downlod odc

Transcription

downlod odc

For Immediate Release
Contact: Mona Baroudi
415.615.2735
[email protected]
ODC/DANCE CELEBRATES ITS 40TH ANNIVERSARY
AT THE JOYCE THEATER, NYC
August 9-13, 2011
“…the major reason to celebrate ODC is its artistic achievements…Over the years this body of work has
become formally more sophisticated without losing its humanistic principals and questioning spirit…”
Rita Felciano, Dance Magazine, 2011
SAN FRANCISCO, May 24, 2011 – ODC/Dance, San Francisco’s internationally acclaimed
contemporary dance company, is pleased to announce its return to The Joyce Theater in New York City,
August 9-13, 2011.
The company will bring its 40th anniversary celebrations to the Joyce with two New York premieres
reflecting ODC’s long commitment to interdisciplinary collaboration and musical commissions: Brenda
Way’s Waving Not Drowning (A Guide to Elegance) (2010) and Stomp a Waltz (2006), by Co-Artistic
Director KT Nelson. The company also presents Way’s seminal work, Investigating Grace (1999), which
was recently awarded an “American Masterpieces” grant by the National Endowment of the Arts.
Ms. Way found inspiration in a French manual of female decorum for her 2010 work, Waving Not
Drowning (A Guide to Elegance). Published in 1963, A Guide to Elegance is a slim manual written to
advise on female conduct and all things fashion related. Written in 218 tiny chapters, eg. “Girlfriends,”
“Gesture,” and “Posture,” the manual provides lessons on appropriate behavior, from the mastery of
casual refinement to selecting the suitable outfit for a morning rendezvous. Composer Pamela Z, who is
celebrated for her particular mix of voice, live electronic processing, and sampling technology, composed
the original score, incorporating all of these elements along with excerpts of the text.
Way’s Investigating Grace (1999), set to Glenn Gould's first 1955 Columbia LP of Bach’s Goldberg
Variations, explores themes of love, loss and transcendence. Dance critic Allan Ulrich in Voice of Dance
found it “deeply considered,” and likened it to “a spiritual journey.”
Stomp a Waltz is an exuberant, full company work by KT Nelson set to an original string composition by
acclaimed Brazilian pianist and composer Marcelo Zarvos. Danced to a rousing recording by The Ethel
String Quartet, the San Francisco Chronicle wrote, “The full company is given hungry, space-eating
slides and lunges, and attacks them with gusto.”
Founded in 1971 by Way, who trained under George Balanchine, ODC/Dance has performed for more
than a million people in 32 states and 11 countries, touring to the Kennedy Center, Spoleto Festival, New
York International Arts Festival, and Jacob's Pillow, as well as venues in Europe, Australia, Canada,
Southeast Asia, South America, and all across the former Soviet Union. In the last year ODC served as
an ambassador of the U.S. State Department in its inaugural DanceMotion USA tour, and returning home,
finally completed their beautiful new state-of-the-art community theater in San Francisco, thereby
completing a $20-million arts campus in San Francisco’s Mission District.
ODC/Dance’s company of ten dancers includes Daniel Santos, Anne Zivolich, Yayoi Kambara, Corey
Brady, Jeremy Smith, Vanessa Thiessen, Dennis Adams and Justin Andrews.
ODC/Dance
ODC is known throughout the world for its athleticism, passion and intellectual depth. Among the many
awards ODC’s three resident choreographers--Brenda Way, KT Nelson and Kimi Okada--have received
a Guggenheim, six Isadora Duncan Dance Awards-including two life-time achievement awards, a San
Francisco Examiner Golden Slipper Award, and a Tony nomination. Brenda Way was selected as the
first choreographer to serve as Resident of the Arts at the American Academy in Rome for 2009. ODC
has been hailed as “Best Dance Company” in the San Francisco Bay Guardian’s Best of the Bay 2002,
2005, 2006, and 2009 editions. In 2009 ODC was selected by BAM as one of three dance companies to
tour internationally under the aegis of the U.S. State Department’s inaugural DanceMotion USA tour.
Founded in 1971 by Artistic Director Brenda Way, ODC (Oberlin Dance Collective, named after its place
of origin, Oberlin College in Ohio) loaded up a yellow school bus and relocated to San Francisco in 1976.
Her goal was to ground the company in a dynamic, pluralistic setting. ODC was the first modern dance
company in America to build its own home facility in 1979, from which it operates a school, a theater, a
gallery, and a health clinic for dancers. In September 2005, under Way’s leadership, ODC opened a
second performing arts facility, the ODC Dance Commons. And in the fall of 2010 ODC unveiled its
newly renovated and expanded Theater. Through its dozens of programs ODC strives to inspire
audiences, cultivate artists, engage community, and foster diversity and inclusion through dance
performance, training, and mentorship.
CALENDAR EDITORS, PLEASE NOTE:
ODC/Dance celebrates its 40th anniversary at The Joyce
Three New York Premieres
Waving Not Drowning (A Guide to Elegance) (2010), CHOREOGRAPHER, Way/ COMMISSIONED
SCORE, Pamela Z
Investigating Grace (1999) CHOREOGRAPHER, Way/MUSIC, J S Bach
Stomp a Waltz (2006), CHOREOGRAPHER, Nelson/ COMMISSIONED SCORE, Zarvos
WHEN:
August 9-13, 2011
Tuesday-Wednesday 7:30pm
Thursday-Saturday, 8pm
WHERE:
The Joyce Theater, 175 8th Avenue, New York, NY
TICKETS:
Tickets range from $19-$49
Limited $10 tickets are available
Tickets available at www.joyce.org or by calling JoyceCharge at 212-242-0800. ($10 tickets available by
phone only).
For more information about ODC/Dance, visit the company’s website at www.odcdance.org.
THE JOYCE THEATER
ODC/Dance, in association with The Joyce Theater Foundation, presents
Artistic Director and Founder Brenda Way
Co-Artistic Director KT Nelson
Associate Choreographer
Kimi Okada
Dancers
Daniel Santos Anne Zivolich Yayoi Kambara
Corey Brady Jeremy Smith Vanessa Thiessen
Dennis Adams Justin Andrews
Natasha Adorlee Johnson Amy Foley
Leadership support for The Joyce Theater’s 2010–2011 season has been received from the LuEsther T. Mertz Charitable Trust. The Joyce Theater Foundation gratefully acknowledges The Doris Duke Charitable Foundation for its generous endowment to support dance performances at The Joyce Theater.
The Joyce Theater’s Engagement Assistance Program is made possible with public funds from the New York State Council on the Arts, celebrating 50 years of building strong, creative communities in New York State’s 62 counties;; and the New York City Department of Cultural Affairs, in partnership with the City Council. Major support for The Joyce has been provided by Alphawood Foundation, The Boeing Company, First Republic Bank, Fund for the City of New York, The Hearst Foundations, The Andrew W. Mellon Foundation, Open Society Foundations, Rockefeller Brothers Fund, Rockefeller Foundation, The Fan Fox and Leslie R. Samuels Foundation, and The Shubert Foundation;; and an endowment created by the Lila Wallace-Reader’s Digest Fund to encourage the performances of out-of-town companies at The Joyce Theater.
STOMP A WALTZ
(2006)
Choreography: KT Nelson
Music: Composer, Marcelo Zarvos;; Commissioned Recording, Ethel String Quartet*
Light Design: Adapted from original design by David Finn
Dancers: Full Company
*Funded by Argosy Foundation Contemporary Music Fund
WAVING NOT DROWNING (A GUIDE TO ELEGANCE)
(2010)
Dedicated to Zareen
Choreography: Brenda Way Music: Commissioned Score, Pamela Z;; Text: A Guide to Elegance, 1963
Light Design: Alexander V. Nichols
Costume Design: Brenda Way and the Dancers
Funded by ODC Artistic Venture Fund, Richard Grand Foundation, ODC Producers’ Circle, the Bernard Osher Foundation and the Zellerbach Family Foundation
-- INTERMISSION -- INVESTIGATING GRACE
(1999)
Dedicated to Lucan
Choreography: Brenda Way Music: J.S. Bach, Goldberg Variations;; Pianist: Glenn Gould
Light Design: Alexander V. Nichols
Costume Design: Sandra Woodall
Funded by Nureyev Foundation, NEA
Photo: RJ Muna
ABOUT THE COMPANY
ODC is known worldwide for its athleticism, passion, and intellectual depth. Among the many awards ODC’s three resident choreographers—Brenda Way, KT Nelson, and Kimi Okada—have received are a Guggenheim, NEA American Masterpiece Award, 30 years of NEA fellowships and production grants, seven Isadora Duncan Dance Awards, two Nureyev Foundation Awards, a San Francisco Examiner Golden Slipper Award, and a Tony nomination. ODC has been hailed as “Best Dance Company” in the San Francisco Bay Guardian’s Best of the Bay 2002, 2005, 2006, and 2009 editions. In 2009, ODC was selected by the Brooklyn Academy of Music as one of three dance companies invited to tour internationally under the aegis of the U.S. State Department’s inaugural DanceMotion USA tour. Founded in 1971 by Artistic Director Brenda Way, ODC (Oberlin Dance Collective, named after its place of origin, Oberlin College in Ohio) loaded up a yellow school bus and relocated to San Francisco in 1976. Her goal was to ground the company in a dynamic, pluralistic VHWWLQJ,Q2'&ZDVWKH¿UVWPRGHUQGDQFHFRPSDQ\LQ$PHULFDWREXLOGLWVRZQKRPH
facility, from which it now operates the dance company, a school, a theater, a gallery, and a health clinic for dancers.
WHO’S WHO IN THE COMPANY
BRENDA WAY (Artistic Director) received her early training at The School of American Ballet and Ballet Arts in New York City. She is the Founder and Artistic Director of ODC/
Dance and creator of the ODC Theater and ODC Dance Commons, community perfor-
mance and training venues in San Francisco’s Mission District. Way launched ODC and helped establish an inter-arts department at Oberlin College and Conservatory of Music in the late 60’s before relocating to the Bay Area in 1976. She has choreographed some 80 pieces over the last 40 years. Among her commissions are Unintended Consequences: A Meditation (2008) for Equal Justice Soci-
ety;; Life is a House (2008) for San Francisco Girls Chorus;; On a Train Heading South (2005) for CSU Monterey Bay;; Remnants of Song (2002) for Stanford Lively Arts;; Scis-
sors Paper Stone (1994) for Alvin Ailey American Dance Theater;; Western Women (1993) for Cal Performances, Rutgers Uni-
versity and Jacob’s Pillow;; Ghosts of an Old Ceremony (1991) for Walker Art Center and The Minnesota Orchestra;; Krazy Kat (1990) for San Francisco Ballet;; This Point in Time (1987) for Oakland Ballet;; Tamina (1986) for San Francisco Performances;; and Invisible Cities (1985) for Stanford Lively Arts and the Robotics Research Laboratory. Way is a na-
tional spokesperson for dance, has published widely, and has received numerous awards and 35 years of support from the National Endowment for the Arts. She is a 2000 recipi-
ent of the John Simon Guggenheim Fellow-
VKLSDQGLQZDVWKH¿UVWFKRUHRJUDSKHU
to be a Resident of the Arts at the American Academy in Rome. Way holds a PhD in Aes-
thetics and is the mother of four children. She sits on the SF Exploratorium Museum Board KT NELSON (Co-Artistic Director) joined ODC in 1976 while attending Oberlin College. She performed with the company from 1976 to 1997. Since 1976, Nelson has choreographed more than 60 works, in addition to composing and commissioning numerous sound scores. In 1986, she FUHDWHG DQG GLUHFWHG 2'&¶V ¿UVW IXOOOHQJWK
family production, The Velveteen Rabbit, which has since toured across the country, reaching an audience of over 350,000. She was awarded the Isadora Duncan Award in 1987 for Outstanding Performance, in 1996 for Outstanding Choreography, and in 2001 for Sustained Achievement. Nelson’s collaborators have included Bobby McFerrin, Geoff Hoyle, Shinichi Iova-Koga, Gina Leishman, Marcelo Zarvos, Zap Mama and Linda Bouchard. She has been a guest choreographer for Diablo Ballet, Ballet Met, Maximum Dance, California Shakespeare Festival, and Ballet Austin. In 1998, her work RingRoundRozi was selected for the International Tanzmesse Dance Festival. In 1995, she founded ODC’s teen company, the ODC Dance Jam and is a critical player in the development of ODC’s Educational Outreach Program. In 2002, Nelson received the California Dance Educators Association’s Artist Award for outstanding artistry, creativity, outreach, and dedication to the ¿HOG RI GDQFH 6KH FXUUHQWO\ VLWV RQ WKH
Zellerbach Family Foundation Community Arts Board.
KIMI OKADA (Associate Choreographer) is a founding member of ODC and has choreographed 25 works for the company. Her work also includes commissions and collaborations with Geoff Hoyle, Bill Irwin, Julie Taymor, and Robin Williams. She has choreographed theatrical productions for The American Conservatory Theater in San Francisco, Berkeley Repertory Theater, Yale Repertory Theater, The New Victory Theater, and Theatre for a New Audience in New York;; The Children’s Theater Company/
Minneapolis;; The American Music Theater Festival/Philadelphia;; The Santa Fe Opera;; Los Angeles Music Center Opera;; Portland Center for the Performing Arts;; The Pickle Family Circus;; and the San Francisco Mime Troupe. She was nominated for a Tony Award for the Broadway production of Largely New York, which she co-choreographed with Bill Irwin. Ms. Okada has been a past recipient of NEA Choreography Fellowships and numerous foundation awards and was honored with a California State Legislature Assembly Resolution citing choreographic and community contribution. Since 1996, she has served as Director of the ODC School, where she has developed a world-class dance faculty and facilitated the School’s partnership with the Rhythm and Motion Dance Program.
DANIEL SANTOS (Dancer) was born in Manila, Philippines and grew up in San Jose, CA. He began studying dance at the age of 18 under the tutelage of Dennis Marshall. Santos attended the San Francisco Ballet School and later studied at the University of Oklahoma, where he was a featured dancer in productions of Sleeping Beauty, Serenade, Spectre de la Rose, and Carmina Burana. Santos joined ODC in 2002 and has helped create dozens of major roles in the company repertory.
ANNE ZIVOLICH (Dancer) was born in Los Angeles, CA. At age seven, she began her training in ballet, jazz and, tap while also playing the violin, piano, and ice hockey. Zivolich studied on scholarship at %DOOHW 0HW 7KH -RIIUH\ %DOOHW DQG 3DFL¿F
