Archive for Dance – Page 2

New review for LA Weekly – The Chanteuse and the Devil’s Muse

My first review this week for the LA Weekly is of David J’s spooky musical play about the gruesome Black Dahlia murder,

The Chanteuse and the Devil’s Muse,

now playing at the Bootleg Theatre.

 

Happy reading!

photo by Brian Jordan Alvarez.

 

Employing an elegant blend of narrative, song, visual projection and modern dance, artist David J explores a gruesome and legendary mystery with his creepy musical play. One of Los Angeles’ most notorious, unsolved crimes occurred early 1947 when the disfigured remains of a young wanna-be actress named Elizabeth Short were found in a vacant city lot.

Attempting to shed new light on the ‘Black Dahlia’ murder with his brief and imaginative theatrical staging, David J intersperses his music with meandering scenes of a police interrogation. The former Goth rocker uses a previously composed song cycle as the framework for his plotline centered around jazz singer Madi Comfort (Daniele Watts), whose paramour, George Hodell, was one of the prime suspects in Short’s sadistic murder.

The silhouettes of the three musicians – David J on vocals and guitar, his co-composer Ego Plum on keyboards, drums and backing vocals and Ysanne Spevack on strings – can be glimpsed as they perform on a scaffolding tower behind a scrim. Onto this screen are projected dreamy, surreal visuals, as well as images of the tragic Ms. Short. There’s even a screened excerpt from the noir movie Kiss Me Deadly, which occupies a substantial chunk of the one act play’s lean 50 minute running time.

A conspicuously low budget means that a strobe-lit dance sequence, in which two dancers portray the severed, mutilated corpse, isn’t nearly as macabre as intended (we should be horrified when the two halves separate). Best of all is the Butoh dance sequence brilliantly performed throughout by Vangeline. Dressed in white tulle like a demented ballerina-bride, with blackened eyes, powdered skin and a grotesque grimace, she embodies the tormented spirit of Elizabeth Short, whose lingering presence slowly builds to a cathartic climax. When Daniele Watts as Ms. Comfort steps up to the mic, she gives a breathtaking rendition of a torchy blues song.

The narrative is weak, but the spectacle is worthwhile.

 

The Chanteuse and the Devil’s Muse – David J’s speculation on the Black Dahlia murder.

Starting Sept. 8, Thurs.-Sat., 7.30 p.m.

Thru Oct. 1. $25-18.00.

Bootleg Theater

2220 Beverly Blvd., L.A.,

(213) 389-3856,

 

 

Interview with David J for LA Stage Times

Freshly released into the ether (interwebs) is my latest feature article for LA Stage Times, an interview with artist and goth-rocker David J about his spooky new musical play,

The Chanteuse and the Devil’s Muse.

Happy reading!

 

post mortem watercolor painting of Elizabeth Short by Marilyn Manson.

Mental Head Circus – King King, Hollywood

Roll up! Roll up!

The Mental Head Circus is in town, performing one Sunday per month at King King in Hollywood, as the nightclub’s monthly resident show. Upcoming show dates for the remainder of this year are listed below. Rock on over and prepare to be dazzled by astounding and gravity-defying feats of grace and athleticism.

Creator and star Terry Beeman has assembled a troupe of astonishingly talented daredevil artistes for his wacked out and intoxicatingly magical evening of cabaret and vaudeville-inspired, rockin’ music-backed circus acts. This evening of fluid yet death-defying physical performance melds avant-garde style with music, song and aerial acts.

King King has their venue set up like a dark and intimate speakeasy, with cocktail tables and cozy booths all over the place and a stage with a central jutting extension. There isn’t a bad seat in the house as the madcap ensemble of acrobats, aerialists, trapeze artists perform their breathtaking feats all over the club, dangling precariously from beams, rings and tissue trapeze slings above the stage, the bar area and almost above our heads.

The show opens with the full ensemble taking to the stage and running amok in ornate costumes comprised of wild animal feathers, lavish furs, lace, corsetry, fringing, stripey tights and top hats. For the artistes, hard bodies, shaved heads and elaborate tattoos form the style code. The accompanying pre-taped original music is a wacky mish-mash of sonic styles, including kooky hurdy-gurdy circus music, Charleston jazz themes and rock ‘n’ roll.

