For the opening piece, festival host, Kinetic Junglist Movement (KJM), performs a very intriguing work of movement invention enhanced by some creative costume designs as the dancers’ human faces are masked and their bodies are covered from head to toe in shimmery insect-like bodysuits with thin finger extensions that appear like long needle-like appendages.  Choreographed by Amy Secada, this piece details the metamorphosis of a Cicada, an insect known by it’s clicking sounds and ability to molt, shedding it’s shell.   Combining yoga, capoeira, and some acrobatic movements, about 80% of this fifteen minute piece is done on the floor.   No lazy dancers here, dancers roll, balance, and pause in deep squats, and at some points, burst up into the air in eclectic jumps with a sort of creepy yet ethereal undertone.   So much demanding floor work, you would think the dancers have knees of steel!   Although a bit lengthy and somewhat repetitive, the metamorphosis is absolutely captivating. 

Purely a stand-out in the program is the multi-talented performer, Monstah Black, who really knows how to  demand attention from an audience.  He sings one of his songs, "Black Like Jesus," a fan favorite, fusing in his own very dynamic movement style as he covers the entire space solo with his quick turning leaps and soul slithering, black glama flair.  One thing great about Monstah Black is that he truly is a seasoned, professional performer in that he has mastered the art of captivating an audience, knowing when to move fast and when to be still, when to scream and when to whisper.  Bravo!

The pick-me-up of the evening goes to a performance by Princess Lockeroo and Akim Funk Buddha presenting an "Urban Opera" interpretation of the famous habanera from Carmen.  Whacking, vogueing, and some locking and jazz dance fuse together to create a comical scene heightened by a dazzling chorus of "full-out" dancers. 

Spinnin Ronin Martial Arts Dance Theater entertains with a comical story ballet complete with a menacing Samurai, flashy swords, and fight choreography worthy to be seen in the next Jet Li movie.  In an awesome battle scene with the very tall Kei Yokoyama, watch out for their underdog, the petite heroine, Pai Wang, as she is a hot one with her Samurai sword in hand flowing through the very acrobatic fight choreography with fury and ease.  Although lengthy for a one night multi-act filled festival, the performance successfully blends dance, martial arts, and choreographed fight moves with a delightful beginning, suspenseful climax, and an end.  For a dance show, Spinnin Ronin, with its martial arts fused movement and exciting fight expertise, is a welcome addition to a mostly modern/jazz fusion dance festival.

Of course, we can’t ignore the grand finale:   the energetically uplifting and thoroughly entertaining Babacar M’Baye & Co. presenting a Sabar, (Senegalese dance and drumming style).  Because of its innate spiritual nature, Babacar M’Baye’s Sabar is a reminder to the audience of the folklore focus of the evening.  A grand demonstration of skill and tradition, Babacar M’Baye proves to be a fantastic way to end an evening and of course, a great instigator to incite audience members to jump to their feet to dance the night away.

Overall the evening is very eclectic and full of various genres including an intergalactic geisha named Yozmit, who gradually strips on stage while singing to reveal levels of fake body parts…  the private ones!  There is no disclaimer or announcement to the audience so many are scrambling to cover the eyes of children.  Also on the program is an inspiring poem and vocal performance from Micah Blacklight, a musical performance from Le Soul Afrique, and an Afro Brazilian dance performance from Ginga Da Bahia.  However, in my search for the connection between the performance material and the festival’s mission, to "breathe new life into ancient traditions" by showcasing artists who utilize the folkloric arts and fuse these forms with contemporary styles, the presentations come up short. There is folklore and there is fusion, but only some pieces accomplish the festival’s mission.  All in all, while I leave St. Mark’s Church a bit unclear, the performances by these young performers possess promising skill and engaging entertainment.  I am proud.

iDANZ Critix Corner
Official Dance Review by JoiLynn
Contributing Editor:  Candice Rox
Performance:  KJM Presents…  Urban Roots Project
Venue:  St. Mark’s Church, New York City
Show Date:  October 3, 2010
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The show opens with video footage of hip hop dance dignitary Ken Swift, of course, and each dancer is posed on a wooden panel, which the dancers manipulate throughout the show, creating interesting and clever scenery and scenarios.  What an excellent usage of props, as I almost forget that the only thing on the stage is the dancers and the panels… 

The show progresses into the dancers explaining to the audience how it felt when they first saw Ken Swift dance.  At this time, a very interesting part of the show emerges as the dancers view footage of Swift along with the audience, and then stop the tape to execute signature moves or steps that Swift originated.  There are very informative parts of the show that I appreciated as it isn’t a show that "pimps" the art of break dancing as most mainstream and many other shows do.  It’s way more than that…  It’s an exceptional, comprehensive work that isn’t necessarily about the obvious tricks that anyone can identify, but about the art of break dancing and its many components.  