Northwest Ballet. She graduated from The Juilliard School with a BFA in Dance under the direction of Benjamin Harkarvy. Zivolich danced with Hubbard Street 2 in Chicago under the direction of Julie Nakagawa-
Bottcher and was on faculty at the Lou Conte Dance Studio. In 2005, she was named an Isadora Duncan Dance Award (Izzie Award) ¿QDOLVWLQ%HVW,QGLYLGXDO3HUIRUPDQFHIRUKHU
entire evening of ODC’s Dance Downtown at Yerba Buena Center for the Arts. In 2007, Zivolich received an Izzie Award nomination for Ensemble Performance in Way’s Scissors Paper Stone and again in 2008 for Best Individual Performance in Nelson’s A Walk in the Woods. She has performed on television for the Academy Awards Show and in the movie Toys. Zivolich joined ODC in 2003 and is widely known for her extraordinary passion and nerve. YAYOI KAMBARA (Dancer) was born in Tokyo, Japan and raised in the Bay Area and Surrey, England. She earned a BA in East Asian studies from Lawrence University and a BFA in Dance Performance from the University of Minnesota–Twin Cities. In the Bay Area, she has been fortunate to dance with STEAMROLLER Dance Company, Flyaway Productions, Sara Shelton Mann/
Contraband, and Scott Wells. In April 2007, Kambara and her husband Rick welcomed their daughter Hanae Cricket Kambara Coughlin to their family. Kambara joined ODC in 2003 and has helped create lead roles in a score of ODC works, including Way’s In the Memory of the Forest.
COREY BRADY (Dancer) is a native of Houston, TX and a graduate of Houston’s High School for the Performing and Visual Arts. He also trained at the Houston Ballet Academy, the Martha Graham School, and WHO’S WHO IN THE COMPANY
American Dance Festival, during which time he performed in musical productions of Oklahoma!, The Music Man, and Guys and Dolls. While working on his Bachelor in Fine Arts degree at the University of Oklahoma (OU), he was part of international repertory tours in Paraguay and Mexico. After graduating from OU, Corey was a guest artist with Prism Dance Theatre in Seattle, WA under the direction of Sonia Dawkins. Since his move to San Francisco, he has also worked with RAWdance, SF Moving Men, and Amy Seiwert’s Imagery Contemporary Ballet. In addition to stage performance, Brady has also taught Hip Hop at Embassy CES and has posed as a model for Apple Computers. He joined ODC in 2003.
JEREMY SMITH (Dancer) began his professional career with Parsons Dance in New York City. For three years, he performed lead roles in many of Mr. Parsons’ classic works, including Nascimento, Scrutiny, and The Envelope, and he received critical praise for his performances of the acclaimed solo Caught. Smith remains a guest artist in New York with Ben Munisteri Dance Projects and Lydia Johnson Dance and has graced stages in Italy, France, Germany, Israel, Greece, and Brazil. He is the Associate Artistic Director of Post:Ballet, advising, staging, and rehearsing the works of Artistic Director Robert Dekkers. An artist with ODC/Dance since 2007, Jeremy most recently participated in the DanceMotion USA tour of Southeast Asia, performing and teaching in Indonesia, Burma and Thailand. Smith grew up in Miami, FL, is an alumnus of New World School of the Arts High School, and graduated Summa Cum Laude from The Florida State University, earning a BFA degree. VANESSA THIESSEN (Dancer) is originally from Portland, OR and trained at the School of Oregon Ballet Theatre. She has danced with Smuin Ballet, Oregon Ballet Theatre, and Amy Seiwert’s Imagery Contemporary Ballet. Thiessen joined ODC in 2008 and was nominated for an Isadora Duncan Award in 2009 for her performance in KT Nelson’s They’ve Lost Their Footing. DENNIS ADAMS (Dancer) was born in Fort Worth, TX. He received his training at Booker T. Washington High School for the Performing and Visual Arts and the School of Dance at the University of Oklahoma. After completing a BFA in Dance, he joined the Cleo Parker Robinson Dance Ensemble. He has toured works by Alvin Ailey, Donald McKayle, Austin Hartel, and Mark Dendy. Adams joined ODC as an apprentice in 2008 and was promoted to dancer in 2009.
JUSTIN ANDREWS (Dancer) is a native of Las Vegas, NV and began his training at the Las Vegas Academy of Performing and Visual Arts. He graduated from the Hartt School at the University of Hartford, Connecticut, with a BFA in Dance Performance in 2008. During college, Andrews performed works by Jean Grand-Maitre, Scott Rink, Larry Keigwin, Pilobolus, and others. After moving to San Francisco in 2008, Andrews worked with KUNST-STOFF, Liss Fain Dance, FACT/SF, Sean Dorsey and Dancers, and Lizz Roman and Dancers. NATASHA ADORLEE JOHNSON (Danc-
er) was born in Huntington Beach, CA. She has trained with American Ballet Theatre, Alonzo King’s Lines Ballet as a Lines Bal-
let Ensemble member, and SUNY Purchase Conservatory of Dance, in addition to other institutions. She has performed works by George Balanchine, Gerald Arpino, Alonzo King, Robert Moses, and Yannis Adoniou. She has choreographed for the European Tanzsommer Festival and Regional Dance America. Ms. Adorlee Johnson is also a singer, DJ, producer and a recent graduate of UC Berkeley. This is Ms. Adorlee Johnson’s ¿UVWVHDVRQZLWK2'&
AMY FOLEY (Dancer) is originally from Anchorage, AK. Since moving to San WHO’S WHO IN THE COMPANY
)UDQFLVFRLQVKHKDVEHHQD¿[WXUHLQ
the Bay Area dance community as a dancer, teacher, and choreographer. She was a member of Robert Moses’ Kin from 1999 to 2010 and had the pleasure of touring, teaching, and performing extensively during that time. She has also performed and toured as a guest artist with Margaret Jenkins Dance Company and Shift Physical Theater and has most recently shown her own work through ODC’s Pilot Program and the Lines Ballet Summer Intensive. Amy teaches contemporary technique classes to both teens and adults and is a Pilates instructor. She is thrilled to join ODC and to return to the stage after the birth of her daughter earlier this year. ALEXANDER V. NICHOLS (Light De-
signer). Nichols’ work ranges from lighting to set and costume design for dance, theater, and opera. He has worked extensively in the San Francisco Bay Area with companies and artists, including Berkeley Repertory Theatre, ODC, Margaret Jenkins Dance Company, Joe Goode Performance Group, Zaccho Dance Theater, the Paul Dresher Ensemble, Rinde Eckert, and the Magic Theater. Nichols has served as Resident Lighting Designer for the Pennsylvania Ballet and Hartford Ballet and also as Lighting Director for American Ballet Theatre. He has created designs for choreog-
raphers, including Val Caniparoli, Graham Lustig, Jean Grand Maitre, Kirk Peterson, Christopher d’Amboise, Mark Morris, and Brenda Way. He has received two Dance Bay Area Isadora Duncan Awards for the visual designs of Georgia Stone and Age of Unrest with the Margaret Jenkins Dance Company.
SANDRA WOODALL (Costume Designer) has been designing costumes for numerous ballet, modern dance, theater, music, and performance art groups since 1970. Among them are the San Francisco Ballet, Margaret Jenkins Dance Company, Della Davidson Dance Theater, ODC/Dance, Oakland Ballet, American Conservatory Theater, Eureka Theater, California Shakespeare Company, Magic Theater, and the Kronos Quartet. Nationally and internationally, Woodall has designed costumes for the Joffrey Ballet, Ballet Metropolitan, Hartford Ballet, Dance Theater of Harlem, Hong Kong Ballet, and many others. She has designed sets and costumes for the National Theater of Norway, Den Norske Opera’s 1996 production of A Midsummer Night’s Dream. Woodall received Isadora Duncan Dance Awards in 1997 for Costume Design for Michael Smuin Ballet’s Frankie and Johnny, in 1996 for San Francisco Ballet’s Lambarena, in 1991 for Visual Design for Margaret Jenkins Dance Company’s Age of Unrest, and in 1989 for Sustained Achievement in Design. She received Bay Area Theatre Critics Circle Award for Costume Design in 1995 for the ACT production of Light Up the Sky and in 1989 for the ACT production of St. Joan.
PAMELA Z (Composer) makes solo works that combine a wide range of vocal techniques with electronic processing, samples, and gesture activated MIDI controllers. She has toured extensively throughout the US, Europe, and Japan. Her work has been presented at venues and exhibitions, including Bang on a Can (NY), the Japan Interlink Festival, Other Minds (SF), the Venice Biennale, and the Dakar Biennale. She’s created installation works and has composed scores for dance, ¿OP DQG QHZ PXVLF FKDPEHU HQVHPEOHV
Her numerous awards include a Guggenheim Fellowship, the Creative Capital Fund, the CalArts Alpert Award, the ASCAP Award, an Ars Electronica honorable mention and the NEA/JUSFC Fellowship. MARCELO ZARVOS (Composer) writes PXVLF IRU ¿OP WHOHYLVLRQ GDQFH WKHDWHU
and the concert stage. Among his recent ¿OP VFRUHV DUH The Good Shepherd, Holly-
woodland, Strangers with Candy, The Door in the Floor, and Kissing Jessica Stein, as well as additional music for the Academy WHO’S WHO IN THE COMPANY
Award winning score for Brokeback Moun-
tain 5HFHQW DQG XSFRPLQJ ¿OP UHOHDVHV
include Barry Levinson’s What Just Hap-
pened?, Cary Fukunaga’s Sin Nombre, and Antoine Fuqua’s Brooklyn’s Finest. Zarvos’ trademark is a seamless blend of orchestral, electronic and various ethnic and folk ele-
ments, which together create a uniquely af-
fecting and emotionally charged music. His work for dance includes scores for Pilobolus, DanceBrazil, Cleo Parker Robinson, ODC Dance, and chamber music compositions for Ethel and Quintet of the Americas. He has received grants from Meet the Composer and New York State Council for the Arts and was recently awarded a commission from the National Endowment for Arts to write a double string quartet for Ethel, which re-
ceived its premiere in New York City during the 2006/2007 season.
ODC/DANCE
351 Shotwell Street, San Francisco, CA 94110
415.863.6606
[email protected]
odcdance.org | facebook.com/ODCsf | twitter.com/ODCsf
ODC/DANCE STAFF
Artistic Director ...................................... Brenda Way
Co-Artistic Director ...................................... KT Nelson
Associate Choreographers ........................ Kimi Okada
Managing Director ...................................... Lori Laqua
Marketing Director .............................. Nancy Bertossa
Marketing Associate ................................ Jenna Glass
Development Director ..................... Constance Geisler
Individual Gifts Manager ....................... Miegan Riddle
Education/Outreach Associate ........ Virginia Reynolds
Finance Manager ......................... Charlene Folcomer
Finance Associate .................................. Carlos Lopez
Events Coordinator ......................... Susann McMahon
Company Publicist ............................... Mona Baroudi
Booking Director (USA) ........................... Cathy Pruzan
Booking Director (International) .............. John Claasen
Production Manager ............................ David Coffman
Lighting Supervisor (San Francisco) ..... David Robertson
Lighting Supervisor (New York) ................ Barry Steele
Wardrobe Supervisor .............................. Keiko Voltaire
Company Photographer ............................... RJ Muna
Ballet Mistresses ................................. Augusta Moore
Sandra Chinn
Laura Bernasconi
BOARD OF DIRECTORS
Bart Deamer, President
Tim Schroeder, Vice President
Cynthia McNulty, Treasurer
Heather Tay, Secretary
Briony Bax
Richard Carlstrom
Tom Delay
Alyce Dissette
Sean Dowdall, Immediate Past President
Henry Erlich
Lynn Feintech
Elizabeth J. Fisher
Lisa Gerould
Lauren Golden
Carleen Hawn
Carolyn Goor Hutchinson
Lori Laqua
KT Nelson
Kimi Okada
Jennifer Saffo
Karren Shorofsky
Martha Smolen
Timothy Streb
Monika Szamko
Brenda Way
Paul Webb
Sally X. Yu
Craig Zodikoff
ADVISORY BOARD
Simon Bax
Eleanor Coppola
Sakurako Fisher
Laurene Powell Jobs
F. Warren Hellman
David Landis
Samuel Miller
Cindy Testa McCullagh
Paula Powers
Lisa Stevens
Brenda Way and KT Nelson thank the ODC dancers for their artistic contribution to ODC’s repertory.
ABOUT ODC
Organizational History, Current Programs, and Major Accomplishments: Founded in 1971 by Artistic Director
Brenda Way, ODC is a groundbreaking arts institution comprised of a world-class contemporary dance company, a
theater/presenting organization, and a school. Operating in San Francisco’s Mission District since 1976, ODC’s
programs create access to contemporary art-making for more than 15,000 artists and students and 45,000 Bay Area
audience members annually. ODC has the institutional capacity and vision to enrich the lives of young people, provide
an artistic home for emerging artists, and present some of the most compelling and innovative dance and theater artists
from across the country and around the world. Mentorship, diversity, and connection to community remain the guiding
principles. ODC’s annual programming currently includes:
 Two three-week ODC/Dance home seasons at the Yerba Buena Center for the Arts featuring new work and our
family production of The Velveteen Rabbit, as well as 8-10 weeks of national and international touring
 Over 150 performances at ODC Theater by local/regional/national artists
 A weekly curriculum of 260 classes for all ages and skill levels at ODC School including a range of global and
dance workout classes resulting from a partnership with the Rhythm & Motion Dance Program
 A roster of mentorship and artistic training programs offered by the School and Theater for artists at all stages of
their careers
 An award-winning Educational Outreach Program conducted by ODC artists that serves hundreds of students in
San Francisco’s schools and in the communities reached by the ODC/Dance Company on their tour circuit
 A four university partnership designed to cultivate fluency and life-long interest in dance among a young adult
audience titled “I Speak Dance”
 A statewide dance touring program, InnerState, which brings San Francisco companies to audiences outside the
urban areas of California as well as a national touring program, SCUBA, with Velocity Dance Center (Seattle), the
Southern Theater (Minneapolis), and Philadelphia Dance Projects.
ODC’s three resident choreographers have created 140 works since 1971, including commissions for Alvin Ailey
American Dance Theater, San Francisco Ballet, Los Angeles and Santa Fe Operas, Walker Art Center, and San
