm
with video art by André M. Zachery
(photo: Marc Millman)

Davalois Fearon--actually a frequent critics' favorite for her dancing with choreographer Stephen Petronio--is not new to the spotlight. But as she ventures out more as her own dancemaker, we can see a personal, introspective focus that tempers crowd-pleasing, quirky agility. In her and her dancers' movement for Water, Thirst & Storm--as well as a bewitching video by collaborator André M. Zachery--she puts a quiet, ritualistic beauty in the service of expressing nature's power and preciousness. The work shown here has been excerpted from her developing project, Consider Water, "inspired by domestic and global water issues, like water scarcity, water quality impairment and water-related natural disasters." Without seeing Water, Thirst & Storm within this bigger context, it's hard to know how those issues might be integrated into a work of performance, but the piece is a good introduction to Fearon's evolving aesthetic.

Laurie M. Taylor's entertaining Deeper, Higher reflects a fusion of influences from modern dance to Broadway to hip hop, from African to the Afro-affirmative work of Urban Bush Women. An abstract ensemble for five women, including Taylor, it has the uplift of a signature piece, an appetizer. You definitely want to know what Taylor and her shining dancers might do next.

To appreciate Desiree Godsell's WONDERLAND a GO-GO, you're best advised to let go and let the psychedelics take your mind. Otherwise you might not know where you are or why--particularly if you happen to be way younger than me. While not exactly my flavor, despite the era it evokes, WONDERLAND a GO-GO has theatrical audacity. Salsa dancer Elvis Collado performs with stellar presence, and Godsell, herself, overflows with daffy charm best seen in her "Little Surfer Girl" number. Again, for those of you young ones, that's the Beach Boys.

E-Moves continues through Sunday, April 9 with performances at 7:30pm. For information and tickets, click here.

Harlem Stage Gatehouse
150 Convent Avenue, Manhattan
(map/directions)

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Good medicine from Reagon and Dorrance at Lincoln Center

Toshi Reagon (standing) and some members of BIGLovely
at Lincoln Center Out of Doors at Damrosch Park
(c)2015, Eva Yaa Asantewaa

All of your friends were at The Blues Project last night at Lincoln Center Out of Doors, right?

I know that's right.

And they all tweeted and posted to Facebook and text messaged and Instagrammed. And maybe you were there, too. Most likely, you were. Maybe crowding that space between the seats and the stage, for the first part of the show, and dancing your ass off. So you already know what a celebration that was.

And that's how it goes these days. You don't need me to tell you. You probably don't need any critic.

And why would you need us anyway, since we're talking Toshi Reagon and Michelle Dorrance? And Derick K. Grant and The Empress Dormeshia Sumbry-Edwards? And Juliette Jones? And Allison Miller? If the collaboration between musician Reagon (with her band BIGLovely) and tap dance wiz Dorrance (with her Dorrance Dance troupe) hasn't become a sure bet by now, I don't know what has.

Opening the show with her crew, Reagon first called the audience to attention. Basically, she said everything boils down to the environment. Mess that up, and it doesn't matter who you are or where you are: We're all royally screwed. Don't vote for anyone who doesn't get that, who doesn't have environmental concerns top of mind.

"Taking care of the planet will unite all of us past our differences," she said before launching into a clap-along environmental anthem with folk and gospel gleaming through, silver and gold. "No tears will fall, no battle will call/You will miss the world you know...." The set moved on to propulsive, open-throated rock, irresistibly sinuous reggae, and much more--all the confident, stylistic interweaving for which Reagon is noted.

She got folks, young and old, up on their feet. "Don't you need to jump up and down? This is the medicine you need for the hard week we've been through," she said, as we thought about Sandra Bland, about Lafayette. "It's been a horrible week."

For medicine, she and her band brought "sunshine, still shining in the pouring rain," an optimism practiced in music without borders. In the second part of the evening, Dorrance teamed up with, and matched, Reagon and BIGLovely with her own cool blend of old and new across styles, races and genders.