At one point, it is stated "to be a good b-boy or b-girl, you gotta have footwork."   I want to yell out "THANK YOU!" because there are so many intricacies and nuances to break that so often, unfortunately, these skills get overlooked for power moves.  The dancers swivel, roll, dove, spun, and sort of tease the audience because they obviously are powerhouses.  Their individual personalities and passions are also interwoven into the show as they explain to the audience what inspires them to break. 

Ken Swift Solos represents not only a show honoring a legend but, one that informs about and honors an art form.

Photography by Yi-Chun Wu

iDANZ Critix Corner
Official Dance Review by JoiLynn
Performance:  olive Dance Theatre
Venue:  Hip Hop Theater Festival @Dance Theatre Workshop
Show Date:  Saturday, October 2, 2010
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Produced by Jared Grimes and Cheryl Cutlip, the performance displays the work of a fresh scoop of young, talented performers in the industry performing innovative works of their own or by other talented artists.  What makes Broadway Underground such a stand-out production is that they really get to the heart of entertainment (rather than just skimming the surface-like most shows of this kind).  Hell, they even have their own band keeping the beat throughout the show and hypnotizing you with a theme song that you leave the theater singing at least for the next two hours.

The show opens with a hot hip-hop and tap fusion choreographed by Jared Grimes. This high-energy piece set to the deconstructed car sounds of Wade Robson’s I Question Mark is full of tight technique, syncopated rhythms, and an unforgettable tap solo.  But this is just one of Grimes’ three pieces for the evening.  In Ladies Throwdown, performed by the wonderfully versatile dancers of Tadah, these women really go hard in this sick tap number that displays their precision in sound, timing, and technical prowess. Grimes and Tadah are definitely a talent to watch out for.

Next up we meet Jay Stanton in his performance of Ray Mercer’s The Music In My Head.  Given the size of the stage and length of Stanton’s legs, I must admit that I was a little nervous about the ambition of the piece at first.  However, Stanton moves with a liquid musicality, seamlessly balancing Mercer’s contemporary and funk styles.

Juson Williams and company grace the stage in both the first and second half of the evening singing their soulfully witty rendition of classics For the Love of You and Lonely Avenue.  Expect the unexpected with Williams.  The level of his artistry allows him to take risks and use improvisation in a way that leaves you thinking one thought…WORK!

Speaking of musical artistry, William Johnson and the Drumatics blow up the stage at the end of the first half with a set of rhythms that make you want to get on your feet. This unbelievable all-male band dominates the trumpets, saxophone, djembe drums, and even paint buckets. That’s right William Johnson was drumming on paint buckets. Now that’s talent!

Now, my favorite and closing act of the evening is the BU Session, an open stage portion of the evening where artists in the audience are welcomed onstage to freestyle whatever talent they wish to share. What is most inspirational about this moment is seeing the diversity of races, generations, gender, and talent showcased.  There are even kids up there holdin’ it down right next to their teachers and mentors.  The session ends with two lengthy yet mind-blowing tap solos by Jared Grimes and Dewitt.  This pair, who also are the hosts of the show, delightfully serve as comic relief throughout the evening, and, putting all jokes aside, successfully leave the audience with a lasting impression of what "Broadway Underground" is really all about.

I’m not sure about when we will see this group again, but what I do know is that they will have a sold out house leaving you fully satisfied, and, I will make sure that I’m there again!  Broadway Underground: revolutionizing the definition of entertainment in New York City.  Go see them!

iDANZ Critix Corner
Official Dance Review by Simone Sobers
Performance:  Broadway Underground
Choreography:  Jared Grimes, Ray Mercer, Juson Williams,Tadah, William Johnson and the Drumatics, Dewitt, BU Band, Adam Shenk, Reggie
Venue:  B. B. Kings
Show Date:  Monday, July 5, 2010

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With feet from another galaxy, Savion poses the question, "Can you see sound?"  Sound had better stock up on Red Bull before meeting the likes of Savion Glover’s fast and furious feet…   They move at light speed!

Act one begins with an intergalactic soundtrack and backdrop.  Mr Glover, facing upstage for a good five to ten minutes, jams away.  Instantly the focus in on the sound.  We don’t see his face, yet, I am transfixed.  Savion Glover has me at hello.

He is understated, donning a loose t-shirt with tuxedo pants.  Savion is comfortable right there on the stage in his tap boots.  He is comfortable in his own skin.  The effortless manipulation of tap sound is interwoven with spoken word by Savion, (who has a remarkable voice by the way).  He even kills the lights and dances in the dark, further highlighting his magical beats.  This first half of the show is heavily in remembrance of those great, pave-making tappers, highlighting the improvography of such legends as Jimmy Slyde and Gregory Hines.