Francisco Performances, among others. The Company’s touring roster has included the Kennedy Center, Spoleto
Festival, New York International Arts Festival, Jacob's Pillow, and the Joyce Theater in New York City, as well as
locations in England, Switzerland, Germany, Australia, Canada, Southeast Asia, South America, and all across the
former Soviet Union. Awards for ODC choreographers include a Guggenheim, five Isadora Duncan Dance Awards, a
San Francisco Examiner Golden Slipper Award, and a Tony nomination. Way was selected as the first choreographer
to serve as Resident of the Arts at the American Academy in Rome for 2009. ODC has been hailed as “Best Dance
Company” in the San Francisco Bay Guardian’s Best of the Bay 2002, 2005, 2006, 2009 and 2011 editions. In 2009
ODC was one of three dance companies invited to tour internationally under the aegis of the U.S. State Department’s
inaugural DanceMotion USA tour.
In 1979, ODC became the first modern dance company in the country to own their facility and since then artists
interested in training, creating, mentoring and performing have called it home. With significant help from the Hewlett
Foundation, ODC expanded on its original visionary purchase by building and opening the ODC Dance Commons in
October 2005, tripling ODC’s classroom, rehearsal, and performance space. The ODC Dance Commons now serves as
the largest contemporary dance resource on the west coast and a national destination for performing artists and arts
enthusiasts. This fall ODC realized Artistic Director/Founder Brenda Way’s longstanding vision for a cultural campus
and completed the renovation and expansion of ODC Theater. The Theater houses an improved 187-seat performance
space with higher ceilings, new seating and a technological upgrade to enhance production values; a new 50-seat
studio stage; two new classroom/rehearsal studios; an enlarged lobby and a new visual arts gallery; a mezzanine for
staff offices, a Community Help Desk; and a café/bistro run by the proprietors of the Mission District’s highly
regarded Bar Bambino.
BRENDA WAY (Artistic Director) received her early training at The School of American Ballet and
Ballet Arts in New York City. She is the Founder and Artistic Director of ODC Dance and creator of the
ODC Theater and ODC Dance Commons, community performance and training venues in San
Francisco's Mission District. Way launched ODC and helped establish an inter-arts department at Oberlin
College and Conservatory of Music in the late 60's before relocating to the Bay Area in 1976. She has
choreographed some 80 pieces over the last 40 years. Among her commissions are Unintended
Consequences: A Meditation (2008) Equal Justice Society; Life is a House (2008) San Francisco Girls
Chorus; On a Train Heading South (2005) CSU Monterey Bay; Remnants of Song (2002) Stanford Lively
Arts; Scissors Paper Stone (1994) Alvin Ailey American Dance Theater; Western Women (1993) Cal
Performances, Rutgers University and Jacob’s Pillow; Ghosts of an Old Ceremony (1991) Walker Art
Center and The Minnesota Orchestra; Krazy Kat (1990) San Francisco Ballet; This Point in Time (1987)
Oakland Ballet; Tamina (1986) San Francisco Performances; and Invisible Cities (1985) for Stanford
Lively Arts and the Robotics Research Laboratory. Way is a national spokesperson for dance, has
published widely, and has received numerous awards and 35 years of support from the National
Endowment for the Arts. She is a 2000 recipient of the John Simon Guggenheim Fellowship and in 2009
was the first choreographer to be a Resident of the Arts at the American Academy in Rome. Way holds a
PhD in aesthetics and is the mother of four children. She sits on the SF Exploratorium Museum Board.
KT NELSON (Co-Artistic Director) joined ODC in 1976 while attending Oberlin College. She danced
with the Company from 1976 to 1997. Since 1976, Nelson has choreographed more than 60 works as
well as composing and commissioning numerous sound scores. In 1986, she created and directed ODC’s
first full-length family production, The Velveteen Rabbit, which has since toured across the country
reaching an audience of over 350,000. She was awarded the Isadora Duncan award in 1987 for
Outstanding Performance, in 1996 for Outstanding Choreography, and in 2001 for Sustained
Achievement. Nelson’s collaborators have included Bobby McFerrin, Geoff Hoyle, Shinichi Iova-Koga,
Gina Leishman, Marcelo Zarvos, Zap Mama and Linda Bouchard. She has been a guest choreographer for
Diablo Ballet, Ballet Met, Maximum Dance, California Shakespeare Festival and Ballet Austin. In 1995
she founded ODC’s youth company, the ODC Dance Jam and is a critical player in the development of
ODC’s Educational Outreach Program. In 2002, Nelson received the California Dance Educators
Association’s Artist Award for outstanding artistry, creativity, outreach, and dedication to the field of
dance. In 1998 her work RingRoundRozi was selected for the International Tanzmesse Dance Festival.
She currently sits on the Zellerbach Foundation Community Arts Board.
KIMI OKADA (Associate Choreographer) is a founding member of ODC and has choreographed 25
works for the company. Her work also includes commissions and collaborations with Geoff Hoyle, Bill
Irwin, Julie Taymor and Robin Williams. She has choreographed theatrical productions for The American
Conservatory Theater in San Francisco, Berkeley Repertory Theater, Yale Repertory Theater, The New
Victory Theater and Theatre for a New Audience in New York, The Children’s Theater
Company/Minneapolis, The American Music Theater Festival/Philadelphia, The Santa Fe Opera, Los
Angeles Music Center Opera, Portland Center for the Performing Arts, The Pickle Family Circus, and the
San Francisco Mime Troupe She was nominated for a Tony award for the Broadway production of
Largely New York, which she co-choreographed with Bill Irwin. Ms. Okada has been the past recipient of
NEA Choreography Fellowships and numerous foundation awards and was honored with a California
State Legislature Assembly Resolution citing choreographic and community contribution. Since 1996 she
has served as Director of the ODC School where she has developed a world-class dance faculty and
facilitated the School's partnership with the Rhythm and Motion Dance Program.
DANIEL SANTOS (Dancer) was born in Manila, Philippines and grew up in San Jose, CA. He began
studying dance at the age of 18 under the tutelage of Dennis Marshall. Santos attended the San Francisco
Ballet School and later studied at the University of Oklahoma where he was a featured dancer in
productions of Sleeping Beauty, Serenade, Spectre de la Rose, and Carmina Burana. Santos joined ODC
in 2002 and has helped create dozens of major roles in the Company repertory including leads in Way’s
Something about a Nightingale and Nelson’s A Walk in the Woods.
ANNE ZIVOLICH (Dancer) was born in Los Angeles, CA. At age seven she began her training in
ballet, jazz and tap while also playing the violin, piano and ice hockey. Zivolich studied on scholarship at
Ballet Met, The Joffrey Ballet and Pacific Northwest Ballet. She graduated from The Juilliard School
with a BFA in Dance under the direction of Benjamin Harkarvy. Zivolich danced with Hubbard Street 2
in Chicago under the direction of Julie Nakagawa-Bottcher and was on faculty at the Lou Conte Dance
Studio. In 2005 she was named an Isadora Duncan Dance Award (Izzie Award) finalist in Best Individual
Performance for her entire evening of ODC’s Dance Downtown at Yerba Buena Center for the Arts. In
2007, Zivolich received an Izzie Award nomination for Ensemble Performance in Way’s Scissors Paper
Stone and again in 2008 for Best Individual Performance in Nelson’s A Walk in the Woods. She has
performed on television for the Academy Awards Show and in the movie Toys. Zivolich joined ODC in
2003 and is widely known for her extraordinary passion and nerve. Shenanigans and On a Train Heading
South, in particular, were deeply framed by her talents.
YAYOI KAMBARA (Dancer) was born in Tokyo, Japan and raised in the Bay Area and Surrey,
England. She earned a BA in East Asian studies from Lawrence University and a BFA in dance
performance from the University of Minnesota–Twin Cities. In the Bay Area, she has been fortunate to
dance with STEAMROLLER Dance Company, Flyaway Productions, Sara Shelton Mann/Contraband
and Scott Wells. In April 2007 Kambara and her husband Rick welcomed their daughter Hanae Cricket
Kambara Coughlin to their family. Kambara joined ODC in 2003 and has helped create lead roles in a
score of ODC works, including Way’s In the Memory of the Forest.
COREY BRADY (Dancer) Brady is a native of Houston, TX and is a graduate of Houston’s High
School for the Performing and Visual Arts. He also trained at the Houston Ballet Academy, the Martha
Graham School, and American Dance Festival during which time he performed in musical productions of
Oklahoma!, The Music Man, and Guys and Dolls. While working on his Bachelor in Fine Arts degree at
the University of Oklahoma (OU), he was part of international repertory tours in Paraguay and Mexico.
After graduating from OU, Corey was a guest artist with Prism Dance Theatre in Seattle, WA under the
direction of Sonia Dawkins. Since his move to San Francisco he has also worked with RAWdance, SF
Moving Men, and Amy Seiwert/Im'ij-re Contemporary Ballet. In addition to stage performance Brady has
also taught Hip Hop at Embassy CES and has posed as a model with Apple Computers. He joined
ODC/Dance in 2003.
JEREMY SMITH (Dancer) began his professional career with Parsons Dance in New York City. For
three years, he performed lead roles in many of Mr. Parsons’ classic works, including Nascimento,
Scrutiny and The Envelope, and he received critical praise for his performances of the acclaimed solo
Caught. Smith remains a guest artist in New York with Ben Munisteri Dance Projects and Lydia Johnson
Dance and has graced stages in Italy, France, Germany, Israel, Greece, and Brazil. He is the Associate
Artistic Director of Post:Ballet, advising, staging, and rehearsing the works of Artistic Director Robert
Dekkers. As an educator, he has taught in schools and universities throughout the United States, as well
as in the U.S. Virgin Islands and Italy. An artist with ODC/Dance since 2007, Jeremy most recently
participated in the DanceMotion USA/Department of State/BAM tour of Southeast Asia, performing and
teaching in Indonesia, Burma and Thailand. Smith grew up in Miami, Florida, is an alumni of New
World School of the Arts High School, and graduated Summa Cum Laude from The Florida State
University, earning a Bachelor of Fine Arts degree.
VANESSA THIESSEN (Dancer) is originally from Portland, Oregon and trained at the School of
Oregon Ballet Theatre. She has danced with Smuin Ballet, Oregon Ballet Theatre and Amy Seiwert /
im’ij-re. Thiessen joined ODC in 2008, and was nominated for an Isadora Duncan Award in 2009 for her
performance in KT Nelson’s They’ve Lost Their Footing.
DENNIS ADAMS (Dancer) was born in Fort Worth, TX. He received his training at Booker T.
Washington High School for the Performing and Visual Arts and the School of Dance at the University of
Oklahoma. After completing a BFA in dance he joined the Cleo Parker Robinson Dance Ensemble. He
has toured works by Alvin Ailey, Donald McKayle, Austin Hartel and Mark Dendy. Adams joined ODC
as an apprentice in 2008 and was promoted to dancer in 2009.
JUSTIN ANDREWS (Dancer) is a native of Las Vegas, Nevada and began his training at the Las Vegas
Academy of Performing and Visual Arts. He graduated from the Hartt School at the University of
Hartford, Connecticut, with a BFA in Dance Performance in 2008. During college Andrews performed
works by choreographers such as Jean Grand-Maitre, Scott Rink, Larry Keigwin, and Pilobolus. Upon
moving to San Francisco in late 2008, Andrews has worked with KUNST-STOFF, Liss Fain Dance,
FACT/SF, Sean Dorsey and Dancers, and Lizz Roman and Dancers.
NATASHA ADORLEE JOHNSON (Dancer) was born in Huntington Beach, CA. She has trained with
American Ballet Theatre, Alonzo King’s Lines Ballet as a Lines Ballet Ensemble member and SUNY
Purchase Conservatory of Dance, along with other institutions. She has performed works by George
Balanchine, Gerald Arpino, Alonzo King, Robert Moses and Yannis Adoniou. She has choreographed for
the European Tanzsommer Festival and Regional Dance America. Adorlee Johnson is also a singer, DJ,
producer and a recent graduate of UC Berkeley. This is Adorlee Johnson’s first season with ODC.
AMY FOLEY (Dancer) is originally from Anchorage, Alaska. Since moving to San Francisco in 1998,
she has been a fixture in the Bay Area dance community as a dancer, teacher and choreographer. She was
a member of Robert Moses’ Kin from 1999-2010 and had the pleasure of touring, teaching and
performing extensively in that time. She has also performed and toured as a guest artist with Margaret
Jenkins Dance Company and Shift Physical Theater and has most recently shown her own work through
ODC's Pilot Program and the Lines Ballet Summer Intensive. Amy teaches contemporary technique
classes to both teens and adults and is a Pilates instructor. She is thrilled to join ODC and to return to the
stage after the birth of her daughter, earlier this year.
ALEXANDER V. NICHOLS (Light Designer). Nichols' work ranges from lighting to set and costume design for
dance, theater and opera. He has worked extensively in the San Francisco Bay Area with companies and artists
including Berkeley Repertory Theatre, ODC, Margaret Jenkins Dance Company, Joe Goode Performance Group,
Zaccho Dance Theater, the Paul Dresher Ensemble, Rinde Eckert and the Magic Theater. Nichols has served as
Resident Lighting Designer for the Pennsylvania Ballet and Hartford Ballet and also as Lighting Director for
American Ballet Theatre. He has created designs for choreographers including Val Caniparoli, Graham Lustig,
Jean Grand Maitre, Kirk Peterson, Christopher d'Amboise, Mark Morris and Brenda Way. He has received two
Dance Bay Area Isadora Duncan Awards for the visual designs of Georgia Stone and Age of Unrest with the
Margaret Jenkins Dance Company.
SANDRA WOODALL(Costume Designer), has been designing costumes for numerous ballet, modern dance,
theatre, music, and performance art groups since 1970. Among them are the San Francisco Ballet, Margaret
