The Performing Arts Center, side view, at night from the east side. The front of thebuilding is to the left
Featuring the choreography of
Antony Tudor with "Continuo"
DeeAnna Hiett with "Suiite Etta"
Ronald Tice with "Tangent"
Paula Weber with "To Each Her Own"
Sabrina Madison-Cannon with "Revisit"
Jamal Story with "Rite Remixed" (Notes on Rite of Spring)
Augustus Bournonville
with "Pas de Trios" (extracted from "La Ventana" 1854) reconstructed by Mary Pat Henry
The Performing Arts Center, side view, at night from the east side. The front of thebuilding is to the left
Was performed: Thursday-Saturday 3, 4, 5 November 2011 in White Recital Hall
James C. Olson Performing Arts Center at UMKC, (map: 4949 Cherry Street
Kansas City, MO 64110 )
Prices: $8, $6 seniors, UMKC faculty, staff, and all students FREE with UMKC or student ID.
7:30 each evening, also 2:30 on Saturday afternoon
Setting lights in White Hall
The PROGRAM
The information below is directly from the printed program with each piece in actual show order.
Tangent
Choreography by Ronald Tice
Music by Benjamin Britten (1913-1976)
Selections from
Simple Symphony, Op. 4 (1933-4)
Variations on a Theme of Frank Bridge, Op. 10 (1937)
Prelude and Fugue, Op. 29 (1943)
Lighting design by Matthew Mitra
Costumes by Ronald Tice
Dancers
Kelsi Benage, Emily Berger, Alexis Borth, Juanita Carter, Shanna Colbern, Rachel Crawford, Haley Day, Caroline Fogg, Chasmine Gerschefske, Danielle Glynn, Rachael Hulse, Erin Kane, Daley Kappenman, Gwen Tripp, Dempsey Ward
with
David Cross, Joseph Flickner, Dominique Harris,
Dalton Heinle, Matthew Redix, Desmond Roach
(Thursday and Saturday matinee)
Emily Berger, Alexis Borth, Kassi Butler, Juanita Carter, Heather Costello, Rachel Crawford, Erika Edwards, Caroline Fogg, Alyssa Gold, Daley Kappenman, Taylor Ohman, Whitney Ricketts, Lynley Schaffer, Megan Squires, Rose Taylor-Spann
with
Joseph Flickner, Mark Gieringer, Dalton Heinle,
Matthew Redix, Desmond Roach, Reggie Simmons
(Friday and Saturday evening)Rite Remixed (Notes on Rite of Spring)
Choreography: Jamal Story - (http://www.jamalstory.com)
Music by Johann Johansson (b. 1969) The Sun's Gone Dim and the Sky's turned Black (2006)
Music by Steve Reich (b. 1936) Cello Counterpoint (2003)
Lighting design by Erik Voecks
Costumes by Dance Division Wardrobe
Dancers
Alexis Borth, Sarah Herbert, Lexie Klasing, Rachel Schneider, John Swapshire, Yui Tadokoro, Caitlin Vasser, Dempsey Ward
(Thursday)
Alexis Borth, Chasmine Gerschefske, Sarah Herbert, Lexie Klasing, Rachel Schneider, John Swapshire, Yui Tadokoro, Caitlin Vasser
(Saturday evening)
Hannah Benditt, Kassi Butler, Juanita Carter, Shanna Colbern,
Whitney Ricketts, Desmond Roach, Alyssa Schneider, Asha Singh
(Friday and Saturday matinee)
Heather Costello and Kaitlin Heibel (understudies)"Pas de Trios" from La Ventana
Choreography: Augustus Bournonville - "Pas de Trios" is extracted from "La Ventana" 1854
Reconstruction in period costume by Mary Pat HenryChoreography by Augustus Bournonville Reconstruction of "Pas de trios" from La Ventana (1854)