Act two is futuristic, comical, sassy and jamming.  Although there are some truly extraordinary moments,  I am just not as fond of the second half as nearly as much as the first.  Unfortunately, some of Savion’s less-experienced counterparts fall flat.  The costumes are fiercely outlandish and say, Project Runway; however, based on performance alone, let’s just say that… some models may need to be sent home.  Fortunately, this is not true of Mr. Glover and his two main men, Marshall Davis Jr. and Maurice Chestnut who are all powerful and technically aggressive.  Dance ya’ll…  Savion rocks Jay-Z level swagger!

Although the corny dance-off session and an anti-climactic ending does little for me, I still leave completely dazzled by the mastery and artistry of Savion Glover, a brilliant man who marches to the beat of his own drum. 

To hear the exclusive iDANZ interview with Savion Glover, CLICK HERE.

iDANZ Critix Corner
Official Dance Review by Martine Quigley
Performance:  Savion Glover’s "Sole Power"
Venue:  The Joyce Theater
Date:  June 28, 2010
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This week at Dance Theater Workshop (DTW), Brazilian dance company Grupo de Rua ties together hip-hop, breakdancing, Capoeira, and modern dance in a virtuosic, yet sincere investigation of street dance.

Choreographer Bruno Beltrão brings much more than his company of nine male dancers to New York City; he transports the less glamorous, but perhaps more impressive, side of Brazilian street dance to the DTW stage.

Highly energetic and physical, Beltrão’s evening-length work “H3” never loses its connection to sub-culture of street dance, the practice halls and pavement where movement is generated and mastered long before being presented in public. H3 offers a look into the personal side of a very extroverted dance form. Beltrão avoids the expected competitiveness of break dancing: the taunting, the raising of noses, and the self-congratulatory signal for applause. Instead, his dancers breathe heavily and drink from plastic water bottles as they sit and take breaks in clear view of the audience. He acknowledges the process of practice and revels in repetition.

Throughout H3, Beltrão uses the reoccurring movement theme of running backwards to display the experience and skill of his dancers. With each running lap the dancers make of the stage, the audience watches in wonder at the sheer force of their curving patterns.

Just as ballet technique relies on a foundation of simple small steps, street dance has a similar reliance on core mechanics, but these mechanics are pedestrian movements most readily available- walking and running. Instead of focusing on flashy inverted freezes or head-spins, Beltrão looks at the root of the phenomenon of street dance- at the preparation before the trick; he isolates the running start.

Another clear distinction between Grupo de Rua’s H3 and a hip-hop show is the choice of music. Instead of using loud and pounding popular hip-hop or techno, Beltrão allows the movement to set the pace of the performance. The first fifteen minutes of the dance is performed to a soundtrack comprised of faint street sounds (cars, shoes on the pavement etc.). At times, these noises are so subtle and quiet they could be confused for the sounds outside the building of Chelsea, NYC leaking into the theater.

During this first section, flat frontal lights illuminate the downstage area of the stage, while the upstage is left in darkness. The dancers open the piece by dancing close to the audience, basking in the same light as the forefront theater seats as if not performing, but simply sharing. Later in the piece, the entire stage is lit by cold overhead lights and strips of florescent bulbs that resemble a basketball court or perhaps a community center where street dancers in Brazil might practice their skills. The Marley is clearly Grupo de Rua’s own floor, carried with them on tour. Countless scuff marks from the dancers’ hip kicks reminds the audience that the company is proud of what it has been through and not afraid to show the nitty gritty parts of what they do.

Grupo de Rua charges backwards with large strides and simultaneously pushes street dance forward with new possibilities of being seen as artistry, not just tricks. Stripped of flashing lights, competitive theatrics, and heart pumping music, street dance with Grupo de Rua has an even truer soul. With Bruno Beltrão’s direction, this company also has a future on the modern dance stage.

iDANZ Critix Corner
Official Dance Review by Tze Chun
Performance: Grupo de Rua
Choreography: Bruno Beltrão
Venue: Dance Theater Workshop, New York City
Performance Date: February 21, 2010
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MSF/Doctors Without Borders has been working in Haiti for 19 years, most recently operating three emergency hospitals in Port-au-Prince, and is mobilizing a large emergency response to the Haiti/earthquake disaster.

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"Freestyle is the art of self discovery. Breaking away from imitating to

One of my favorite sections, Once Upon a Time, led by Lindsey "OUTTHERE" Blaufarb, mimics a circular assembly line as dancers representing different robots move around the line and manipulate her.  We see a lot of "roboting" and mannequin in hip-hop, as it is a derivative of styles that came out of poppin’; I particularly enjoy this section for it cleverly mixes this style with a thematic presentation.  OUTTHERE just "kills" her isolations with such exciting intricacies in the choreography…  She’s amazing!  Kudos also go out to stand-out, John “JROCK” Nelson, who delivers some of the sickest robotic moves in the business.  Holla!