The Blues Project--a suite of ensemble and solo pieces created by Dorrance, Reagon, Grant and Sumbry-Edwards--might be one of the most efficient ways to introduce your newbie friends to concert dance of any kind or to teach them, through subliminal means, what tap's all about. For sure, this is smooth, stress-free education at its finest, right in the middle of pure, nonstop entertainment by dancers giving their best. You see and hear the roots of tap in the African-Irish encounter; the virtues of both polished choreography and expressive improvisation; the comfort of the familiar paired with the kick of new angles and accents and timing; the pleasures of both refined, minimal details and expansive, rip-roaring energy. No filler, and not a bit of cornball to muck it up.

If you are one of the two or three people who did not make it to Damrosch Park last evening, make sure that you find your next chance to see the Reagon-Dorrance collaboration in action. Take your medicine.

Lincoln Center Out of Doors continues through August 9. For all the details and a schedule of events--from Joe Bataan's boogaloo to Afro-punk and Judy Collins--click here.

Where the blues brings joy: Dorrance and Reagon at the Schomburg

Tap maverick Michelle Dorrance
in The Blues Project, a collaboration
with singer-composer Toshi Reagon (rear, right),
curator of the Schomburg's Women's Jazz Festival

The Women's Jazz Festival, now in its 21st annual presentation by the Schomburg Center for Research in Black Culture, got off to an exciting start with the New York premiere of The Blues Project in the sold-out Langston Hughes Auditorium. Given its world premiere last summer at the Jacob's Pillow Dance Festival, the production is the marriage of two top-notch artistic entities--Dorrance Dance, the tap ensemble led by Bessie-winning choreographer Michelle Dorrance, and Toshi Reagon's marvelous band, BIGLovely. And if that's not enough, how about Derick K. Grant and Dormeshia Sumbry-Edwards adding their choreography and star-power?

Dorrance Dance in action
Up front: Elizabeth Burke (l) and Nicholas Van Young
Far left: Derick K. Grant
Center: Christopher Broughton
(photo: Bob Gore)

L-r: Claudia Rahardjanoto, Michelle Dorrance,
Demi Remick, Elizabeth Burke
and Dormeshia Sumbry-Edwards
(photo: Bob Gore)

The Blues Project opens with the steady BOOM-THUMP, BOOM-THUMP of Allison Miller's drumming. Dancers--dressed as if for a summery country romp--first creep out from the wings then quickly unpack Dorrance's signature moves: loose-limbed, broad, pelting, the entire body activated and engaged in addressing space. They charge and skim and gobble the stage in just a few happy bites. It's a distinctly American, idealistically American look and feel--indomitable, optimistic, on the upswing and culturally integrated--and one that Reagon's BIGLovely supports throughout the hour-long show with its own buoyant eclecticism, from blues to bluegrass, from swing and rockabilly to hard rock. The tightly edited hour--each cleanly-arranged number following close upon its predecessor--never strains a viewer's interest.

Some dancemakers go astray in their effort to prove that tap is respectably choreographic, not just improvisatory. Dorrance, though, demonstrates that she can more than handle the challenge of fielding a big, purposeful group in space and making an ensemble look intricately sharp and never, never ever cornball. No matter what era of dance or music she drops into, she and her talented and disciplined dancers come up with a vitalizing response, as do Reagon and her musicians. I might wish for fewer ensemble moments in The Blues Project--that's just me, folks--but the thrilling solos eventually balance things out, and then some.