Jenkins Dance Company, Della Davidson Dance Theater, ODC/Dance, Oakland Ballet, American Conservatory
Theater, Eureka Theater, California Shakespeare Company, Magic Theater and the Kronos Quartet. Nationally
and internationally, Woodall has designed costumes for the Joffrey Ballet, Ballet Metropolitan, Hartford Ballet,
Dance Theater of Harlem, Hong Kong Ballet, and many others. She has designed sets and costumes for the
National Theater of Norway, Den Norske Opera’s 1996 production of A Midsummer Night’s Dream. Woodall
received Isadora Duncan Dance Awards in 1997 for Costume Design for Michael Smuin Ballet’s Frankie and
Johnny, in 1996 for San Francisco Ballet’s Lambarena, in 1991 for Visual Design for Margaret Jenkins Dance
Company’s Age of Unrest, and in 1989 for Sustained Achievement in Design. She received Bay Area Theatre
Critics Circle Award for Costume Design in 1995 for the ACT production of Light Up the Sky and in 1989 for the
ACT production of St. Joan.
PAMELA Z (Composer) makes solo works combining a wide range of vocal techniques with electronic
processing, samples, and gesture activated MIDI controllers. She has toured extensively throughout the US,
Europe, and Japan. Her work has been presented at venues and exhibitions including Bang on a Can (NY), the
Japan Interlink Festival, Other Minds (SF), the Venice Biennale, and the Dakar Biennale. She's created
installation works and has composed scores for dance, film, and new music chamber ensembles. Her numerous
awards include a Guggenheim Fellowship, the Creative Capital Fund, the CalArts Alpert Award, the ASCAP
Award, an Ars Electronica honorable mention and the NEA/JUSFC Fellowship.
MARCELO ZARVOS (Composer) writes music for Film, Television, Dance, Theater and the Concert Stage.
Among his recent film scores are The Good Shepherd, Hollywoodland, Strangers with Candy, The Door in the
Floor, Kissing Jessica Stein, as well as additional music for the Academy Award winning score for Brokeback
Mountain. Recent and upcoming film releases include Barry Levinson’s What Just Happened?, Cary
Fukunaga’s Sin Nombre and Antoine Fuqua’s Brooklyn’s Finest. Zarvos’ trademark is a seamless blend of
orchestral, electronic and various ethnic and folk elements, which together create a uniquely affecting and
emotionally charged music. His work for dance includes scores for Pilobolus, DanceBrazil, Cleo Parker
Robinson, ODC Dance, and chamber music compositions for Ethel and Quintet of the Americas. He has
received grants from Meet the Composer, New York State Council for the Arts and was recently awarded a
commission from the National Endowment for Arts to write a double string quartet for Ethel, which received
its premiere in NYC during the 2006/2007 season.
Celebrating 40 Years in Style
San Francisco’s Oberlin Dance Collective stops by The Joyce this summer
By Susan Reiter
Wednesday, August 3, 2011
Yayoi Kambara and Jeremy Smith. Photo by RJ Muna.
What began in 1971 as Oberlin Dance Collective—an energized, innovative, post-1960s group of dancers
and musicians—headed west to San Francisco five years later and has since become a pivotal and
influential mainstay of that city’s vibrant dance scene. Soon renamed ODC/Dance, this 10-member
ensemble has, since its inception, featured the choreography of three women: Brenda Way, KT Nelson and
Kimi Okada. This dynamic artistic triumvirate remains at the helm today, even as the enterprise has greatly
expanded and diversified.
Like Pilobolus, another feisty, inventive troupe reaching the Big 4-0 this year, ODC was launched in
academia. Way was a tenured faculty member in Oberlin College’s dance and theater department. Nelson
and Okada were students in the department. “I had saved an old gym on the campus and converted it to an
interarts center, so I had plenty of space,” Way recalls recently by phone. She took the fledgling troupe to
Martha’s Vineyard in the summer of 1971, where they earned academic credit while creating new works,
building a stage amid the sand dunes and living in tents.
The same can-do, enterprising spirit has marked ODC, which performs next week at the Joyce Theater,
ever since. In San Francisco, Way says, “We got a space right away, and started a presenting series.
Basically everything I had done earlier I transposed to San Francisco, which was a rich ground to inhabit.”
After getting evicted from the space company members had constructed and renovated themselves, Way
decided, “We’re going to buy a building, because we’re not going to be evicted again!” So in 1979, ODC
became the first modern dance company to own its home facility, a former hardware store in the Mission
District. “The beginning of that building—the ownership—was really the beginning of the institution as it
is now.” The space quickly became a bustling hub as ODC launched its school there and welcomed other
dance artists for rehearsals, residencies and performances.
Today, that building is the ODC Theater, which was expanded and renovated last year. In 1999, when “we
were bursting our seams,” Way overcame the board’s initial objections and ODC purchased a second,
23,000-square-foot space across the street. It opened in 2005 and is known as ODC Commons. A bustling
hub of activity, it houses the company’s artistic and administrative facilities, as well as the bustling school,
a gallery and dancers’ health clinic. The school offers an amazing 250 classes weekly—from hula to tap,
flamenco to hip-hop—for professionals as well as absolute beginners.
ODC’s early repertory reflected the questioning experiments of the Judson Dance Theater and the
explorations of Contact Improvisation. “In the very early days, I was interested in exploring the
possibilities of various forms, using a lot of improvisational structures that came from composer friends at
the Oberlin Conservatory,” Way says. “It really was not so much about the product as it was, what else
could you do if you didn’t want to just do what you’ve been trained in the studio all those years?
Eventually, a language evolved. Also, I became interested in reflecting a broader world.” As a mother of
four, Way notes that her work has often reflected her “connection to what’s going on, socially and
culturally.”
The original three creative leaders have continually replenished the company’s repertory while taking on
varied ancillary duties. Way is artistic director; Nelson, the co-artistic director, heads ODC’s youth
company and educational outreach programs; and Okada serves as associate choreographer and ODC
school director. “I think that having three of us gives us the latitude to make work when we have something
to say, and go fallow when we need to,” Way observes.
Okada is not represented this time at The Joyce, where ODC last appeared in 2008. This year’s program
includes two works by Way and one by Nelson: Way’s Waving Not Drowning (A Guide to Elegance),
which features a score by Bay Area composer/singer Pamela Z incorporating text from The Guide to
Elegance, “a stunningly retrograde little 1963 volume about dos and don’ts of being a proper woman. All
of the text in the piece is directly from the book—with no exaggeration, because you really don’t need it!”;
and Investigating Grace, from 1999, set to Glenn Gould’s 1955 Goldberg Variations recording and an
ODC signature work.
Nelson’s 2006 Stomp a Waltz is a full-company work set to an original score by Brazilian composer Marcel
Zarvos. Way describes it as “emblematic ODC: rousing, athletic, rhythmic, powerful.” Those are not bad
adjectives to apply to this adventurous, enterprising company, which clearly has plenty to celebrate.
Sunday, March 6, 2011
California’s Best Large Newspaper as named by the California Newspaper Publishers Association
TOP OF THE NEWS
Insight
WikiLeaks —
How Europe
caves in to U.S.
pressure. F6
World
1 Libya uprising: Reb-
els capture a key oil port
while state forces unleash mortar fire. A5
Sporting Green
| $3.00 Gxxxxx•
Bay Area
Magazine
Spring adventure
tours from the
Galapagos to
South Africa. 6
1 Newsom: Concerns
rise over S.F. office deal
with donor. C1
1 Shipping: Nancy Pelosi extols the importance
of local ports. C1
Business
Food & Wine
1 Larry Goldfarb: Marin
All about falafel County hedge fund manager
who settled fraud charges
— with three
stretched the truth about
recipes. H1
charitable donations. D1
1 Scouting triumph:
The Giants picked
rapidly rising prospect
Brandon Belt, right,
147th in the ’09 draft. B1
Travel
Special Hawaii
section touts
Kailua-Kona. M1
East Bay
deputy held
in drug case
RECOVERY
Arrest linked to ongoing
state narcotics agent probe
By Justin Berton
CHRONICLE STAFF WRITER
Michael Macor / The Chronicle
Chris Rodriguez (4) of the Bay Cruisers shoots over Spencer Halsop (24) of the Utah Jazz
during a game of wheelchair basketball sponsored by a Bay Area sports outreach program.
Full circle, with hoops
Hit by a stray bullet in 2008, he’s back in the game
A Contra Costa County sheriff’s deputy has been arrested in
connection with the investigation of a state narcotics agent
who allegedly stole drugs from
evidence lockers, authorities
said Saturday.
Stephen Tanabe, 47, an Alamo resident, was booked Friday night into Contra Costa
County Jail on suspicion of
possession and transfer of an
assault rifle and conspiracy to
possess and sell controlled
substances. He was taken into
custody by agents representing
the state Department of Justice
and the district attorney’s office.
Authorities did not elaborate
on the details of the alleged
offenses, but a statement from
the Contra Costa County Sheriff’s Department said Tanabe’s
arrest was the “result of the
ongoing investigation into the
state Department of Justice
Central Contra Costa Narcotics
Enforcement Team (CNET).”
“As soon as we learned of
Deputy Tanabe’s alleged involvement in the CNET case, we
Deputy continues on A12
SAN BRUNO BLAST
By Scott Ostler
CHRONI CLE STAFF W RI TER
About halfway through his two-month stay at Children’s Hospital Oakland, 10-yearold Chris Rodriguez asked his father, “Daddy, will I be able to walk out of here?”
Richard Rodriguez had been withholding the bad news. Initially, doctors told
Chris’ parents he had a 50 percent chance to survive the internal injuries from a 40caliber handgun slug that sliced his spinal cord, so his father was desperate to keep
Chris’ spirits up. But now was the time.
“No,” Richard said. “You may not walk for a long time, maybe never.”
Three years later, Chris calmly recalls the moment.
“I started crying, because I wanted to get back to my basketball season. I just joined
the school team. I had played two games.”
Sorry, no more basketball.
“Daddy,” Chris said in the hospital, “that’s going to be the greatest loss of my life.”
On Jan. 10, 2008, a 24-year-old Oakland
man on a violent crime spree held up a Chevron station on Piedmont Avenue in North
Oakland. Jared Adams took $162, and when an
attendant tried to dial 9-1-1, Adams, who was
drunk, fired three wild shots.
One of the shots traveled across the street,
through the wall of the Harmony Road Music
School and through the spleen, kidney and
spine of Chris Rodriguez as he sat on a piano
bench waiting to take his lesson.
The following Saturday morning, while most
people were struggling to process the random
Rodriguez continues on A14
Regulators’ decision
due on PG&E pipes
By Jaxon Van Derbeken
CHRONICL E STAFF WRITER
Decision time is looming for
California regulators who are
under pressure from the federal government to force Pacific
Gas and Electric Co. to send
less gas through pipelines that
the utility cannot prove are
safe.
Several weeks of cold weather remain for Northern and
Central California, but after
March 15, PG&E could be
forced to reduce its gas flow by
20 percent on hundreds of
miles of transmission lines in
urban areas. That’s the deadline for the company to produce documents proving to the
California Public Utilities
Commission that the lines can
withstand the pressure levels
at which PG&E operates them.
Besides cutting pressure,
PG&E may have to shut down
lines for days at a time while it
conducts high-pressure water
testing — something the company has always avoided doing. It’s enlisted hundreds of
employees to sift through tens
PG&E continues on A13
SUNDAY PROFILE Brenda Way
Moving exploration of beauty
Brenda
Way, ODC/
Dance’s
founder and
artistic
director,
seeks to
explore female beauty
and power
through
movement.
By Julian Guthrie
CHRONICL E STAFF WRITER
Laura Morton / Special to The Chronicle
Brenda Way’s first performance space was outside on
Martha’s Vineyard on land
owned by a friend. It was the
summer of 1971 when Way and
20 artists from Oberlin College
built the floor for their stage
and formed seats from sand
dunes. They lived in tents, and
cooked on a stove rescued
from the dump.
Through movement, the
Oberlin Dance Collective, as
Way called the group, asked
questions about female beauty
and classical dance, about a
sharing of power and gender
expectations.
Now, Way is the artistic and
executive director of San Francisco’s ODC/Dance, the West
Coast’s premier contemporary
dance company, which is pre-
Way continues on A15
ONLY IN THE CHRONICLE INDEX
1 Stories with this logo can be found only in
The Chronicle’s print and e-editions at this time.
They will be available at sfgate.com beginning
Tuesday. E-editions can be purchased at
sfgate.com/ZKFB.
Bay Area. . . . . . . C1
Books . . . . . . . . . G1
Business . . . . . . . D1
Datebook
All Over Coffee . 40
Puzzles. . . . . 45-47
Horoscope . . . . . 43
Food & Wine . . . H1
Home & Garden N1
Insight . . . . . . . . F1
Editorial . . . . . F10
Lotto . . . . . . . . . A2
Obituaries . . . . . C6
Style. . . . . . . . . . E1
Sports . . . . . . . . B1
Travel . . . . . . . . M1
Weather
Rain, showers.
Highs: 56-63.
Lows: 40-47.
C4-5
Consignments
now invited
Inquiries
(415) AUCTION
[email protected]
www.bonhams.com/us
© 2011 Bond No. 57bsbes3248
Shirin Neshat
I am its secret, 1993
Sold for $17,080
GXXXXX
San Francisco Chronicle and SFGate.com | Sunday, March 6, 2011 |
A15
FROM THE COVER
Group’s founder redefining beauty
Way from page A1
paring to celebrate its 40th
anniversary. With 36,000
square feet of newly renovated
space, the company includes a
professional dance troupe, a
clinic for dancers, a theater,
and hundreds of dance and
movement classes for the public.