Reconstructed by Mary Pat Henry Music by Hans Christian Lumbye (1810-1874)
Lighting design by Paul Tilson Costume design by Mary Pat Henry (after Bournonville)
Dancers
Taylor Ohman, Liza Rod, and Mark Gieringer (Thursday)
Haley Day, Rose Taylor-Spann, and Mark Gieringer (Friday and Saturday evening)
Emily Berger, Alyssa Schneider, Dalton Heinle (Saturday matinee)To Each Her Own
Choreography by Paula Weber
Music by Giovanni Battista Pergolesi (1710-1736) Stabat mater (1736)
Lighting design by Kyle Coyer
Costume design and construction by Paula Weber
Dancers
Heather Costello, Juanita Carter, Rachel Crawford, Danielle Glynn, Gwen Tripp, Dempsey Ward
(Thursday)
Alexis Borth, Sarah Herbert, Erin Kane, Daley Kappenman, Taylor Ohman, Gwen Tripp, Ashley Odom
(Saturday matinee)
Hannah Benditt, Haley Day, Alyssa Gold, Apple Peterson, Lynley Schaffer, Megan Squires
(Friday and Saturday evening)Continuo
Choreography by Antony Tudor
Staged by guest artist Donald Mahler of the Antony Tudor Trust - http://www.antonytudor.org
Music by Johann Pachelbel (1653-1706)
Canon in D Major (c1920)
Lighting design by Eric Voecks
Costume design and construction by Paula Weber
Dancers
Haley Day and Mark Gieringer
Alyssa Gold and Dalton Heinle
Rose Taylor-Spann and Joseph FlicknerThis performance of Continue, created in 1970 by Antony Tudor on dancers of The Julliard School, is presented by arrangement with the Estate of Antony Tudor, the Antony Tudor Trust, and the Dance Notation Bureau, New York City.
Suite Etta
Choreography by DeeAnna Hiett
"I Just Want to Make Love to You" (1954) by Willie Dixon (1915-1992)
"At Last" (1941) by Mack Gordon (1904-1959)/Harry Warren (1893-1981)
"Let's Burn Down the Cornfield" (1969) by Randy Newman (b. 1943)
Music performed by Etta James (b. 1938)
Lighting design by Jess Buttery
Costume design by Jessica Davis
Dancers
Juanita Carter, Shanna Colbern, David Cross, Haley Day, Simone Delozier, Joseph Flickner, Caroline Fogg, Alessandra Perdichizzi, Matthew Redix, Whitney Ricketts, Desmond Roach, Lynley Schaffer, Abbie Shadid, Asha Singh, Megan Squires, John Swapshire, Yui Tadokoro, Caitlin Vasser
Reggie Simmons (understudy)Revisit
Choreography by Sabrina Madison-Cannon
Music by Hans Zimmer (b. 1957) and James Newton Howard (b. 1951) "Harvey Two-Face" (2008) and "Why So Serious?" (2008)
Lighting design by Doug Macur
Costume design by Sabrina Madison-Cannon
Dancers
Hannah Benditt, Emily Berger, Alexis Borth, Kassi Butler, Shanna Colbern, Heather Costello, Rachel Crawford, Haley Day, Lacee Ebert, Erika Edwards, Chasmine Gerschefske, Kaitlin Heibel, Rachael Hulse, Erin Kane, Daley Kappenman, Appie Peterson,Whitney Ricketts, Liza Rod, Lynley Schaffer, Rachel Schneider, Asha Singh, Megan Squires, Yui Tadokoro, Gwen Tripp
Desmond Roach (Thursday and Saturday)
John Swapshire (Friday and Saturday matinee)
Mark Gieringer in Pas de Trios (an 1854 Augustus Bournonville choreography, La Ventana, reconstructed in period costumes by Mary Pat Henry)
Haley Day in Ronn Tice's Tangent
Danielle Glynn - two successive poses (frame numbers 0164 and 0165) in Tangent by Ronn Tice overlapped and stitched together.