Our demented Circus maestro Terry Beeman dazzles us with the first trapeze act, executing dizzying spins, mid-air splits and improbable balancing acts, all presented with a manic flair.

In one of several song interludes, a gorgeous song-bird gives a wonderful live rendition of Patsy Cline’s hit tune Crazy.

A curiosity piece is an act with four fluffy women wearing oversized handlebar moustaches who dance to some sax-heavy music. Adopting some neat synchronized-swimming type moves, they flash their pert behinds barely clad in fishnet stockings beneath feather and lace skirts. They’re accompanied by a guy brandishing a ‘Butt Man’ magazine, in case you didn’t get the joke.

Rebecca Freund defies gravity with her daring aerial silk trapeze ‘tissue’ sling act that has to be seen to be believed.

A highlight of the night is a unique act where three female aerialists wearing sexy boy shorts and figure-hugging garb perform a dreamy synchronized act within a spinning wire cube suspended above the bar area.

Another highlight is a balancing act center stage by two athletes in black wrestling costumes. Backed by a spare piano theme and beautifully side and back-lit, the pair perform insane feats of strength, delivering moments of pure, exquisite beauty.

Our song-bird returns in lingerie to deliver a great rendition of Nina Simone’s hit song See-Line Woman.

Seemingly effortless gravity-defying feats or songs segue from one act to the next, each one more impressive than the last. The only thing the show might need is a storyline of some sort (or recurring characters) to anchor the acts with a narrative through-line.

But there are so many elegant, graceful and jaw-dropping ‘how do they do that?!’ moments throughout this transporting evening of visual delights.

Don’t miss this dazzling show!

Mental Head Circus

King King Nightclub

6555 Hollywood Blvd. Los Angeles, 90028

(323) 960-5765

 

Performances:

One SUNDAY evening of every month:

Doors open @ 6PM

Show kicks off @ 7PM (actually 7.30pm…)

 

NEXT SHOWS DATES:

September 18th 2011

October 16th

November 13th

December 11th

January 2012 – date TBA

 

Tickets:

$20.00 – standing room

$40.00 – VIP primo seating, with cocktail service (recommended!)

SUPER VIP – $200.00

(Amazing Private Table in front of the stage w/ Cocktail Service, seats 4)

 

Advanced tickets are highly recommended – purchase here.

or call  (866) 468-3399


Production photos by Shana Sosin.

 

Kwan-Gyu Lim Dance Company perform at the Ford

Kwan-Gyu Lim Dance Company

***

Experience a magical evening of grace, beauty and skill in the form of traditional and modernized Korean Dance. The Kwan-Gyu Lim Dance Company will perform at the Ford Amphitheatre on Friday, August 26, 2011 for one night only!

Report by Pauline Adamek

The Kwan-Gyu Lim Dance Company, known for staging creative and contemporary performances that have their roots in Korean traditional culture, presents Winter, Spring, Summer and Autumn. This performance features a fusion of Korean dance styles that brings to life the beauty and tempestuousness of the four Seasons in Korea.

The performance, led by Chief Executive Artistic Director and Choreographer, Kwan-Gyu Lim, expresses the distinctiveness and significance of each of the four seasons in Korea: the lonesome coldness of Winter, the bright prosperity of Spring, the warm ambience of Summer and the liveliness of Autumn.

The 25-member Kwan-Gyu Lim Dance Company uses modern production techniques and contemporary musical influences to introduce centuries-old Korean dance to new audiences. The evening includes vignettes that interpret the four seasons utilizing colorfully designed traditional costumes and updated music and dance. Realizing that traditional Korean Dance was not popular among the younger generation of dancers, Lim purposely modernized the styles so that they would have a wider appeal. The recorded music, a combination of the traditional and contemporary, is composed by Tony Lim, the son of Kwan-Gyu Lim. The younger Lim”™s original compositions are reflected in the Arirang Dance (Winter) and the Moon Light Dance (Summer).

“We are here to introduce the excellence of art in traditional, creative and contemporary Korean dance,” says Lim, “We take great pride in the artistry of our performance. This performance presents a unique and exciting opportunity for us to share our art with a broader audience, comprised of different generations and cultural backgrounds.”