Grant's solo is a model of workmanship of the feet akin to fine brushstrokes in the painting of a master, strokes that make you lean forward to look and gasp. His technique is breathtaking. Sumbry-Edwards brings authority and, yet continuous surprise, concentrating hard as if dance is a most solemn duty, and that's because it is. She renders herself transparent so that history flows through her. Her solo is--I'll just say it this way--populated. Reagon's spiritual, soulful "There and Back Again" (2010) lays out the mesh that Dorrance's solo will embroider in her deep-listening, thoughtful way, one of the most inspired and inspiring pieces I've ever seen her dance. This youthful dancer and choreographer truly represents tap's historic and enduring through line and signals its potential.

Dorrance Dance: Megan Bartula, Christopher Broughton, Elizabeth Burke, Michelle Dorrance, Eboni Edwards, Derick K. Grant, Claudia Rahardjanoto, Demi Remick, Dormeshia Sumbry-Edwards, Caleb Teicher, Byron Tittle, Nicholas Van Young, Ali Dietz

BIGLovely: Toshi Reagon (vocals, acoustic guitar), Adam Widoff (electric guitar), Ganessa James (electric bass), Juliette Jones (violin), Allison Miller (drums and percussion)

For information on upcoming Women's Jazz Festival events, now through March 31 at the Schomburg, click here. Hurry! Tickets go fast!

Schomburg Center for Research in Black Culture
515 Malcolm X Blvd, Manhattan

(map/directions)

Who won Bessies?

2012 New York Dance and Performance Awards (Bessies)

presented at The Apollo Theater

and hosted by Elizabeth Streb

October 15, 2012

Outstanding Production ("in large capacity venues--over 400 seats")

Event by Merce Cunningham
Park Avenue Armory

Outstanding Performer ("in large capacity venues--over 400 seats")

Silas Riener in Split Sides by Merce Cunningham
Brooklyn Academy of Music

Outstanding Production ("stretching the boundaries of a culturally specific form")

La Edad de Oro by Israel Galván
The Joyce Theater

Outstanding Performer ("stretching the boundaries of a culturally specific form")

Dormeshia Sumbry-Edwards "for sustained achievement in performance and her work with Jason Samuels Smith at The Joyce Theater"

Outstanding Production ("performed in a small capacity theater--under 400 seats")

Antigone Sr./Twenty Looks or Paris is Burning at the Judson Church by Trajal Harrell
New York Live Arts

Outstanding Performer ("performed in a small capacity theater--under 400 seats")

Omagbitse Omagbemi "for sustained achievement in the woks of Keely Garfield, Ralph Lemon, David Gordon, Urban Bush Women, and many others"

Outstanding Production ("in the context of the expanding field of contemporary arts, dance, and performance practice")

The Thank-you Bar by Emily Johnson
New York Live Arts

Outstanding Performer ("in the context of the expanding field of contemporary arts, dance, and performance practice")

Nicolle Mannarino in Devotion Study #1 by Sarah Michelson
The Whitney Museum

Outstanding Revived Work

The Shining by Yvonne Meier, presented by New York Live Arts
The Invisible Dog Art Center

Outstanding Visual Design

Doris Dziersk, set design for Blessed by Meg Stuart
New York Live Arts

Outstanding Sound Design or Composition

Flamme Kapaya and band for more more more...future by Faustin Linkyekula, The French Institute's Crossing the Line Festival
The Kitchen

Outstanding Emerging Choreographer

Rashaun Mitchell for NOX
Danspace Project

2012 Juried Bessie Award recipient

Souleymane Badolo
Awarded by 2012 Jury: Lar Lubovitch, Yvonne Rainer and Jawole Willa Jo Zollar

2012 Bessie Award for Lifetime Achievement in Dance

Paul Taylor

2012 Bessie Award for Service to the Field of Dance

Alice Tierstein

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Become a member of the New York Dance and Performance League. Email the bessies@gmail.com to find out how.

Jason Samuels Smith's tip of the taps to Charlie Parker

Read my Dance Magazine review of Jason Samuels Smith's tap show at The Joyce Theater. Click here.

And ignore that photo. All that hair is gone now. New summer look, I guess!