At 68, Way is still driven by
questions — “I think about
how to rub the truth out of
language,” she says — but she
also has answers. To ideas of
female beauty. To distinctions
between ballet and modern
dance. To running a company
while raising a family.
“I think underneath all of
my questions is an exploration
of the power and capacity of
women,” Way said, sitting in
her quiet corner office at ODC
on a rainy morning last week.
“When I was studying ballet
with Balanchine as a teenager,
the image of beauty was delicate and lovely and fragile,”
she said. “You were expected
to be strong but not look
strong. As I grew older, I saw
women who were powerful
and diverse. In my own life, I
remember carrying two children and two bags of groceries
up five flights of stairs and
thinking, ‘Don’t tell me women
are fragile.’ ”
Philanthropist Sakurako
Fisher, who has known Way
since 1985 and is on ODC’s
advisory board, said, “Brenda
has taught me a lot about philanthropy, and about what a
woman could do on so many
levels. Not just being an artist,
but being a smart businesswoman. And she’s in a dynamic marriage and has great
kids.”
Not “the Balanchine image”
Brenda Way, born Brenda
Bolte, began studying dance as
a young girl. Her mother, Bonnie Bolte, ran a small dance
studio in Greenwich, Conn. By
the time Brenda was 9, she was
taking the train from Greenwich to 59th Street in Manhattan to study ballet with choreographer George Balanchine.
“During the school year, I’d
go after school, and during
summer, I’d go all day every
day,” Way recalled. “We knew
Balanchine as ‘Mr. B.’ When
he walked around, everyone’s
head swiveled.”
Although Way was naturally
athletic, she was not “the Balanchine image, nor was that
my interest.” Instead of a long
and elegant Suzanne Farrell,
described by Balanchine as his
“alabaster princess,” Way was
muscular and expressive.
In 1969, after studying at
Oberlin College, she was offered a temporary teaching
position there.
“It was a time of radical
change and a time of interdisciplinary arts,” Way said.
“People were throwing out
everything traditional.”
Modern dance appealed to
her because it was about looking at “how new forms could
make the same content feel
different.” Where ballet was a
“received language,” Way noted, modern dance was “inventing the language.” It was a
departure from Balanchine’s
approach, in which he described dancers as instruments
“like a piano the choreographer plays.”
“I would say in some sense,
that (statement) is what dis-
Laura Morton / Special to The Chronicle
Brenda Way works on the choreography for a new piece with dancers Daniel Santos (left) and Elizabeth Farotte Heenan.
tinguishes ballet from modern
or contemporary dance,” she
said. “In modern dance, the
dancers are the intellectual
and visual collaborators. As
the choreographer, I’m the
boss, but I expect these complicated intelligent adults to
bring their own experiences to
life.”
At the same time Way was
teaching dance and bringing to
life the Oberlin Dance Collective, she had divorced and was
a single mom with three young
children. At the urging of a
friend, she attended a “conference for radical faculty” in
New Hampshire in 1973. With
her three kids in tow, she met
the man who would become
her husband.
“I was at this conference and
there I was playing the guitar
and singing a country song
when Brenda and her kids sat
down next to me,” said Henry
Erlich. “We just sort of clicked.
I found her attractive and interesting and charismatic.”
After doing his post-doctoral fellowship at Princeton in
molecular biology, Erlich headed to Stanford to do a second
post-doctoral fellowship in
immunogenetics.
Erlich, now director of human genetics at Roche, said, “I
think part of the reason Brenda moved out here was me. But
the big reason was really that
San Francisco is a wonderful
environment to pursue the
arts, in particular dance and
choreography.”
Way says the West Coast
was appealing because of Erlich, and because of its history
of early dance innovators, from
Merce Cunningham in Seattle
and Lester Horton in Los Angeles to the Bay Area’s Isadora
Duncan and the San Francisco
Ballet.
Move to West Coast
In 1976, after maintaining a
long-distance relationship with
Erlich, Way moved the Oberlin
Dance Collective west on a
packed yellow school bus.
“Our bus was beautifully stenciled with ODC on the front,”
Way said. “The bus was the
turns — completed, Way says
she is done with building,
although she is interested in
creating housing for artists.
As part of ODC’s 40th anniversary celebration, Way is
hosting a “symposium on creativity” benefit called “Women
Who Frame the World.” Questions to be discussed include:
“How do artists realize their
vision and invent their language?” “How do we manage
creative fear?” And “How do
women invent the lives they
wish to live?”
Steve DiBarolomeo 2010
ODC dancers perform in “Waving not Drowning (A Guide to
Elegance)” by Brenda Way in 2010.
right price, and you could get a
lot of props and costumes in
there. I looked at San Francisco as having this history of
invention, and importantly, it
had the Grants for the Arts
hotel tax fund, which told me
that people here cared about
the arts.”
Company evolves
Kary Schulman, who met
Way in 1981 when she became
director of the Grants for the
Arts, said, “It became known
to me pretty quickly that one of
the really dynamic young companies in the city was the
Oberlin Dance Collective. I saw
that Brenda was an absolutely
unstoppable energy.”
The ODC received around
$6,000 from the Grants for the
Arts in 1981, Schulman said,
and more than $150,000 this
year. The ODC’s operating
budget is $5.2 million.
While others have urged
Way to change the name from
ODC to something like “The
Brenda Way,” she has resisted.
(The school evolved in name
from dance “collective” to
“company.”)
“One of the things I wanted,
and this came from the ’60s,
was to create a structure where
everyone had skin in the
game,” Way said. “We started
by questioning the nature of
leadership and asking, ‘Can
you be a leader without being
Yelp Is Evil
•
•
•
•
•
Misleading reviews by small people
Removes negative reviews for a price
Does not screen their reviewers
Agenda driven by ill-perceived slights
A forum that does not allow merchants
to respond to lies and innuendos
Mention this ad and receive an additional 20% off your purchase
5377 COLLEGE AVENUE, OAKLAND • 510.654.0929
www.ironandbrassbeds.com • Open 7 days • Walking distance from Rockridge BART
deeply egoistic?’ I had children
and a life, and I wanted to
make sure there was latitude
in my life. I wanted to have
partners, and do this shoulder
to shoulder and to give each
other space for things that
weren’t professional.”
She and Henry Erlich,
whom she married in 1981 and
had a son with, now have four
grandchildren. Her partners
and fellow choreographers at
ODC — who came west on that
yellow school bus — are Kimi
Okada, director of the ODC
school, and KT Nelson, coartistic director. As they gear
up for the 40th season, which
opens Friday, Way spends her
mornings on administrative
work and afternoons choreographing in the studio.
Center opens in 2005
Her office is in the ODC
Commons, which opened in
the Mission District in 2005
and is home to the dance company, the dancers’ clinic, a
Pilates training center, and
studios for classes for the public. The commons offers 250
classes per week and has about
15,000 participants per year.
Down the street, at the corner
of 17th and Shotwell, is the
renovated theater, opened in
2010.
With the extensive fundraising and expansions — both
done during economic down-
Seeking ‘bigger picture’
When Way looks at her
career, from that first crazy
summer in 1971 when anything
felt possible, to today, she says,
“I wanted a bigger picture of
what was beautiful. I wanted
to redefine beauty.”
She continued, “I had many
parts of my life that required
me to be strong. Part of it was
survival, and that is good.
Effort is beautiful. Striding
along and being powerful is
beautiful.”
As for her legacy, she laughs
before turning thoughtful.
“ODC/Dance is its own thing,”
she said of the dance company.
“I love to work with the dancers. I also love seeing this
school, with people ages 2 to
80. It’s a little microcosm
where people beautifully interact, were you can be physical,
and where young artists feel
productive. It’s an ideal world
where everybody can participate.”
Downstairs in the lobby,
near studios pulsating with
music and dance, is a message
board dotted with hand-written notes about the ODC
Dance Commons.
“It’s a place to be free,” one
message read. Another said,
“It makes all dancing fun and
reminds me that anyone is a
dancer, no matter what size or
shape.” Another, written in a
child’s block print, read, “It is a
place where the sun is always
shining.”
E-mail Julian Guthrie at
[email protected].
Floor Sample & Clearance Sale
20%-50% off list on all in stock items Sale Ends 3/31/11
• Floor Lamps
• Table Lamps
• Chandeliers
• Fireplace Accessories
and more
5377 COLLEGE AVENUE, OAKLAND • 510.654.0929
www.ironandbrassbeds.com • Open 7 days • Walking distance from Rockridge BART
Women_finREV_0112.qxd
2/14/11
12:40 PM
Page 26
Three women of ODC:
Chin-chin Hsu, Anne
Zivolich, Yayoi Kambara.
Costumes designed by
Brenda Way.
26
*AS SEEN IN DANCE MAGAZINE. UNAUTHORIZED DUPLICATION IS PROHIBITED.*
M A R C H 2 0 11
2/14/11
12:40 PM
Page 27
A FEMALE
FORCE
Five company leaders on how
gender shapes their vision and style
In
RJ Muna
1966 the great
soul singer James Brown crooned, “This is
a man’s world…but it wouldn’t be nothing, nothing without a woman or a girl.”
Now, more than four decades later, a
lot, bad grammar aside, has changed. Or
has it? Though women have made great
strides on many fronts—politics, the
boardroom and yes, even in music (from
Madonna to Lady Gaga, estrogen
rocks)—the question persists in the
dance world: Where are all the women
artistic directors?
And while a few women have risen to
positions of power (including Monica
Mason at The Royal Ballet, Brigitte
Lefèvre at Paris Opéra Ballet, and Judith
Jamison at Ailey), we look forward to
seeing those numbers increase. There is
hope, in today’s world, of women continuing their quest to attain and maintain
leadership roles. To that end, Dance
Magazine spoke to five women in charge
of major dance companies today.
Discussing their leadership styles, how
they have evolved, and their status in the
21st century, these feisty females all have
strong identities and ideas about their
places at the top of the ladder.
Transitioning from prima ballerina to
artistic director of the National Ballet of
Canada, Karen Kain is unique in that her
entire working career has been with this
one esteemed company. Currently overseeing an organization of 200, Kain first
joined the troupe in 1969 as a dancer,
eventually becoming artistic director in
2005. Indeed, Kain has the distinction of
BY VICTORIA LOOSELEAF
having served under all the troupe’s directors, allowing her to experience various
leadership styles firsthand, beginning with
the company’s founder, Celia Franca.
“After Celia there were five men, and
I learned what I wanted to do and didn’t
want to do as director,” recalls Kain.
“But I worked with Celia the longest,
and she had a way of being very tough
and very nurturing at the same time.”
Like Franca, Kain says part of her job
is to nurture the dancers, making them
feel confident about their abilities while
also challenging them. “I’m part of their
support team,” says Kain, “not someone
who’s ordering them around. From the
smallest things—like addressing them by
their names—to the bigger ones, I feel my
dancers and I have a good relationship in
terms of negotiating what works for the
company and what works for the artist.”
Kain adds that she leads by being true
to herself. “I can’t be another person, or a
distant director. I am personally involved
in all my dancers’ careers. I look forward
to presenting them with new challenges
and introducing them to new choreographers and seeing what that alchemy will
be like.”
The result of such alchemy was on
view this season in the triumphant company premiere of Wayne McGregor’s
landmark work Chroma, as well as in
full-length classics such as Don Quixote
and Cranko’s Onegin.
Stoner Winslett, the founding artistic
director of Richmond Ballet, is also a nurturer who champions new repertoire.
Sidelined by injury, the ballerina became
the organization’s first full-time employee
in 1980, assuming the directorship that
same year. In addition to performing
DANCE MAGAZINE
classics, Richmond Ballet’s 15 dancers
and 8 apprentices perform works made
for them, including nine by Winslett.
“A good director has to have a
vision,” says Winslett, who has commissioned 54 pieces, “and has to be able to
convince other people that that vision is
their vision. When I came to Richmond it
was a student company, so I’ve had the
privilege of starting with students and
hiring dancers and growing them. There’s
a lot of nurturing in that. I also treat my
dancers the way I like to be treated.”
Unlike leadership approaches with a
top-down hierarchical style, Winslett
says she follows the “servant leadership”
model. “You serve the dancers, you serve
the choreographers and try to pull them
into the joys that dance onstage can be,”
says Winslett.
Another eminent institution is ODC.
Founded by Brenda Way, ODC is one of
the oldest contemporary dance centers
on the West Coast and is currently celebrating its 40th anniversary (see sidebar).
Originally trained at School of American
Ballet, Way then discovered modern
dance, taught at Oberlin College, and
relocated to San Francisco in 1976—a
heady time, she says, for feminists.
“In the early days of the company,”
recalls Way, who has also choreographed
many works and raised four children,
“when it was a collective, that and feminism were affecting my notions of leadership. In modern dance, since you are
reinventing the language—or trying to do
that—you invite the participation of your
dancers in a deeper way, which means
you probably have somewhat less of an
authoritarian environment.
“The form itself opens it up to
27
2/14/11
12:40 PM
different kinds of leadership. My view,”
she adds, “has always been to enlist
instead of insist.”
That attitude has served Way well,
including helping her to develop her 10
dancers, whom she makes part of the