Kwan-Gyu Lim Dance Company focuses on keeping Korean traditional dance alive by modernizing its appeal, not only to garner a broader audience, but also to attract the next generation of dancers. By showcasing such traditional dance as the TaePyeongMu (Blessing peace dance), Hallyangmu (Dance of young Noblemen), Fan Dance and Salpuri (wash away evil spirits), which are seldom performed today, the traditional culture and heritage of Korea will be preserved.

***

Winter, Spring, Summer and Autumn

Kwan-Gyu Lim Dance Company

One Performance Only:

Friday, August 26, 2011.

8:30 pm

Ford Amphitheatre

2580 Cahuenga Blvd. East

Hollywood, CA  90068

(scroll down for parking info)

Tickets:

$30.00 and $20.00, and $12.00 for full-time students with ID and children 12 and under. 10% discount for groups of 8 -15, 20% for groups of 16 or more.

*** Pre-purchase tickets by August 19th and pay only $25.00 or $15.00 ***

Box Office and Information:

The Ford Theatre

(323) 461-3673

***

Kwan-Gyu Lim Dance Company - solo

***

About the Company:

The artistic mission of the Kwan-Gyu Lim Dance Company, founded by Kwan-Gyu Lim in 1973, is to make Korean traditional dance, through the addition of modern elements, more appealing to a younger generation of Koreans and dance aficionados alike. More recently, the Kwan-Gyu Lim Dance Company has performed at Barnsdall Art Theatre, Wilshire Ebell Theatre, the Los Angeles Scottish Auditorium, and many Korean Churches. For more information on the Kwan-Gyu Lim Dance Company, please visit their official site.

About the Company Founder:

Kwan Gyu Lim, Chief Executive Artistic Director and Choreographer, has worked for over four decades creating and mixing traditional dance with modern and contemporary movements. Mr. Lim started in 1970 with classical ballet, winning many competitions, and majored in Korean Dance at Han-Yang University. He studied creative dance under Hyun Choi, Heung-Dong Cho, Mae-Ja Kim and Ok-jin Kim, and Korean traditional dance, including Seung-Mu, Salpuri and Tae-Pyong-Mu under Mae-Bang Lee, who is designated as Korea”™s Human Cultural asset.

After military service, he moved to Seoul and resumed his dance career and attended graduate school at Jung-Ang University. Mr. Kim was a member of the Men”™s Dance Company of Heung-Dong Cho and Creative Dance Company of Mae-Ja Ki for three years and Han-Yang University Creative Dancing Alumni Association for 10 years. He took a leading role in Sae-Bul, a founding performance of Seoul Art Company. After receiving his Master”™s Degree, Mr. Lee worked as a Korean Traditional Dance Professor in Han-Yang University for 15 years and taught at Young-Nam, Don-A and Chung-Nam Universities, choreographing five performances, four Korean Dance Festivals and two Seoul Dance Festivals, and performed in Asia, Europe and America. In 1999, Mr. Lim immigrated to the United States and, in 2000, had a solo performance with both the Mission Dance Company and the Korean Traditional Dance Company.

***

This event is part of the Ford Amphitheatre 2011 Season, a multi-disciplinary arts series produced by the Los Angeles County Arts Commission in cooperation with Los Angeles County-based arts organizations.

For a complete season schedule, directions to the theater and parking information, log on to their official site.

***

Visiting The Ford Amphitheatre:

The Ford Amphitheatre is located at 2580 Cahuenga Blvd. East, Hollywood, CA 90068, just off the 101 Hollywood Freeway across from the Hollywood Bowl and south of Universal Studios. The grounds open two hours before show time for picnicking. The Ford offers a number of dining options: a variety of food and beverages is available on site and box dinners for evening events may be ordered in advance.  Patrons are welcome to bring their own food and drink.

The Ford has access for disabled persons. Portable wireless listening devices are available upon request.

On-site, stacked parking costs $5 per vehicle.

FREE non-stacked parking serviced by a FREE shuttle to the Ford is available at the Universal City Metro Station lot at Lankershim Blvd. and Campo de Cahuenga. The shuttle, which cycles every 15-20 minutes, stops in the “kiss and ride” area.

PARKING:

On-site, stacked parking costs $5 per vehicle.  FREE non-stacked parking serviced by a FREE shuttle to the Ford is available at the Universal City Metro Station lot at Lankershim Blvd. and Campo de Cahuenga. The shuttle, which cycles every 15-20 minutes, stops in the “˜kiss and ride”™ area.