Startin' somethin'

Judy Hussie-Taylor's Danspace Project is going all out, busting out the pleasure, the humor, the joy. No shame in this, my friends, because in godawful times--which is definitely where we find ourselves now--we need to hold on to what's best about us as humans, or what's the point?

Dancer-choreographers Michelle Dorrance and Dormeshia Sumbry-Edwards are sharing a show--curated, with wicked glee, by David Parker--that explodes St. Mark's Sanctuary with the excitement of tap dance. I cannot say for sure that tap dance has never shown up at Danspace Project but, certainly, it has never shown up there quite like this.

So, first reason to go, if you can get in: Parker and his artists are making dance history. Second reason: If you don't know these two women--and, if so, where the hell have you been?--it's time to catch up with them. They be slammin'. There's Sumbry-Edwards, a paragon of authority and earthy glamour, the woman who taught Michael Jackson to tap dance and pays tribute to him here with her Blood on the Dance Floor ensemble. The punk-geek Dorrance, with her stylistic penchant for all things goofy, off-kilter and marginal, brings a fresh explorer's vision to dance-making within an art form with closely held traditions, and she's got serious chops as a dancer, too.

I insist that you become acquainted with young dancers like Cartier Williams (a mighty bantam) and Caleb Teicher (oh, my...what grace, what ease, what potential stardom) as well as rangy, mile-high Ryan P. Casey and his wonderful partner Elena Steponaitis who dance Dorrance's rag duet in Dorrance's a petite suite.

Tickets are sold out, but there's a waiting list! Check it out here.

Danspace Project
St. Mark's Church
Second Avenue and Tenth Street, Manhattan

Jason's angels rock The Kitchen

Let's keep this short and sweet, since you don't really have a lot of time to get tickets for Charlie's Angels, the tap dance production created by Jason Samuels Smith, given its New York premiere at The Kitchen. Curator Rashida Bumbray--who taps herself and has brought a wonderful tap jam to The Kitchen--seems intent on making this home for experimental arts a place to see a classic art swing out its juiciest experiments. Well, Samuel Smith's experiment--after three years in development--turns out to be a doozy.

The angels in question are celebrated tap dynamos Chloé Arnold, Michelle Dorrance and Dormeshia Sumbry-Edwards, and the Charlie in question is Parker. The mission? To faithfully tap out the notes and rhythms in Parker's bebop, no matter how devilishly fast and complex.

Do they do it? And how! They get it done, note for note, and with Arnold's irrepressible radiance, Dorrance's punkish footwork, and Sumbry-Edwards's mastery and elegance. And they do it, mainly, in high heels--backwards, forwards, side-to-side.

Highlight's include the trio's powerhouse opening ("Donna Lee"), freer-swinging audience faves like "Half Nelson (original take 2)" and "Cheryl," Sumbry-Edwards's flowing "Embraceable You," and the amazing closer, "Salt Peanuts."

The show also boasts excellent lighting by Sue Samuels, intricate, imaginative costuming by Gingie McLeod/Dindi Designs, spoken word by Craig 'muMs' Grant, and the delicious saxophone playing of Stacy Dillard in evocative interludes. Just under an hour, it moves so swiftly that, when it's over, you'll be left blinking in amazement.

So, get over there! There are two shows today: 3pm and 8pm. Here's the info/ticket link.

Dormeshia Sumbry-Edwards: Tap hostess with the mostest

Join critically-acclaimed tap dancer/actress Dormeshia Sumbry-Edwards for Open Floor & Open Mic Night at Camaradas El Barrio.

New York City's finest song and dance, featuring tap dancers accompanied by a live jazz band. Cover charge $7. Drinks and food for purchase. Kitchen open late.

Mondays, November 24 and December 29 -- 8pm to 11pm

Camaradas El Barrio
2241 First Avenue at 115th Street, Manhattan
212-348-2703

Presented by Camaradas El Barrio and Divine Rhythm Productions