Lunch Break takes place when one of the dancers in the story is faced with finding a job, and facing the realities of the obstacles standing in the way of his dance career.  The dancer/actors manipulate boxes around, throwing and spinning them until the “boss” comes in (played comically divine by Richard "STEELO" Vazquez)…  causing them to quickly stop dancing and get back to work.  The actors do a hilarious job!  Whoever said dancers can’t act?  Finally, the boss joins in and a "breakin’ fest" begins.  Hot!

Another scene, entitled The Audition captures “a dancer audition” on-the-nose …and often when everybody laughs, I think to myself, "They don’t even know the half of it!”  The characters at the audition are a "girly girl" or "strip-hop" dancer, a musical theatre or jazz dancer ridiculed for being at a hip hop audition, and a girl who hits the movement too hard… a hilarious realistic touch!  Mistakes are even choreographed into each dancer’s act, a small detail that probably is unnoticed to the untrained eye!

Other stand-outs to this production is Julie "LADY JULES" Urich, who is one of the illest b-girls on the scene, and Daniel “CLOUD” Campos.  Lady Jules’ skills are really incredible; no doubt, she is strong and really has that "power freestyle" to hit her moves head-to- head to even to the best b-boy on the block.  She is so good that I would have loved to see her even more featured in the show.  Cloud (one of the leads in the show), quite simply, is the "The Truth."  His skills are MAJOR.  He flips, then hits,… goes from smooth, a slide, a turn, a jump tour, then a freeze without blinking.  In other scenes, he has a brilliant ability to put "presence" into the contemplative, more silent moments opening the audience to connect with his story with sincerity.  When Cloud dances, there is a glow literally around his body that excites the audience no matter what he does.  Only a true artist has that glow.  He’s a gift to the hip hop/freestyle world.

Amongst all the dancers, one of the most genuine and inspiring dancers to watch drop his grooves is Steven "Boogieman" Stanton.  He moves like butta and takes his time. His hits are nothing less than crystal clarity and definitely his presence and style show a link to old school hip hop in its purest form.  I do have to commend Steven "Boogieman" Stanton for rockin’ the entire show with a walking cane to support his leg trauma from a spinal cord injury!  Yes, the entire show!  That’s commitment, ya’ll… That is enough to teach all of us dancers to shut up and stop complaining!

It’s no surprise that these dancers have worked professionally in L.A., as they dominate the balance between entertaining and playing characters.  Although the show is very dynamic, I would have liked to see more originality and risk in the thematic ways that the story is told.  For Hip Hop Dance to break into the world of touring conceptual shows, more depth and range of aesthetic and perception needs to be coupled with those neck-breaking head-spins.  Can anyone say back flips landing on the elbows?  (Ouch!) Ivan Velez (aka Flipz) even flips off the back balcony – at least 8 feet high! 

All in all, if you want to see illest, most wicked skills of some of the best freestyle b-girls and b-boys on the planet, go see the Groovaloos.  Groovaloo is hot show, and an excellent step forward in hip hop and break dancing on the world stage.

Groovaloo runs December 1, 2009 through January 3, 2010 at Union Square Theatre, New York City.

iDANZ Critix Corner
Official Dance Review by JoiLynn
Editorial Contributions by Candice Rox and Sheena DiMatteo
Performance: Groovaloo
Venue: The Joyce Theater  New York City
Date: Tuesday, September 15th, 2009
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In the heart of the meatpacking district of Manhattan, where all the club crawlers go, is Club Cielo.  Upon entering, you may believe you have walked into any other chill dance place- stylish decor, hip vibe, and efficient bartenders.  House music is flowing, everyone is bumping and grinding along with it.  Then, what you thought was the coat room suddenly comes alive with beautiful women peaking through the glass.  You can’t see much, but are immediately awestruck by their presence, commanding your attention and stirring your curiosity.  You want to see more and are soon rewarded as the dancers file out onto various sections of the dance floor.  You feel swept away by the wave of music created by the combination of club dance music and live African drumming.

Club Cielo is hosting the fabulous dance performance of “Terre” presented by POON Productions on select Sunday nights.  It’s a dazzling show of dancing and music that blossoms within a fun club atmosphere.  The dancers are powerful, executing the flashy choreography with style and finesse.  Through different styles of dance and accompanying costume changes, the dancers connect the audience with tribal rhythms and modern day entertainments. A drummer approaches the dancers who respond with Afro-Cuban dance moves, booty-popping, and grinding. 