Rose Taylor-Spann in a series of images from Pas de Trios (an 1854 Augustus Bournonville choreography, La Ventana, reconstructed in period costumes by Mary Pat Henry). The five shots start with four sequential camera frames and add the seventh frame in the set of pictures of this piece (frame numbers: 0631, 0632, 0633, 0634 and 0637). You can see a full frame below.
Rose Taylor-Spann in Pas de Trios (an 1854 Augustus Bournonville choreography, La Ventana, reconstructed in period costumes by Mary Pat Henry). This is the first frame in the set of five frames just above.
"Flying free" in Tudor's "ribbon lift" (Continuo by Antony Tudor with master repetiteur Donald Mahler setting the piece on UMKC). It looks light and airy but requires a great deal of strength to do so. The ribbon lift gives the appearance of flying or trailing a flag or a ribbon of cloth. Kind of like Superman. The hand at the end of the arm is open and flat (not gripping). This is really not held for a long time it just looks that way. The dancer leaping on to the arm is "flying" when she is at the top of the arc. It is the horizontal look, with legs providing added upward momentum and the appearance of just hanging there.
Ronn TIce's Tangent, - part of the ensemble
Jamal Story applies some heat to adhesive wrappings for Shanna Colbern (and several others). Everyone wanted to learn.
Shanna Colbern in Rite Remixed by Jamal Story
Rite Remixed by Jamal Story
Haley Day in Tangent by Ronn Tice
PRODUCTION STAFF
Concert Directors DeeAnna Hiett and Paula Weber
Stage Manager Vashti Goracke
Assistant Stage Managers Claire Gardner-Dale and Kari Hayde
Master Electrician Eric Voecks
Lead Lighting Designer Eric Voecks
Sound Designers Robert Beck and Jason Scheuffler
Light Board Operator Rachel Shair
Lighting Program Technicians Rachel Shair and Adam Durbin
Sound Operator Marisa Bobbins
Videographer Michael Strong
Curtain Paco Vitug
Technical Crew Kelsi Benage, Hannah Castleman, Caroline Fogg, Hannah Forck, Rachel Haug, Sarah Herbert, Lexi Pantil, Matthew Redix, Macy Routh, Donnice Schilling, Abbie Shadid, Katie Shea, Brooke Smith, Hannah Studebaker, Natalie Upton, Sophie Yancy
UMKC CONSERVATORY DANCE DIVISION
Professors
Paula Weber, chair of UMKC Dance Division
Mary Pat Henry, associate dean of Conservatory Faculty Affairs
DeeAnna Hiett
Sabrina Madison-Cannon
Ronald Tice
Rodni WilliamsAdjunct professors
Nicole English
Billie Mahoney
Ann Shaughnessy
Michael StrongLighting design: Professor Victor Tan
"Continuo" - a bit more
Studio work on Continuo with Tudor Trust senior repetiteur Donald Mahler
UMKC was honored earlier this year with the initialization of the Tudor Curriculum for schools at the CORPS de Ballet conference in June, in Kansas City at UMKC. The Tudor Trust (http://www.antonytudor.org) brought out a new Tudor Curriculum for dance schools. UMKC has the honor of having this program at the start. The inaugural was part of the June CORPS de Ballet conference and workshops held at UMKC.
Danielle Glynn and Mark Gieringer, with Donald Mahler in back.
At rear in mirror (L-R) Dalton Heinle, Branson Brice, Alyssa Gold, Daley Kappenman
Donald Mahler (left) working with: Dalton Heinle and Alyssa Gold (center, front),
Branson Brice and Daley Kappenman (back) and Joe Flickner and Rose Taylor Spann (right)
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Dance Division moments between studio classes
Fall Concert "Choreofest" |
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| The annual fall concert with staff and guest choreography.