‘Sound of Korea’ at the Ford Amphitheatre

Sound of Korea

***

For an evening of traditional Korean music, dance, acrobatics and folk celebrations, head over to the Ford Amphitheatre on Friday, July 29, 2011, 8:00 p.m for Sound of Korea.

Report by Pauline Adamek

Travel back in time to the Korea of long ago with the artists of the Korean Classical Music Institute as they unfold this spectrum of their country”™s traditional music, including the folk, vocal, religious and ritual music styles of the Korean people.

The Korean Classical Music Institute of America, the renowned school for traditional Korean folk music and singing, presents Sound of Korea, a stirring evening of performances featuring the spectrum of Korea”™s traditional music, dance and song in several vignettes, on Friday, July 29, 2011, 8:00 p.m., under the stars at the Ford Amphitheatre in Los Angeles. The concert, led by Artistic Director Paul Lee, showcases Korean court/ritual music, the vocal and percussion genre known as Pansori, costumed folk celebrations and traditional Korean acrobatics.

The splendor of royal court celebrations is captured in “Jongmyo Jereak,” a work recognized by UNESCO as a World Cultural Treasure; the Flower Crown Dance of beautiful girls accompanied by bamboo flutes; “Cheoyongmu” which marks the last month of the lunar calendar; and the military-inspired “Chwita.”

Sound of Korea 3

Jongmyo Jereak is the royal ancestral shrine where the tablets of the kings and queens are kept. Jongmyo Jereak refers to the music, song and dance performed according to the order of the royal memorial ritual carried out at Jongmyo. The Korean government designated Jongmyo Jeryeak as the most Important Intangible Treasure. “Wha Kwan Moo,” or Flower Crown Dance, is a typical court dance. Girls dance gracefully with flower crowns on their heads accompanied by Taryong and Kukkory rhythm, followed by Danso Solo and Gayagum players in addition to the Bamboo Flute.

“Cheoyongmu” is based on the legend of Cheoyong which was performed at court banquets and ceremonies in the last month of the lunar calendar. The story is based on a peach, believed to drive away evil ghosts, that is hung on the masks that the dancers wear.

“Chwita” was  royal military processional music during the Joseon Dynasty period. This was arranged into an orchestral piece and used in court banquets. Rarely performed, Korean court music can be traced to the beginning of the Joseon Dynasty in 1392.

The Korean folk music portion of the evening includes “Gyongki-Minyo,” traditionally performed in Seoul and Gyongki provinces, and “Dulchum,” a new wave Korean traditional music composed with original instruments, and the folk dance “Jindobookchoom.”

The evening concludes with traditional Korean tightrope acrobats. (wow!)

Sound of Korea 2

***

The Ford Amphitheatre is located at 2580 Cahuenga Blvd. East, Hollywood, CA 90068, just off the 101 Hollywood Freeway across from the Hollywood Bowl and south of Universal Studios. The grounds open two hours before show time for picnicking. The Ford offers a number of dining options: a variety of food and beverages is available on site and box dinners for evening events may be ordered in advance.  Patrons are welcome to bring their own food and drink.

The Ford is disabled accessible. Portable wireless listening devices are available upon request. On-site, stacked parking costs $5 per vehicle.  FREE non-stacked parking serviced by a FREE shuttle to the Ford is available at the Universal City Metro Station lot at Lankershim Blvd. and Campo de Cahuenga. The shuttle, which cycles every 15-20 minutes, stops in the “kiss and ride” area.

This event is part of the Ford Amphitheatre 2011 Season, a multi-disciplinary arts series produced by the Los Angeles County Arts Commission in cooperation with Los Angeles County-based arts organizations.  For a complete season schedule, directions to the theater and parking information, log on to the official site.

Tickets, priced at $30.00 and $20.00, and $12.00 for full-time students with ID and children 12 and under, are available here or 323 461-3673 (for non-visual media 323 GO 1-FORD). There is a 10% discount for groups of 8-15, 20% for groups of 16 or more. There is an additional ticket discount if tickets are purchased prior to July 22 and if you buy tickets to three or more Ford evening events, save an additional 20%.