Like young fashionistas, the dancers strut their svelte physiques in sheer fabric, then suddenly drop into a deep lounge.  Three females appear in their little black dresses, out for a night on the town.  They put on a display of modern-day, attract-a-mate behavior, sampling intoxicating beverages.  Soon the ladies are spilling liquids and dresses are coming off!  This segment is actually sexy, a sort of fantasy for bar onlookers, yet offers glimpses of how such stumbling drunk is an unattractive excess of such behavior.  Dancer Christina Johnson is particularly captivating; her focused stage presence is uninhibited by the close proximity of the audience. 

Though there is no set storyline, the dance numbers thread well one into another with the music, and, through shifting the performance space around, the staging provides creative advantage points for the audience within the club.  A few lucky audience members are pulled onto chairs and given lap dances adding to the excitement and interaction.  Every inch of space is utilized as dancers jump atop large box structures or climb poles. The pole dancing segment is impressive for its athleticism and refreshingly different from the stereotypical, oversexed stripping pole dances. 

Producers Jordana Che Toback and Tom Rossi combine their talents to create a wonderful blend of sensuous dance with powerful earth-moving music.  Director and Choreographer, Jordana Che Toback, does a fabulous job of creating a dance performance that is up close and personal, optimally filling the space as to create a very interactive experience.  The dancers are well-rehearsed, and are very coordinated together as not to be confused with the audience of club-going dancing people.  DJ MKL spins awesome dance music all night long, keeping the excitement and energy flowing straight through the performance.  Tom Rossi and Rich Stein add layers of percussion to accompany the dancing, bringing an intensity and sense of connection to the earth and our human ancestry. 

“Terre” is high-energy, super-sexy, and fun!  Taking its inspiration from the nightclub scene, it is perfect for the nightclub audience, yet highly crafted to meet the standards of concert dance aficionados.  Performances are scheduled twice in the evening, and the audience/club goers have the opportunity to explore the space with their own dancing before and afterwards, perhaps to even try some their moves on the poles!   

For more information, visit www.poonshow.com or www.clubcielo.com; tickets available at www.ticketcentral.com. Upcoming performances December 13, 2009.

www.cieloclub.com
18 Little West 12th St
New York, NY 10014
(212) 242-8539

iDANZ Critix Corner
Official Dance Review by Lea McGowan
Performance: POON Productions Presents Terre
Choreography: Jordana Che Toback
Venue: Cielo, New York City
Show Date: November 8, 2009
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Love New York for how in each borough of this creative city there is a happening community of creative types, -artists, activists, and industry socialites- that band together and have their own sty-lo uniquely characteristic of their own nook within this illustrious cityscape. Tonight, I’m at the free-feeling artist space at the Irondale Center taking in Brooklyn’s urban arts scene of the conscious, dred-locked, “one love” culture. On the program tonight is the JoiLynn Productions’ W.I.P. showing of HipOCrit, a multimedia dance theatre experience fusing hip hop movement, modern dance, and art.

In a large spacious room with tall ceilings and walls covered with peeling green paint, and JBL speakers bangin’ Bob Marley and some low, hip hop grooves, I get to feast my eyes on some intriguing artist installations of child-like macabre, courtesy of Halima Cassells. Inset within the audience, there is an easel with a bleeding American Flag and a set of Yaffa blocks stacked with giant-sized Leggos and half-butchered baby doll skulls pasted to the artwork. On the mirror, you see the red-painted words, “You Are Ugly.” In the entrance, there is a Crayola-colored kiddy tunnel that reads, “Life This Way.” Placed right next to me is a magnifying glass on a toddler table with two Black dollies seated in wooden chairs disturbingly covered in Silly String… Oh, my! After seeing this display of expression, I can only sit in anxious suspense intrigued by what is to come next…

HypOCrit’s first scene’s trio is dope! Holla… Featuring choreographer, JoiLynn, and freestyle artists, Cartier, and Raymond “Spex” Abbiw, the threesome show off their mad skills- which are nothing less than mad hot. Spex is the truth; he comes out and breaks it down with his clear “Kat Kat” hits and smooth transitions. And, Cartier, well… He’s just sick.

As a contrast to the men, Miss JoiLynn pops through with her own style and dances her aaaaass off! Here, we see JoiLynn’s versatility as both a contemporary mover and hip hop dance artist. Her movements are performed with clarity, passion, fully committed to every step. I watch and I BELIEVE! Here, she extends the energy out passed her fingertips, passed the ends of her toes with movement characteristically all her own –no tricks, no gimmicks, no Xerox –just pure “Joi”Lynn… Khack, khack, spin… smooth shape, reach… Ya, girl, I see you… Get it!

Flanking JoiLynn as she goes, Spex, one of New York’s finest hip hop veterans (responsible for teaching hundreds of New York City newcomers the real steps of hip hop at Broadway Dance Center –yes, I said it) and Cartier, a dance artist with some of the illist percussive stylings, lend individuality and power to some of the more unison sections. I love how Cartier works his way down his body -like a human xylophone – chest, chest, knee, knee, invert…down, down, down… It’s like watching him create hip hop music with his body in motion… NICE!