creative process. “That’s typical of contemporary dance,” she notes. “But how
you work with both their ideas and
their delivery of those ideas on a daily
Page 28
basis is how you develop an
artist. I try to be straightforward and very particular in
my feedback.”
Feedback—and flexibility—are also two keys to
Liz Lerman’s success as the
founding artistic director of
the Maryland-based Liz
Lerman Dance Exchange.
Okada, Nelson,
and Way
ODC TURNS 40
Still fostering community after
all these years
28
In San Francisco ODC exploded into what was at the time a
rather sleepy dance environment with an energy and enthusiasm
that has yet to abate. The young troupe renovated a warehouse,
started making work, presented lecture demonstrations, published
a journal, and invited other visual and performing artists into their
midst. Among the first guests to appear there were Douglas Dunn
and avant-garde dance critic Jill Johnston. Over the years artists
such as Karole Armitage, Eiko & Koma, Bill T. Jones/Arnie Zane,
Stephen Petronio, and Ronald K. Brown made their San Francisco
debuts in ODC’s modest little theater.
In 1979, having bought a “home,” the artists, with the help of
assorted community volunteers, laid the dance floor. The space
was only half-finished when the Jazz Tap Ensemble opened, and
the audience sat on a surface that was still dirt. It’s this kind of
can-do attitude that shaped everything ODC has touched.
Yet the major reason, of course, to celebrate ODC’s 40th
anniversary is its artistic achievements. Way has choreographed
around 90 pieces, Nelson 60, and Okada, who runs the school,
some 25. Over the years this body of work has become formally
more sophisticated without losing its humanistic principles or
questioning spirit.
The 10 dancers have a 40- to 42-week contract—a rarity in
modern dance. The company tours annually 6 to 10 weeks;
they’ve performed in 32 states and 11 countries. Last year in
addition to national engagements, they traveled to Indonesia,
Burma, and Thailand as part of the U.S. State Department’s global initiative, DanceMotion USA (see “Dance Matters,” Jan. 2010).
ODC is celebrating its 40th anniversary with a two-week series
(March 11–27) entitled “A Force at 40,” in which each of the three
co-leaders will show a premiere. Nelson’s work is a collaboration
with an artist of a completely different sensibility—Shinichi IovaKoga, a 2008 “25 to Watch.” Way’s new piece invites other members of the dance community to participate. And Okada takes a
gently humorous look at cross-cultural (mis)understandings. Some
of these works, no doubt, will be on view when ODC comes to
the Joyce in August.
Way, Nelson and Okada are inspired by the commitment of
ODC’s 10 dancers. Says Nelson: “Our dancers are a group of
imperfect souls who get up every day to work their hardest to be
the best they can. Humble and generous, they are incredible
ambassadors of our art form. They give themselves over to a
vision; they are the epitome of what we are trying to do here.”
—Rita Felciano
M A R C H 2 0 11
Clockwise from top left: Aaron Sutten, Sarah Ferguson, both Courtesy RB; Claudia Goetzelmann for Dance Teacher
On March 11, the opening night of “ODC/Dance Downtown”
season, artistic directors Brenda Way and KT Nelson and associate choreographer Kimi Okada will take a bow together. They
always do. The trio is what remains from the ragtag group of 16
“hippie artists” from Oberlin College in Ohio who in 1976 followed the siren call of the West. They came despite that for Way
“quitting a tenured position at Oberlin, when I had three kids,
was pretty scary.” Okada remembers being both excited and
concerned about “putting all our eggs into one basket.” Nelson,
a young dancer who had just started to choreograph, was anxious about whether “we would be able to survive so that we
could keep making work.”
Not only did these adventurers survive, they thrived. Started in
1971 as Oberlin Dance Collective in an abandoned gym on campus, ODC has grown into a two-campus San Francisco institution
that has become a mecca for dance. Its $5 million budget supports
three entities: the 10-member ODC/Dance company; the ODC
School, with over 200 weekly classes; and ODC Theater, which
presents local and touring ensembles and offers mentoring and
residence opportunities. The company, school, and administrative
offices are housed in the beautiful, airy ODC Dance Commons,
which welcomes a rainbow of Bay Area dance activities.
While the collective’s freewheeling spirit has evolved into a more
formalized collaborative partnership—with Way the first among
equals—it still embraces the unknown as a birthright. At its heart, as
Okada puts it, is “a deep belief in the power of art to shape and
change our lives.”
Above: Stoner
Winslett. Right:
Richmond
Ballet dancers
in John Butler’s
After Eden.
Ovation
Your Bay Area arts guide and companion to Sunday Datebook
4-DAY WEEKEND
ENTERTAINME
NT GUIDE
Pullout section with
weekend event listings
begins after Page F4
Nightlife
Out Loud
Family
3 Visual Arts 15
19
13 Perform
24
14 Movies
San Francisco Chronicle and SFGate.com | March 10–13, 2011 | Section F
DON’T MISS
DANCE
Yefim Bronfman: The
formidable pianist offers
a recital program with
two pieces titled “Humoreske” — one by Schumann, one by Esa-Pekka
Salonen — along with
music by Haydn and
Chopin. 7 p.m. Sunday,
Davies Symphony Hall,
201 Van Ness Ave., San
Francisco. $15-$83, (415)
864-6000, www.sfsym
phony.org.
A force
of nature
at ODC
By Allan Ulrich
CHRONICLE DANCE CORRE SP ONDENT
In 1976, KT Nelson, a student at
Oberlin College in Ohio and deep
into her hippie phase, joined a
dance collective. It was a logical
decision: She had been hanging
for a couple of years with the
crowd, which included her husband and the ringleader, a college
lecturer named Brenda Way.
Later that year, 14 members of the
group piled into a yellow school
bus and headed for San Francisco.
That collective would metamorphose into ODC/Dance, a
The Islanders: Word for
Word offers bon-voyage
benefit performances of
its new embodiment of a
short story by Andrew
Sean Greer before taking
the show on a tour of
France. 8 p.m. today-Fri.,
3 and 7 p.m. Sat. Word for
Word, Z Space at Artaud,
450 Florida St., San Francisco. $15-$40. (800) 8383006, www.zspace.org.
If Art Could Talk: Bay
Area painter Enrique
Chagoya will speak about
his work at 7 this evening
in his exhibition “Surviving Paradise/ Sobreviviendo el Paraíso” at di
Rosa’s Gatehouse Gallery,
5200 Sonoma Hwy., Napa.
5-10$. Reservations: (707)
226-5991, Ext. 27, www.di
rosaart.org.
Nelson continues on page F5
nothing.
Liz Hafalia / The Chronicle 2009
Coming in
Sunday Datebook
KT Nelson, above, ODC’s
co-artistic director, and the
troupe performing “Labor of
Love,” left, one of her works.
Celebrating the Bay
Area’s rich Irish American history.
Steve DiBartolomeo 2010
Thursday–Sunday, March 10–13, 2011 | San Francisco Chronicle and SFGate.com | Ovation
F5
FROM THE COVER
Ready for 40th season at ODC
Nelson from page F1
West Coast contemporary company with a national reputation,
which launches its 40th anniversary season Friday evening.
ODC/Dance now employs 10
dancers on a year-round contract. Nelson, 55, is the troupe’s
co-artistic director and comes
up with a premiere virtually
every year. Her dances are unpredictable in style, tone and
theme, and she has won a following among dance audiences
beyond her home company.
We talked with Nelson by
phone in Santa Rosa, where she
was on a friend’s spread, looking for a rock, intended as a
prop for this season’s new
dance, “Listening Last.”
Q: Do you always give such
attention to choosing your
props?
A: I would say no, this is a new
thing. I need a rock that is just
the right shape and size. You
see, “Listening Last” is about
urbanization and the discon-
ODC/Dance: Fri.-March 27.
Novellus Theater, Yerba Buena
Center for the Arts, 700 Howard
St., S.F. $15-$60. (415) 9782787. www.odcdance.org.
nection of human beings, who
don’t consider themselves part
of the natural world. That we
don’t see ourselves in that way
exerts a huge cost. Dan Rathburn’s original score will tell
that story. The music will include sounds of frogs and automobiles, a symbol of human
self-involvement. Dan has added bits of Vivaldi’s “Four Seasons,” from the 18th century, a
time when humanity and nature were more unified.
Q: How have you seen your
dances evolve over the years?
A: I have always been interested
in making work that examines
contrasting energy lines and
visual imagery, which I know is
not fashionable today. I think
that in this premiere I am trying
to investigate a new way of
working by going back to the
way I used to work.
Q: Shinichi Iova-Koga, whom
we might call a nouveau butoh artist, is your collaborator on “Listening Last.”
Your styles don’t remotely
resemble each other’s. Why
did you choose him?
A: A gut feeling. He is such a
different choreographer that he
has disrupted the way I work,
which is what I wanted. I have
to tell you that I am not sure
what I have come up with here.
This is a process piece, which is
why I’m going out to find a big
rock. Shinichi has introduced a
new physicality to the making
of dance. That has expanded my
understanding of what dance
can be.
Q: What is the essence of the
difference between your
manners of working?
A: I used to do so much planning beforehand, and Shinichi
is so much “Let’s talk a bit and
go into the studio and work.”
Liz Hafalia / The Chronicle 2009
Choreographer KT Nelson came to San Francisco with the
company: “We are going to see ourselves as a dance campus.”
He’s more intuitive that way.
step?
Q: Can you describe your
professional relationship
with Artistic Director Brenda Way?
A: Early on, we decided that
maybe a year and a half before a
premiere, we would discuss our
ideas to make sure we were not
doing the same thing or duplicating CDs or titles. I don’t see
Brenda’s work until the first
draft stage, when she invites me
into the studio, and it works the
other way around, too. I trust
her and I think she trusts me.
A: Until now, we have seen
ourselves as a dance company
and a school. Now we are going
to see ourselves as a dance campus. I am focusing on the company and trying to be more
free-floating. We’ve got the
spring season, the “Velveteen
Rabbit” season and “Toe to
Toe.” Now, we want to find a
balance between the institutional demands and the things
we need to do because they’re in
somebody’s brain. We want to
tackle projects that don’t fit the
mold but still keep that mold.
Q: With the ODC Commons
and ODC Theater both up
and running, what’s the next
E-mail Allan Ulrich at
[email protected].
ASK A CRITIC: ART
OVATION STAFF
Reader takes issue with ‘Hoarders’
Editorial
To Kenneth Baker: Thank
you for your wonderful article
on Song Dong and the installation at Yerba Buena
Center for the Arts. I have
one quibble, however. How
can you suggest a relationship
between Song Dong’s family
and the “Hoarders” shows on
television? One look at the
hoarders’ living spaces is
enough to differentiate these
mentally ill people from otherwise normal people raised
in poverty and forever worried about throwing out anything that could be useful. To
my mind, the hoarders reflect
the sad state of our mental
health system.
Susan Kepner, Kensington
Dear Ms. Kepner: I merely suggested
that in our cultural context, “Hoarders”
might come irresistibly to the minds of
visitors who know the cable series.
Your response points to exactly the
friction between disparate cultural settings and histories that Song means to
evoke. In saying that “Hoarders” “looks
at the pathological side of consumer society’s gratuitous abundance,” I referred to
the fact that headlong overproduction,
and the frenzy of marketing and consumption that it presupposes, make it
harder for all of us to decide how much
— of anything — is enough.
Some contemporary art, such as Song’s
“Waste Not,” offers itself as a device for
thinking about such problems. But his
politics — in this work, anyway — do not
imply a critique of our unraveling social
services.
David Wiegand, Executive Features
Editor (415) 777-6082
[email protected]
Leba Hertz, Entertainment Editor
(415) 777-7202 [email protected]
Matt Petty, Art Director
Russell Yip, Photo Editor
Advertising
Dave Leal, Manager
Lance Iversen / The Chronicle
Artist Song Dong and his family
display linens in furniture once
owned by his grandparents as part of
“Waste Not,” his floor installation at
Yerba Buena Center for the Arts.
Curt Young, Account Representative,
Concerts, Theatre, Performing Arts,
Museums and Sports (415) 777-7290
[email protected]
Paul Fried, Account Representative,
Restaurants and Nightclubs
Dance Review
Getting the Grand Tour, and a Performance, Too
Corey Brady in “Architecture of Light,” which introduced the ODC dance group’s new center. Photo: Margo Moritz
By ALASTAIR MACAULAY
Published: October 3, 2010
SAN FRANCISCO — Even though the San Francisco Ballet starts its season in December (with “The
Nutcracker”), the fall dance scene in the Bay Area is already busy. At the Yerba Buena Arts Center there is a
three-day conference on different genres of Indian dance. The Smuin Ballet is performing a world premiere
by the much-talked-about Trey McIntyre. In Berkeley the Mark Morris Dance Group is offering a triple bill.
And ODC, the oldest contemporary dance center on the West Coast, marked the grand opening of its new
theater on Thursday night with the premiere of “Architecture of Light,” choreographed by the center’s
founder, Brenda Way, and her co-artistic director K T Nelson.
ODC, which next year celebrates its 40th anniversary, began life in Ohio (as the Oberlin Dance Collective,
or ODC); it moved here in 1976. A company, a school, a dance center and an arts campus, ODC now has two
impressive buildings, one on either side of Shotwell Street, and so is playing a role in the revitalization of the
Mission District.
The center has been redesigned by Mark Cavagnero Associates to keep many
aspects of the original early-20th-century red-brick architecture. It features
not only a theater but also three new rehearsal studios; new offices; and
spaces for a cafe, box office, lobby and art gallery.
Does it sound as if I’ve just been given a guided tour? That’s what
“Architecture of Light” was. A site-specific array of dance variations
featuring ODC’s 10 dancers and 10 guest dancers, it led audience groups on