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November 2011 November 2010 November 2009 November 2008 November 2007 November 2006 November 2005 |
Spring Concert |
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| Held every April with staff and visiting choreography. This could be considered the school's Dance Division Showcase for the year. |
April 2011 April 2010 April 2008 April 2007 |
Other Dance Concerts and Dance Division Events at UMKC |
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These range from guest concerts, to special classes with visiting masters to various other dance events with UMKC dance division dancers. |
Carmina Burana |
Senior Recitals |
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These are held in the winter semester and the graduating seniors begin signups and rehearsals early in the fall semester. This is one of their last graded works. Each senior choreographs and directs a group piece and performs in a solo which may be self-choreography or another's and may also be a duet if there is a large enough mix of solo to duet. There are a number of recital concerts, depending on the total number of seniors. Generally the mid-week concerts have in-town seniors while those with families out of town are scheduled for Saturdays so their relatives can attend. |
Senior Recital 2012 |
Related Links |
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Non-UMKC events which have UMKC dancers, staff or visiting artists. |
Don McKayle talk at Public Library, KCMO about Kansas City Ballet piece he was commisioned to create. UMKC guys in Romeo and Juliet at Kansas City Ballet Spring 2008 backstage in costumes. Wylliams/Henry Sept 2006 and "Games ," choreography Donald McKayle. |
For some of the least expensive, good dance entertainment in Kansas City the University of Missouri Kansas City's Conservatory of Dance and Music's Dance Division offers some of the best young adult dancers in the area. UMKC's Dance Division is among the top dance schools in the country. Those of us who live in this area often miss that distinction but people elsewhere know (isn't it always so?). Each year's entering classes just keep getting better as the incoming talent keeps inching upward in ability. Some of the students are fed into the system by local studios and some are from national and even international recruiting by the dance staff. Although this web site is a journalistic effort to show dance in Kansas City, and is not intended as a booster of anyone in particular, the pages listed above are referenced by students considering attending the Dance Division. The students in the program are intense. They are not just talented, they are hard working, very focused and very competitive in a way that shows competition is cooperative. I've watched them truly support each other. As an adjunct, I have a computer class with a lot of these highly disciplined young people. They are very sharp. (As are athletes in the athletic program, and for many of the same reasons as the dancers. I get those "kids" in my classes too and they really focus hard because they are gone a lot as well.) This focusing skill among dancers has seemed far more obvious in the last couple of years since Twitter and other web media have produced an adapted audience with short attention spans whose questions show that they skip and skim material rather than read throughly. Although I've no way of testing it, I don't think there are any more Einsteins or Not-Einsteins among dancers than among anyone else. However, I am more convinced than ever that the practice of dance develops the ability to focus intently as a result of two things, 1) the need to quickly and efficiently make up for time away from classes in rehearsals and performances (something shared with our athletic-program students) and 2) the need to remember precisely so many details and variations in choreography and be able to modify program details in a snap. That is a terribly valuable tool for all walks of life. The dancers have to be sharp, partly because so much of their non-class time is spent in rehearsals, performances and their own works (i.e. senior recitals) not only for shows at UMKC, but also locally in Kansas City where they form a part of the talent pool. Many of those rehearsal schedules are on weekends and late into the nights. Sometimes they can be in 40 or more hours of rehearsal a week - that is time outside of class, job, transportation and so forth. It varies greatly but it is seldom light. I would also call dancers athletes but I hate to, not because they are not athletes but because such statements tend to sound more like an excuse for dance to be tolerated as legit. I think the comparison of dancers and athletes should be more like a multiple of the famous Ginger and Fred comparison which states that she does all the stuff Fred does, but in high heels and backward too. Dancers don't just move a ball to a goal (so to speak) but they have to do it in character, smiling, with grace and technique specific to the art form, never letting down and never stopping, on beat, keeping count, and repeating exactly the same moves to the same music again and again (you should see some of my comparison videos of separate runs), no mistakes. No cut on traditionally-defined athletes (football, baseball, etc.) and not that there is not tremendous grace in the result, but they get to grunt, groan and grimace with bodies twisted and turned any which way just as long as the ball gets to the goal. In my personal experience with these "kids," these dancers are talented as both physical athletes and mental athletes. Then there is the thing about what great people they are, but that is another rant. Don't get me started. |
| http://conservatory.umkc.edu/division-dance.cfm |
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