Throughout the show there are a group of five ladies, the corps, which are also known as “The Hipocrits.” These ladies perform the bulk of JoiLynn’s choreography. Every dancer in the group individually appears to be very well-trained; however, due to the possibility that they have only been together for eight weeks before performing this W.I.P., their precision and overall commitment to artistry and JoiLynn’s urban contemporary style have yet to gel.

Other than that, I love how JoiLynn’s choreography uses modern dance shapes with street jazz dance sensibilities in the construct of her group numbers. Being that the steps are rooted in hip hop, it is great to see that modern dance is only used to compliment the street vocabulary. By loosely borrowing elements from the modern construct, JoiLynn uses such things as “blocking-for-concert-dance” and the technical prowess from her classical training to solely provide a smoothness to her movement transitions from one “crack” to another rather than the opposite -starting with technical modern movement and throwing in a couple wave arms and chest pops for no other reason but to appear “contemporary.” Unfortunately, I find (time and time again) that most modern and contemporary dance companies, that abruptly break form into hip hop moves or elements of popping, locking and waving, merely just look like they’re trying too hard to be “cool.” However, in JoiLynn’s case, her dance company, already rooted in hip hop (a pop culture standard), is already “cool” and is simply adding another layer of difficulty with technique, a contemporary construct that makes her sty-lo WORK.

Illustrating this, one of the sections most potent is when “The Hypocrits” (dancers) run, very modern-esque, into the audience one by one, slamming towards the artwork. Once they all arrive, they are split into two halves within the room facing each other with about a fifteen-foot gap between the two groups. They then proceed into a dance combination, that just breathes angst of young street culture. As the pulse of the beat rides, a splatter of technique peeks throughout the phrase to provide effortless transition from move to move.

Another one of my favorite sections is a part that I personally like to call the “Live Hip Hop Culture Montage Collage.” It begins with the bounce of a dope hip hop loop played by DJ Lumumba AKA Revolution and the award winning actor, Cactuz..?13 (character name: The Truth), wheeling out a portable graffiti painted wall. The Truth continues to add words and design to the wall with his fat magic marker as he bebops his head to the beat, Stepping out second, Spex comes correct with his wicked freestyle where here, we see what really Spex can do… knee, knee, beat, beat, slide, who wee- Yaas, Spex.. That’s what’s up! On Spex’s exit, Cartier chimes in with his taps and breaks it down with his hip hop hoofin’ style. He sounds great and he looks hot too, I want to see more. Although the staging is simple, this section is most effective… JoiLynn has graffiti drawn live by an artist, a sick hip hop freestyler, a dope hoofer, and a DJ spinning a wicked beat on the one’s and two’s, and at the end, she has the piece come full circle as you see The Truth rip away the Mylar “mirror” off the wall to reveal the hypocrite inside the mirror. Whew… I love it!

To sum it up, JoiLynn redefines urban movement and how to use its evolvement in what we currently call modern dance. Because of JoiLynn’s range as both a modern dancer and a hip hop artist, her personal freestyle in which she builds her movement phrases upon lends itself to creating an original vocabulary, an urban contemporary vocabulary, that is totally all hers, and, can I say… totally Brooklyn.  I can’t wait to see her company perform in the future as it matures together and masters the exciting sty-lo that JoiLynn has to offer.

iDANZ Critix Corner
Official Dance Review by Candice Rox
Performance: JoiLynn Productions’ HipOCrit
Choreographer: JoiLynn
Venue: Irondale Center, Brooklyn, NY
Show Date: November 4, 2009
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Flirting with a multitude of performance mediums, including narrations by both dancers and Siegal, the company also lip syncs song lyrics opening with “Now you know this is what it feels like.”  The confrontational lyrics, joined with the full company’s caped bodies twisting, swirling through the dimly lit bar, sets the tone for audience members to say seated, watch, and learn what it feels like.  Their performance tells me, like most people at the gates of a new beginning, that they feel anxious, passionate, and filled with chaotic energy that’s ready to burn.

Koroni seems to stand by the quote in his biography, “So much of life carries the potential to shock and excite me and whether traditional or controversial, if it carries depth I find a reason to appreciate its beauty.”  Koroni wears the choreography like a supermodel wears a slightly imperfect dress.  He struts and shines despite its often poorly constructed seams while others wear these flaws more noticeably like a second draft marked with red ink.  The skeleton prevails but the skin; the details most readily available need revision.