simultaneous treks around the building’s main spaces. The tour paused once
in each room for a dance (and on one occasion for a little harmless moderndance audience participation) then finally brought everyone together into the
theater for the final dance.
Photo: Margo Moritz
Thursday’s performance used all parts of the building.
The coordination of this was ingenious — fun too. At one point two separate groups of audience members
arrived from opposite corners of the same foyer to watch duets that were mirror images of each other, with
left and right answering each other and sometimes almost meeting in the center. Then the groups continued
on their divergent routes.
Even the audience participation was well judged: nobody was humiliated; nothing too taxing was required;
the tasks were engaging, with touches of real rigor and interesting sudden transitions. And the dances in each
room had their own moods: coolly objective, intense, droll. The lighting (hence the title), by Elaine
Buckholtz, was markedly different in each space and achieved some virtuoso effects in the theater.
I can’t say that this was a choreographically substantial evening; it was simply chic. The finale in particular
was too short, so that there wasn’t enough of a sense of what the new theater is like.
At any rate, “Architecture” was always honestly about full-bodied movement. And on the basis of this first
brief acquaintance, the new ODC theater seems glorious. The tiered 170 seats look onto a big box of stage
space beneath a rising roof; the brick walls and varied fabrics combine to create warm, handsome textures.
The finale included some 40 people all moving together onstage without being cramped, and a touch of
history arose when we realized that one of the movers was Anna Halprin, now over 90 and long a central
figure in Bay Area dance experiments (with global consequences).
The importance of this center goes way beyond the ODC company and school. Many of America’s foremost
dancers and dance makers (Karole Armitage, Eiko and Koma, David Gordon, Deborah Hay, Bill T. Jones)
have appeared at ODC over the years. Among those on its spring schedule are the New York choreographers
Sarah Michelson and Kate Weare. The theater is at once a superb asset to Bay Area dance; it’s impossible
not to wish it well.
A version of this review appeared in print on October 4, 2010, on page C5 of the New York edition.
ODC/Dance's "Summer Sampler" delivers the goods
Katie Gaydos
August 10, 2010
PHOTO BY STEVE BARTOLOMEO
DANCE is inherently sexy. The millions of devoted fans obsessed with shows like So You Think You
Can Dance and Dancing with the Stars certainly think so. But why, when so many people love watching
dance, does the general public still place modern dance on an out-of-reach pedestal? Maybe the
overly general words "modern dance" scare people away. Whatever the aversion, the question still
remains: why is it so difficult to get people to go see something they'll ultimately love?
ODC's fourth annual "Summer Sampler," held July 30-31, proved that ODC/Dance artistic directors
and choreographers Brenda Way and KT Nelson not only know how to get people to see dance, they
know how to create works that keep people coming back for more. "Summer Sampler" offered preperformance wine and snacks, an early enough showtime (6:30 p.m.) to allow a Friday and Saturday
night out, and most important, an hour of breathtaking dance.
The show opened with the epitome of dance-y dance, Nelson's Stomp a Waltz (2006). Continually in
motion, the dancers ran across the stage, threw each other into the air, and incorporated their entire
bodies in fast-paced, rhythmically complex gestures. The ODC dancers possess great athleticism. and
Friday night was no exception. Eating up the space around them, they took Nelson's already daring
choreography to the edge. I've seen these dancers command the large stage at Yerba Buena's
Novellus Theater, but watching them perform in the ODC Dance Commons — a space so intimate
I could hear their breath and see their sweat — was an entirely new and exciting experience.
While Nelson's very technical Stomp a Waltz was visually exhilarating, there was more to the piece
than pretty tricks and leaps. A sense of raw emotion underlies Nelson's abstract choreography. With
the eye of an architect and spirit of a musician, she layered movement phrases that paired perfectly
with Marcelo Zarvo's rhythmically driving, highly emotional music.
Following Nelson's piece, Way's newest work Waving Not Drowning: (A Guide to Elegance)
demonstrated that dance can be as tongue-in-check and cerebral as it is aesthetic. Inspired by
Genevieve Antoine Dariaux's 1963 A Guide to Elegance, the piece used playful humor and inventive
movement to articulate the absurdity of gender norms. A commissioned score by Pamela Z looped
text from Dariaux's original guide, snippets of fashion advice, and a list of "important" feminine
concerns like "adaptability, age, weddings, and Xmas" to confront everything from femininity and
grace to sex and submission. The dancers — moving through doll-like movements, a sexy hipswaying waltz, sexually-charged duets, and silly facial expressions — owned Way's playful yet
profound choreography with sassy elegance and bold maturity.
Though ODC is known as one of the nation's top contemporary dance companies, it hasn't lost sight
of the importance of a local dance community. As a state of the art dance facility — housing a dance
company, a pre-professional training school, recreational dance classes, a dancers' clinic open to the
public, and a performance space upstairs — the ODC Dance Commons is making dance accessible
for Bay Area residents and visitors. A new ODC Theater is set to open at the end of September,
making ODC's 36,000-square-foot, two building campus the largest, most comprehensive dance
facility on the West Coast.
Datebook
Playing Games: Review
of God of War III E2
YOUR
SUPREME
SOURCE
FOR
MUSIC &
MOVIES!
San Francisco Chronicle and SFGate.com | Tuesday, March 16, 2010 | Section E Gxxxxx
DANCE REVIEW
PHOTOGRAPHY
ODC’s sly lesson in
gender upends old
styles of etiquette
By Allan Ulrich
CHRONICLE DANCE CORRE SP ONDENT
Genuinely coherent satire, the sort that draws
blood but leaves no scars, is so rare in the dance
world that one would be inclined to cheer Brenda
Way’s new “Waving Not Drowning (A Guide to Elegance),” even if it weren’t as pointed and benign as it
appeared at its world premiere Friday evening when
ODC/Dance launched its annual three-week spring
season at Yerba Buena Center for the Arts’ Novellus
Theater.
This skewering of imposed social convention in a
pre-feminist era represents an act of nostalgia on the
part of ODC Artistic Director Way. In her earlier
works, the relationship between social concerns and
movement has sometimes seemed less than lucid. In
the case of “Waving Not Drowning,” the choreographer loosens up as she exposes the prescribed idiocies of
ODC continues on E5
Steve DiBarolomeo
ODC dancers perform “Waving Not Drowning (A
Guide to Elegance)” by Brenda Way.
THEATER REVIEW
These thieves are
able to steal more
than a few laughs
By Robert Hurwitt
CHRONICLE THEATER CRITIC
Riboud, artist
with a camera
Marc Riboud
By Sam Whiting
Michael Macor / The Chronicle
CHRONICLE STAFF WRITER
At age 86, French photographer Marc Riboud loads
film into a Canon EOS 300 every morning and hangs it
around his neck. The camera acts as a counterweight,
pulling him forward through the doorway of the Graduate School of Journalism at UC Berkeley.
The morning light coming through the courtyard windows is throwing a “fascinating” pattern on some steps in
the hallway, he notes. This is of more immediate interest
to Riboud than are the 22 Riboud prints lining the walls
of North Gate Hall. The images were chosen from 55
years of work for Magnum Photos, the famed photographer-owned agency.
The pictures on display until May 1 are digital chromegenic prints, donated by Pictopia in Emeryville. Some are
poster-size and held up with pushpins. The others are
behind two panes of glass, which creates enough reflecRiboud continues on E3
Man Painting the Eiffel Tower,
1953:
It’s never a good idea to rip off the mob — not in real
life, anyway. In the hands of Stephen Adly Guirgis and
a talented cast, though, it can make for a pretty entertaining two hours of theater.
Guirgis’ “Den of Thieves,” which opened Saturday at
SF Playhouse, is a crime-caper comedy crossed with a
12-step program satire to often hilarious effect. If this
early script isn’t as fully fleshed out as the Playhouse’s
impressive outings with Guirgis — “Jesus Hopped the
‘A’ Train” and “Our Lady of 121st Street” — as seen at
Friday’s final preview it’s still a generously iconoclastic
romp in the not-so-wise guys mode.
It also features an outstanding change of Artistic
Director Bill English’s fetchingly cramped, low-rent
“Thieves” continues on E4
I walked up the tower, maybe one
hour of walking. Some people
ask me, “Did you ask the painter
for permission?” I said, “My goodness, no. To talk with them was
to risk slipping and falling down.”
I’ve always been shy and I’ve
always been trying to ignore the
people I was photographing, so
that they ignore me. I’m trying
always to take a better picture
than the one before but I was not
sure of this one.
I didn’t think after I shot the
picture that I shot something
interesting. I learned from Cartier-Bresson what’s called “geometry in photography.” It’s not
dependent on what you’d call a
good photograph, but good
geometry.
Jessica Palopoli
Maggie (Kathryn Tkel) fights over Yodels with her
friend Paul (Casey Jackson) in “Den of Thieves.”
Essentials | Puzzle Answers E2 | TV Listings E4 | Comics & Puzzles E6-E7 | Calendar E8 | Jon Carroll and Leah Garchik E8
SALE ENDS 3/31/10
O"r b"y co"nter is open Mon-Sat 10:30-10pm, S"n!ay 11-9pm!
We love large collections & make ho"se calls for large b"ys!
Call "s or visit AMOEBA.COM for more info!
KEITHJARRETT
28
LEGACY
ECM RECORDS
We pay the most cash & offer the highest
tra!e cre!it yo"'ll fin! anywhere.
These live recordings are
among the jazz pianist’s
best.
SFJazz presents Keith
Jarrett solo, live at Davies
Symphony Hall, March 19th.
98 PETERPAuLANd
Cd MARYWITH
12
98 JIMIHENdRIx
Cd Valleys Of Nept"ne
Paris/Lon!on: 3-Cd SET
Testament
RHINO
ON SALE AT AMOEBA
AMOEBA BUYS LPS, CDS,
DVDS & VIDEO GAMES!!!
12 previously unreleased
studio recordings! Also
available: New Deluxe CD/
DVD sets of Are You
Experienced, Axis:
Bold As Love, Electric
Ladyland, & First Rays…
1498Cd
SYMPHONYORCHESTRA
The Prag"e Sessions
In dedication to Mary,Peter &
Paul recorded new orchestral
arrangements of their songs,
combined with recent &
archival live vocals.
SAN FRANCISCO • 1855 Haight St. • 415-831-1200 • BERKELEY • 2455 Telegraph Ave. • 510-549-1125 • Parking is easy! We vali!ate: Haight St. & Stanyan Lot inSF an! Sather Gate Garage in Berkeley • AMOEBA.COM
GXXXXX
San Francisco Chronicle and SFGate.com | Tuesday, March 16, 2010 |
E5
ARTS & ENTERTAINMENT
ODC upends older etiquette
for sly lesson in gender roles
ODC from page E1
yesteryear, coolly dispatched
by the company’s 10 outstanding dancers.
The inspiration for this
merry morsel of dance theater
is a French manual of etiquette
for women published in 1963.
It’s partly about fashion and
partly about “correct” behavior, and, at its core, the advice
is both Machiavellian and
patronizing. The author devotes one chapter to advising
against shopping for clothes
with a girlfriend; she won’t tell
you the truth and, in any case,
she’s your rival.
From this material, Pamela
Z has fashioned an intriguing
sound score, which interweaves a bland, bilingual read-
ODC/Dance: “Downtown.”
Dances by Brenda Way and KT
Nelson. Through March 28. Novellus Theater, Yerba Buena Center for the Arts, 700 Howard St.,
S.F. $10-$45. (415) 978-2787.
www.odcdance.org.
ing of the source with an overlapping, wordless vocal riff.
The dancers, in shorts and
halters, cunningly lit by Alexander Nichols, endure a
series of droll indignities that
involve a heady dose of objectification. It’s not all about
fashion. A stiff unison waltz
will remind all observers of a
certain age of their senior
prom.
But Way saves her best for
the end. Here she subverts
gender roles. The men become
the models for a fashion extravaganza, in which they
undergo all manner of humiliation, as they are measured and
fitted for a series of hideous
skirts and headgear. Their
docility, and the unhurried
manner in which the choreographer builds this scene, is
process gone slightly mad. One
watches with an increasing
feeling of bemusement, not to
mention helplessness. This
insidious romp seems fated to
endure beyond fashion week.
The first half of the program
reprises two dances by CoArtistic Director KT Nelson.
Sixteen years separate last
year’s captivating “Grassland”
from “River,” and the choreographer’s increasing confidence
Steve DiBarolomeo
Corey Brady performs in “Waving Not Drowning,” which was
inspired by a 1963 guide to etiquette for women.
shines through every episode.
The assorted fauna in “Grassland” suggest an organic community cavorting through the
cycle of life. From the opening
duet for Daniel Santos and
Yayoi Kambara, Nelson charts
the piece with a sure hand and
a mixed vocabulary.
But “River,” hailed when
new, now seems a bit of halfdigested symbolism. Santos
and Corey Brady, armed with
fishing rods, hook two women
(Kambara and Elizabeth Farrotte Heenan). A mixed score
blasts unbearable electronic
sounds when it’s not recycling
Fauré’s “Requiem,” which has
nothing to do with the movement.
E-mail Allan Ulrich at
[email protected].
ALAMEDA COUNTY
! THE BLIND SIDE (PG–13) (3:00)
! THE GHOST WRITER (PG–13)(4:00) 7:00, 9:40
! GREEN ZONE (R) (4:15) 7:15, 9:50
! CRAZY HEART (R) (4:25) 6:50, 9:20
Please call the theatre to find out what plays downstairs.
! PRECIOUS: NOVEL (R) 5:40
! GREEN ZONE (R) 12:05, 2:40, 5:10, 7:45, 10:20
! THE HURT LOCKER (R) 8:00
! GREEN ZONE (R) 11:30, 12:50, 2:10, 3:30, 4:50,
6:15, 7:30, 8:55, 10:10
! A PROPHET (R) CineArts 3:40, 9:40
! OUR FAMILY WEDDING (PG–13) 12:00, 2:30, 4:55, 7:20, 9:45
! AN EDUCATION (PG–13) CineArts 1:00, 7:10
! THE GHOST WRITER (PG–13) CineArts
11:45, 12:55, 2:35, 4:10, 5:35, 7:15, 8:45, 10:00
Showings after 5:00 in the sofa lounges are 21+ only. Visit our
cafe and lounge; and bring food and drinks into the movie!
! THE LAST STATION (R) CineArts 11:35, 2:10, 4:40, 7:20, 9:55
5:05, 6:20, 7:30, 8:50, 10:05
! REMEMBER ME (PG–13) 11:00, 1:45, 4:30, 7:15, 10:00
! SHE'S OUT OF MY LEAGUE (R) 11:50, 1:10,
2:25, 3:45, 5:00, 6:20, 7:35, 8:55, 10:15
! ALICE IN WONDERLAND (PG) 12:20, 1:15,
3:00, 3:50, 5:40, 6:30, 8:20, 9:10
! ALICE IN WONDERLAND 3D (PG) 11:35, 2:20, 4:55, 7:30, 10:10
! AVATAR (PG–13) 12:45, 4:20, 7:50
! BROOKLYN'S FINEST (R) 11:55, 1:25, 2:55,
4:25, 5:55, 7:25, 8:55, 10:25
! COP OUT (R) 11:05, 1:40, 4:25, 7:00, 9:50
! PERCY JACKSON & THE OLYMPIANS: THE LIGHTNING
THIEF (PG) 11:05, 1:50, 4:35, 7:20
! SHUTTER ISLAND (R) 12:40, 3:55, 7:05, 10:20
! THE CRAZIES (R) 12:15, 2:50, 5:30, 8:00, 10:30
! TOOTH FAIRY (PG) 12:35, 3:05
! GREEN ZONE (R) No Passes 11:20, 2:00, 4:40, 7:20, 10:00
! OUR FAMILY WEDDING (PG–13) No Passes
11:25, 1:55, 4:35, 7:05, 9:35
! REMEMBER ME (PG–13) No Passes 11:10, 1:50, 4:45, 7:25, 10:05
! SHE'S OUT OF MY LEAGUE (R) No Passes
11:10, 12:30, 1:55, 3:20, 4:50, 6:00, 7:35, 9:00, 10:10
! ALICE IN WONDERLAND (PG) No Passes 12:20, 3:00, 5:40, 8:20
! ALICE IN WONDERLAND 3D RealD 3D (PG) No Passes
ELLSBERG (NR)
A SINGLE MAN (R)
Sofa Lounge
!
6:15, 7:30, 8:55, 10:15
! OUR FAMILY WEDDING (PG–13) 11:20,
12:35, 1:45, 3:00, 4:10, 5:35, 6:35, 8:00, 9:00, 10:25
! REMEMBER ME (PG–13) 11:10, 12:30, 1:50,
3:10, 4:30, 5:50, 7:10, 8:30, 9:50
! SHE'S OUT OF MY LEAGUE (R) 11:25, 12:45,
2:00, 3:20, 4:35, 5:55, 7:10, 8:30, 9:45
! CRAZY HEART (R) 4:30, 7:10
! A PROPHET Sub-titled (R) (1:40, 4:40) 8:00
! BROOKLYN'S FINEST (R) (1:00, 3:55) 6:50, 9:45
! PRODIGAL SONS (NR) DLP (2:30, 4:35)
! AN EDUCATION (PG–13) (1:50) 6:45
! THE ART OF THE STEAL (NR) (2:00, 4:30) 7:00, 9:30
! PRECIOUS: BASED ON THE NOVEL ``PUSH'' BY
SAPPHIRE (R)
6:50, 9:25
! THE YELLOW HANDKERCHIEF (PG–13) (4:20) 9:10
! THE HURT LOCKER (R) (1:05, 5:00) 8:10
! SWEETGRASS (NR) (2:20, 4:50) 7:15, 9:40
! SHE'S OUT OF MY LEAGUE (R) 5:15, 7:45
! THE BLIND SIDE (PG–13) 7:30 pm
! UP IN THE AIR (R) 5:00 pm
CONTRA COSTA COUNTY
! COP OUT (R) 11:05, 4:35, 10:20
THIEF (PG) 11:10, 1:55, 4:50, 7:40, 10:30
! SHUTTER ISLAND (R) 11:50, 1:25, 2:55, 4:30,
6:00, 7:35, 9:05, 10:40
! THE CRAZIES (R) 11:20, 1:55, 4:30, 7:00, 9:30
! VALENTINE'S DAY (PG–13) 11:00, 1:50, 4:50, 7:45, 10:45
! BROOKLYN'S FINEST (R) 12:50, 3:55, 7:05, 10:00
! SHUTTER ISLAND (R) 1:40, 7:00
! THE CRAZIES (R) 11:20, 4:35, 10:05
For Showtimes Click rialtocinemas.com or Call 510 433-9730
! REMEMBER ME (PG–13) 11:10, 12:20, 1:45,
3:00, 4:20, 5:35, 7:00, 8:15, 9:45
! SHE'S OUT OF MY LEAGUE (R) 11:15,
12:30, 1:50, 2:55, 4:15, 5:25, 6:45, 8:00, 9:20, 10:30
LIGHTNING THIEF (PG) 12:45, 3:50, 6:50, 9:35
! ALICE IN WONDERLAND (PG)12:20, 3:00, 5:45, 8:30
! A PROPHET (R) CineArts 1:30, 4:45, 8:00
! ALICE IN WONDERLAND 3D (PG) 11:05, 1:45, 4:30, 7:15
! THE GHOST WRITER (PG–13) CineArts 1:25, 4:20, 7:15
! AVATAR (PG–13) 12:00, 3:30, 7:00
! COP OUT (R) 11:15, 2:00, 4:45, 7:25
! SHUTTER ISLAND(R) CineArts 12:35, 3:45, 7:05
! GREEN ZONE (R) 11:35, 2:20, 5:00, 7:40, 10:20
! A PROPHET (R) CineArts 2:30, 8:30
! AVATAR (PG–13) 12:45, 4:25, 8:05
! ALICE IN WONDERLAND (PG) 12:50, 3:30, 6:10, 8:50
! SHUTTER ISLAND (R) CineArts1:00, 4:05, 7:20, 10:25
THIEF (PG) 11:20, 2:00, 4:40, 7:25, 10:05
! SHUTTER ISLAND (R)CineArts 12:55, 4:00, 7:10, 10:10
! GREEN ZONE (R) 11:20, 2:10, 4:50, 7:50, 10:40
11:25, 1:20, 4:15, 5:35, 7:10, 10:05
! REMEMBER ME(PG–13) 11:00, 1:40, 4:30, 7:40, 10:30
! THE CRAZIES (R)11:55, 2:30, 5:15, 7:50, 10:25
! SHE'S OUT OF MY LEAGUE (R) 11:30, 2:05, 4:40, 7:30, 10:25
! VALENTINE'S DAY (PG–13) 1:35 pm
2:00, 3:00, 5:00, 6:10, 8:00, 9:00, 10:35
! SHUTTER ISLAND (R) 12:40, 3:40, 6:40, 9:40
! ALICE IN WONDERLAND 3D (PG) 1:00, 4:00, 7:00, 10:00
! AVATAR (PG–13) 11:40, 3:10, 6:40, 10:10
! GREEN ZONE (R) 6:30, 9:10
! REMEMBER ME (PG–13)12:00, 2:30, 5:00, 7:35, 10:05
! COP OUT (R) 3:40, 10:20
! ALICE IN WONDERLAND (PG)12:10, 2:50, 5:25, 7:55, 10:25
! CRAZY HEART (R) CineArts 11:10, 1:50, 4:35, 7:15, 9:55
! CRAZY HEART (R) 12:45, 4:00, 7:00, 9:35
! PERCY JACKSON & THE OLYMPIANS: THE
LIGHTNING THIEF (PG) 12:20, 3:20, 6:30, 9:15
! SHUTTER ISLAND (R) 11:50, 3:30, 7:10, 10:15
! VALENTINE'S DAY (PG–13) 12:10, 7:20
! GREEN ZONE (R) 12:45, 4:00, 7:00, 9:40
! SHE'S OUT OF MY LEAGUE (R)12:30, 2:55, 5:20, 7:45, 10:10
2:25, 4:00, 5:35, 7:05, 8:45, 10:20
! GREEN ZONE (R) No Passes 1:40, 4:30, 7:20, 10:10
! GREEN ZONE(R) 11:05, 12:20, 1:50, 3:05, 4:30, 5:50, 7:25, 8:35
! CRAZY HEART (R) CineArts11:15, 1:55, 4:45, 7:35
! GREEN ZONE (R) 11:35, 2:15, 4:55, 7:35, 10:20
! OUR FAMILY WEDDING (PG–13) 11:30,
12:30, 2:00, 3:00, 4:30, 5:30, 7:00, 8:00, 9:25, 10:25
! REMEMBER ME (PG–13)11:50, 2:30, 5:10, 7:50, 10:30
11:20, 12:50, 2:25, 4:00, 5:20, 7:15, 8:25
11:30, 2:05, 4:40, 7:15, 9:50
! REMEMBER ME (PG–13) No Passes
11:10, 2:00, 4:50, 7:40, 10:30
! OUR FAMILY WEDDING(PG–13) 2:40, 5:10, 7:40
! BROOKLYN'S FINEST (R) 1:15, 4:15, 7:15
SANTA CLARA COUNTY
11:45, 2:25, 5:05, 7:45, 10:25
12:15, 1:45, 2:45, 4:15, 5:15, 6:45, 7:45, 9:15, 10:15
1:55, 3:40, 4:30, 6:15, 7:05, 8:50, 9:40
! ALICE IN WONDERLAND 3D (PG) 12:10, 2:45, 5:20, 7:55, 10:35 ! GREEN ZONE (R) 11:40, 2:15, 4:50, 7:30, 10:10
! AVATAR (PG–13) 11:45, 3:30, 7:00, 10:30
! BROOKLYN'S FINEST (R) 12:45, 4:00, 7:10, 10:10 ! OUR FAMILY WEDDING (PG–13) 12:35, 2:55, 5:20, 7:50, 10:25
! COP OUT (R) 11:40, 2:25, 5:05, 7:40, 10:15
! REMEMBER ME (PG–13) 11:15, 1:50, 4:25, 7:10, 9:45
THIEF (PG) 10:55, 1:40, 4:25, 7:15, 10:00
! GREEN ZONE (R) No Passes 11:35, 12:55,
! SHUTTER ISLAND (R) 1:00, 4:10, 7:20, 10:25
! THE CRAZIES (R) 11:45, 2:20, 4:50, 7:25, 9:55
! THE WOLFMAN (R) 11:00, 4:35, 10:05
2:00, 3:00, 4:30, 5:30, 7:00, 8:00, 9:30, 10:30
! SHUTTER ISLAND (R) 12:50, 3:50, 6:50, 9:50
2:20, 3:40, 5:05, 6:25, 7:50, 9:10, 10:35
11:25, 1:55, 4:25, 7:00, 9:30
! REMEMBER ME (PG–13) No Passes
11:10, 1:50, 4:30, 7:15, 9:55
11:45, 2:25, 5:00, 7:40, 10:25
CineArts
! THE LAST STATION (R) 11:20, 5:05, 10:35
! ALICE IN WONDERLAND (PG) No Passes
12:00, 1:20, 2:40, 4:05, 5:20, 6:40, 8:05, 9:25, 10:45
! ALICE IN WONDERLAND 3DRealD 3D (PG) No Passes
11:15, 12:45, 2:00, 3:20, 4:45, 6:00, 7:30, 8:45, 10:10
! GREEN ZONE (R) 10:50, 1:40, 4:30, 7:20, 10:10
! REMEMBER ME (PG–13)11:10, 2:00, 4:50, 7:40, 10:30
! AVATAR 3D RealD 3D (PG–13) 12:35, 4:20, 8:00
! THE YELLOW HANDKERCHIEF (PG–13) CineArts 4:30, 7:30
! BROOKLYN'S FINEST (R) 4:20, 7:20
! CRAZY HEART (R) CineArts 4:40, 7:40
CineArts
! ALICE IN WONDERLAND 3D (PG) 10:50,
LIGHTNING THIEF(PG) 11:10, 1:55, 4:40, 7:35, 10:20
! GREEN ZONE (R) 2:00, 4:40, 7:30
CineArts
For Showtimes Click rialtocinemas.com or Call 510 273-9102
! GREEN ZONE (R) 11:30, 12:40, 2:15, 3:30, 5:00,
6:20, 7:45, 9:10, 10:30
! REMEMBER ME (PG–13)11:00, 1:50, 4:40, 7:25, 10:20
! SHUTTER ISLAND (R) 12:20, 3:45, 7:05, 10:20
! SHE'S OUT OF MY LEAGUE (R)12:05, 2:45, 5:20, 7:55, 10:30
! THE CRAZIES (R) 11:40, 2:30, 4:55, 7:25, 10:05
CineArts
! THE GHOST WRITER(PG–13) 11:25, 1:00, 2:20,
2:55, 3:50, 5:40, 6:35, 8:25, 9:20
3:55, 5:15, 6:55, 8:10, 9:50
! AVATAR (PG–13) 11:45, 3:15, 6:45, 10:15
! COP OUT (R) 11:10, 1:55, 4:35, 7:15, 9:55
! ALICE-WONDER 3D (PG) 2:30, 5:00, 7:25
LIGHTNING THIEF (PG) 1:15, 4:05, 6:55
! AVATAR 3D (PG–13) 3:15, 6:30
WATCH and DINE with BEER and WINE
SOLANO COUNTY
11:35, 1:05, 2:45, 4:10, 5:50, 7:10, 8:55, 10:15
! SHUTTER ISLAND (R) 1:05, 4:20, 7:35, 10:45
! THE CRAZIES (R) 11:00, 1:35, 4:15, 7:05, 9:50
(2:00, 4:30) 7:00, 9:30
! THE HURT LOCKER (R) (2:30, 5:30) 8:30
! COP OUT (R) 11:50, 2:35, 5:10, 7:55, 10:30
! CRAZY HEART (R) 11:30, 2:10, 4:45, 7:20, 9:55
THIEF (PG) 10:40, 1:30, 4:25, 7:15, 10:00
! LORD, SAVE US FROM YOUR FOLLOWERS (PG–13)
! BROOKLYN'S FINEST (R) No Passes
10:55, 1:55, 5:00, 7:55, 10:55
2:15, 3:50, 5:15, 6:40, 8:05, 9:30, 10:50
! AVATAR (PG–13) 11:40, 3:25, 7:00, 10:35
! BROOKLYN'S FINEST (R) 10:45, 1:45, 4:45, 7:50, 10:50 ! THE GHOST WRITER (PG–13) CineArts 4:15, 7:00
! COP OUT (R) 11:05, 1:50, 4:25, 7:10, 9:45
! THE LAST STATION (R) CineArts 5:10, 7:40
! CRAZY HEART (R) CineArts 11:15, 1:55, 4:40, 7:30, 10:20
! THE GHOST WRITER (PG–13) (4:15) 7:15, 10:00
! SHUTTER ISLAND (R) (4:00) 7:00, 9:50
! GREEN ZONE (R) (4:45) 7:30, 10:10
! REMEMBER ME (PG–13)11:00, 1:40, 4:25, 7:10
1:00, 1:40, 2:45, 3:45, 4:30, 5:30, 6:30, 7:15, 8:10, 9:15, 10:00
12:15, 1:40, 3:05, 4:35, 5:55, 7:25, 8:45, 10:15
! THE LAST STATION (R) (2:00, 4:30) 7:10
! AJAMI (NR) (1:30, 4:15) 7:00
! CRAZY HEART (R) CineArts11:10, 1:50, 4:25, 7:25, 10:00
! SHUTTER ISLAND (R) CineArts 11:10, 12:55,
! GREEN ZONE (R) 11:30, 2:15, 4:55, 7:35, 10:15
! REMEMBER ME (PG–13) 11:25, 2:00, 4:40, 7:30, 10:10
! SHE'S OUT OF MY LEAGUE(R) 11:35, 2:10, 4:45, 7:20, 9:55
1:55, 3:10, 4:30, 5:50, 7:10, 8:30, 9:50
! COP OUT (R) 11:20, 4:45, 10:20
! SHE'S OUT OF MY LEAGUE (R)12:15, 2:45, 5:15, 7:50
THIEF (PG) 11:05, 2:00, 4:45, 7:30, 10:15
12:00, 2:35, 5:10, 8:00, 10:35
! COP OUT (R) 11:15, 1:55, 4:35, 7:15, 9:55
! CRAZY HEART (R)CineArts 11:10, 1:55, 4:35, 7:15, 9:55
! MY NAME IS KHAN (PG–13) 11:55, 3:30, 7:05, 10:35
12:20, 1:35, 3:05, 4:30, 5:50, 7:15, 8:35, 9:55
! AVATAR (PG–13) 11:55, 3:25, 7:00, 10:25
! GREEN ZONE (R) 11:20, 2:05, 4:50, 7:30
! REMEMBER ME (PG–13) 6:45, 9:25
! AVATAR (PG–13) 12:00, 3:30, 7:00, 10:30
! BROOKLYN'S FINEST (R) 1:15, 4:15, 7:15, 10:15 ! SHE'S OUT OF MY LEAGUE (R) 7:00, 9:30
! COP OUT (R) 11:30, 5:00, 10:35
! CRAZY HEART (R) CineArts 11:00, 1:40, 4:20, 7:20, 10:00 ! CRAZY HEART (R) CineArts 6:50, 9:30
! ALICE IN WONDERLAND 3D (PG) Real D 3D XD
3:30, 5:00, 6:30, 8:00, 9:30
! THE BLIND SIDE (PG–13) 1:05, 3:55, 7:05, 9:55
! GREEN ZONE (R) 11:35, 2:15, 4:55, 7:40, 10:25
! REMEMBER ME (PG–13)11:20, 2:00, 4:40, 7:25, 10:10
! THE GHOST WRITER (PG–13)CineArts 1:30, 4:25, 7:30, 10:25
! ALICE IN WONDERLAND (PG) 1:00, 3:40, 6:20, 9:05
12:30, 1:45, 3:00, 4:15, 5:30, 6:45, 8:00, 9:20, 10:30
! SHUTTER ISLAND (R) 12:35, 3:40, 6:55, 10:15
1:00, 2:00, 3:05, 3:35, 4:40, 5:40, 6:20, 7:30, 8:30, 9:00, 10:05
! AVATAR (PG–13) 1:45, 5:15, 8:45
! AVATAR 3D (PG–13) 12:00, 3:30, 7:00, 10:30
! BROOKLYN'S FINEST (R) 11:00, 12:30, 2:00,
NAPA COUNTY
9:20
12:05, 1:50, 2:45, 4:35, 5:25, 7:15, 8:10, 9:55
! GREEN ZONE(R) 11:15, 12:40, 2:00, 3:25, 4:45,
! SHUTTER ISLAND (R) 3:55, 6:50
(12:45, 3:00, 5:20) 7:35, 9:50
! BROOKLYN'S FINEST (R) No Passes 1:30, 4:30, 7:30, 10:30
! COP OUT (R) 11:20, 2:00, 4:40, 7:15, 10:10
! SHUTTER ISLAND (R) 12:40, 3:50, 7:10, 10:15
! THE CRAZIES (R) 12:20, 2:50, 5:20, 7:50, 10:25
(415)435-1234
! AN EDUCATION (PG–13) 4:15, 7:00
! REMEMBER ME (PG–13) 11:05, 1:40, 4:20, 7:10, 9:50
2:25, 3:45, 5:10, 6:30, 7:55, 9:15, 10:30
! THE MOST DANGEROUS MAN IN AMERICA: DANIEL
11:00, 1:40, 4:20, 7:00, 9:40
THIEF (PG) 11:00, 1:45, 4:30, 7:15, 10:00
TIBURON PLAYHOUSE 3
!
THE OSCAR NOMINATED SHORT FILMS
2010: ANIMATED (NR) DLP (12:55, 3:05) 7:25
Sofa Lounge
!
THE OSCAR NOMINATED SHORT FILMS
2010: LIVE ACTION (NR) DLP (5:15)
Sofa Lounge
! THE MOST DANGEROUS MAN IN AMERICA: DANIEL
ELLSBERG (NR) 9:15 pm
! A PROPHET (R) 7:30 pm
CRAZY HEART (R) (2:10, 4:45) 7:20, 9:55
Sofa Lounge
!
! GREEN ZONE (R) 11:30, 2:15, 5:00, 7:45, 10:30
! OUR FAMILY WEDDING (PG–13) 12:00, 2:30,
! THE ART OF THE STEAL (NR) 6:30, 8:45
! SHUTTER ISLAND (R) 12:50, 4:00, 7:10, 10:25
! PERCY JACKSON (PG) 1:50, 4:25, 7:05
! THE LAST STATION (R) 6:00
! CRAZY HEART (R) 2:20, 4:50, 7:20
! THE CRAZIES (R) 11:25, 2:15, 4:55, 7:35, 10:05
! A SINGLE MAN (R) (3:15) 8:30
! VALENTINE'S DAY (PG–13) 9:45 pm
Finding Quirky Paths to Mysterious Places
By CLAUDIA LA ROCCO
Published: October 22, 2008
At the end of Brenda Way’s “Book of Hours,” a dancer lies in a spotlight. She turns, slowly,
offering the audience her back. What does she see in the gathering darkness? It is an
intriguing moment, and a surprising conclusion for such a buoyantly communal dance. Yet it
feels right, in an unlabored fashion, as if the work had been leading its creator to this place all
along.
For almost 40 years Ms. Way has been doing the leading.
She founded the San Francisco troupe ODC/Dance in 1971,
and on Tuesday it returned to New York for the first time
since 2005, bringing four New York premieres to the Joyce
Theater.
The program’s chief pleasures are its fine, understated
dancers — particularly the commanding Daniel Santos —
and Ms. Way’s ability to find paths to mysterious places.
Her choreographic voice is a quirky one, and some of her
habitual gestures seem rather too ingrained: quirky
becomes cutesy all too quickly. But her work contains a
multitude of human relationships; full of richly textured
moments, these are dances you suspect would stand up to
second viewings. (“Hunting and Gathering,” by Ms. Way’s
co-artistic director, K T Nelson, is heavier-handed in its
exploration of male relationships, teasing out the line between aggression and sexual
attraction.)
“Book of Hours” has the advantage of Meredith Monk’s haunting vocal music, which
reinforces the dance’s childlike sensibility. Muscular, unpredictably structured lifts and
rough-and-tumble phrases give a sense of youngsters discovering the world, and themselves,
through serious play. More uneven is “Unintended Consequences: A Meditation,” which is
rather too literal in its interpretation of Laurie Anderson’s music (cutesy rears its head) but
still offers a cutting critique of human relationships, and of how easily we become isolated.
Alexander V. Nichols’s lighting design, two vertical columns of fluorescent light sheathed in a
dark mesh, reinforces the starkness.
Ms. Way’s “Origins of Flight,” which begins with Heinrich Biber’s delicately expressive
music, quickly builds into a more freewheeling experience. Here the choreographer delights
in speed, playing with counterpoint as she sends the dancers hurtling through space. You get
the sense of an endless day, endless possibilities. Then, abruptly, darkness falls. A lone
couple back slowly offstage, clinging to each other: in flight, there is also frailty.
ODC/Dance performs through Sunday at the Joyce Theater, 175 Eighth Avenue, at 19th
Street, Chelsea; (212) 242-0800, joyce.org
Photo: Andrea Mohin/The New York Times, Vanessa Thiessen and Private Freeman of ODC/Dance.

downlod odc

Transcription

Similar documents

2009-2010 Facts

Dinner Dance Dinner Dance - Franciscan Sisters of Chicago

layout 307

View Promo - St. Michael`s Health Group

monday wednesday thursday friday tuesday extended care

¡Bailamos!

veronica felisi

Angelina Ballerina - Kew School of Dance

File - The BroncWriter

program - NuVo Video