The company finds its tightest synergy towards the end of the evening in a beautifully costumed piece, set to Gary Jules Mad World, by extracting their strengths and fusing them into a nonstop movement stream.  Building on a movement phrase where they collapse starting at the head, then shoulders, waist and hips like discombobulated dolls company members draw physically and emotionally closer to one another proving that a connection worth developing exists.  While much of the evening reeks of self-indulgence, these dancers grow beyond their individual capabilities when linked together through concept.

This brings me to my greatest concern for the company, which exists for companies both new and seasoned.  How does an evening length work come to be and why?  What must each aspect possess in order for each to be exponential in strength when joined together?  If the sum of a work’s parts do not surpass them individually what is the point?  Why collaborate with anyone if you have enough clout to do your own thing?  Camaraderie cannot be used in this instance because the number one offenders of this crime are the solos that resemble dancers at their final high school ballet recital.  However, Scarlet Fever’s don’t fxck with me attitude, gritty choreography, and visceral connections to their body of work more than make up for these confusingly short vignettes that look like So You Think You Can Dance Audition reels.

Proving that startups burst with fresh ideas, Scarlet Fever’s bows bring life to what often feels like a ritual organized by the army.  Left, left, left, right left – stand in the right spot, bow in a timely fashion, smile modestly until you’ve left the stage, ditch the costume and any markings that represent your role in the show, save all excitement and celebration for outside the stage door. Nooooo – Scarlet Fever honors the work that the dancers have done by brief freestyles as their names boom through the speakers.  Bringing dance to all aspects of their debut performance, this company proves they should be seen, heard and noticed. Check them out at www.ScarletFeverCo.com.

iDANZ Critix Corner
Official Dance Review by Eileen Elizabeth
Performance:  Scarlet Fever, Scarlet’s Nightmare Choreography:  Paige Manley and James Koroni
Venue:  BLVD Bar, New York City
Show Date:  October 25, 2009
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You don’t have to be a child of the 70’s to understand the subversive magic of taking a tale of a lily white Kansan and transposing it into our own script of Black allusions and urban metaphors. Even after winning seven Tony Awards and best musical in 1975, those early critics were lukewarm at best.

The original coming of age tale by L. Frank Baum published in 1900 and the subsequent Broadway play of 1902 is full of mixed imagery and sociopolitical double entendre. This makes for very interesting retelling in the hands of Geoffrey Holder (directed 1975 Broadway musical) who is like a mad scientist turning regular-sized humans into colorful little munchkins and creating the Tornado ballet.  Casting the big ol’ queen Andre DeShields as the Wiz even is an improvement.  Like the popular Blaxsploitation movies of that era, they do not have to be that great, they just are our stories told our way.  Sydney Lumet’s 1978 movie version staring the late, great Michael Jackson and Diana Ross is equally panned by critics yet summarily beloved in black pop-culture.      

So, after going out on a limb, towing the color line and throwing a big black power fist up in the air let me tell you what’s going down at the City Center Encores! Summer Stars performance of The Wiz.  On Monday, I run to City Center to see the wizard having only the fondest memories from childhood of a cracked LP that no longer plays the 1^st track of the Tornado ballet. (This is a good thing because, as a child, those howling wind sounds had scared the crap out of me.)

Kudos to set designer David Korins who strips the house bare of planks so that only the door and window frames remain suspended in air as if the tornado to come is already a part of our present. Ashanti enters with Toto in tow and is wearing the worst ensemble ever (and this includes grade school shows) of a busy blue bedazzled dress, jeans and sneakers.  Fortunately, LaChanze sets the tone of the night effortlessly flowing through “The Feeling We Once Had.”

The Tornado Ballet, choreographed by Andy Blankenbuehler and Associate Choreographer, Joey Dowling, is excellent as the ensemble dancers do not disappoint, especially, Ryan Rankin, Herman Payne, Lauren Lim Jackson, and Jennifer Locke.  The WIZ proves to be an excellent show for concert dancers to perform.  Watching young dancers like Ryan Rankin (SYTYCD) move through the ography so radiantly is breathtaking while seeing veteran dancer,  Herman Payne flow from scene to scene is just textbook brilliance.  It makes you want to take notes!  Not only does Payne dance flawlessly in a show in nearly every scene that runs for over two-and-a-half hours, but he definitely appears to be the seasoned "go-to" guy to lift cast members, carry props, change sets, secure lights, strap down hanging fly ropes, and still have the strength to balance effortlessly on one leg . . . Whew . . . probably the hardest working dancer on that stage.  As for the ladies mentioned, Lauren Lim Jackson has great lines in addition to sassy "emerald city" attitude along with her fellow poppy, Jennifer Locke who seductively shows off her strong long legs with endless command.  Other dancers among the ensemble with stand-out performances include Daniel J. Watts who shows excellent energy as both dancer and Field Mouse as well as William B. Wingfield who gives a strong performance as the leading hip hop, Funky Monkey.  There is so much talent in New York and fun shows like The WIZ give diverse concert dancers opportunity to do what they do best.  Bravo dancers!

As the Tornado Ballet ends, Korin’s minimalistic house is disassembled and Dorothy is lifted into the air on the storm shelter door.  It closes as the curtain is falling to reveal a 22-piece orchestra (with the young, hot musical director, Alex Lacamoire, at the helm), which receives one of the loudest applause moments of the entire evening.  They are suspended up into the space via the missing planks from the house.  These long wooden beams haphazardly form a tornado funnel with which the orchestra is showcased simultaneously serving as a scaffold structure for the performers to climb to different levels.

The productions is not lacking in star power as Dawnn Lewis’ comic timing as Addapelre is impeccable.  Cleverly, the munchkins appear as flouncy-skirted actors on rolling chairs that remain seated the entire time adding a whimsical air to this production. 

So we are just about ready to ease on down that bumpy road.  So far so good…

“Soon as I Get Home” OK…

Let’s get this out of the way, Ashanti is no triple-threat.  I am not sure that she understands that this is The Wiz and not a Disney musical as her sweet lyrics are beautiful but lack the fear, confusion and longing of the Dorothy character.  That being said, the girl can sing; she’s a true solid singer and without the help of autotune!  Although I really enjoy her vocal skills, like the rest of the audience, I generally tune her out in all other sections.

Of Dorothy’s three companions down that yellow brick road, it is Joshua Henry as the Tinman that blows me away.  He is able to create an air of an old man that is so effective that you feel his every step is rusted and stiff.  An amazing dancer with an unique sound, the jokes just keep hitting even with the dated material.  The Lion, played by James Monroe Iglehart, gives his character a contemporary-urban comic feel, but nicely retains the magic of the original songs with his big, big voice similar to his predecessor, the late great, Ted Ross.  A full-sized guy, Iglehart shows worthy skillz on his dancing ability, especially when he cops a move a few times from Michael Jackson’s signature freestyle.  The scarecrow, played by Christian Dante White, exudes a youthful innocence with nice licks and good comic timing as well.

Orlando Jones is another casualty of the production and makes for an uninspired Wiz.  By contrast, Tichina Arnold is the best Evilene ever!  There is nothing like being the baddy that brings out the diva in a performance.  Her costume is an architecturally designed stiff ruby encrusted cape that adjusted and changed with her movement.  Let’s just call her scene ugly chic!  She is evil, mean, and ugly, and she made it all look so good.

Unfortunately, it is from this point where Encores budget and timeline really take its toll on the overall production giving the musical a feeling that it is heavily edited and that the LP is slightly speeding up in some numbers.  However, if there is something drastically wrong with this production, clearly the audience doesn’t seem to mind and claps, sings, laughs and gives a rousing applause after each and every musical number.  Let just say there is something to this Wiz thing that goes beyond perfect script or elaborate execution.

And, then a slice of heaven… “Rested Body Is a Rested Mind”

LaChanze enters and a fresh breeze blows through City Center. She has such an amazing voice and stage presence that her background dancers wear perm-a-grin faces and tears in their eyes.  Her voice is strong and nuanced and the scene rolls into “Believe in Yourself” for a back-to-back slice of that real Broadway sound.  Ashanti finishes the night with a strong, well-pitched “Home.”

Even though, the second act needs work as it did in the 70’s and Ashanti is not the triple threat the rest of the cast is, or the production looks cheap when compared to Lion King or Little Mermaid, or the entire production is chopped like a plate of short ribs and whizzes by at breakneck pace, who cares?  . . .Give me my “Ease on down the road”, “No Bad News” and “So you wanted to meet the Wizard.”   From an audience perspective, we came, we saw, we got The Wiz at City Center in 2009.   It is a good night to be had.

Still, if there is any doubt on the effect this musical has had on black culture or why it needs revival by City Center, please check out little Nia age 5 on the embedded player from 2007.  This little girl looks a lot like I did back in the day singing this song, only fortunately for her, she has more hair, teeth and talent.  Enjoy . . .

Cast of characters include:
Ashanti as Dorothy
Orlando Jones as The Wiz
LaChanze as Aunt Em, Glinda
Joshua Henry as Tinman
James Monroe Iglehart as Lion
Christian Dante White as Scarecrow
Tichina Arnold as Evilene
Dawnn Lewis as Addaperle

iDANZ Critix Corner 
Official Dance Review by Sasha Deveaux
Contributing Editor:  Candice Rox
Performance:  The Wiz
Director: Thomas Kail
Choreographer: Andy Blankenbuehler, Joey Dowling (Associate Choreographer)
Musical Director: Alex Lacamoire
Venue: City Center, New York
Date: Monday, June 22, 2008 @ 7:00pm
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