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A Modern Night at the Folly 2010

Nine Choreographers - Picture Page

6 February 2010
12th and Central, Kansas City, Missouri

Tracie Davis  in Longing, Fleeting, The End by Penelope Hearne  - at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com

 

Fuga Tanguera

Jen Owen and Brad Cox have, in only a few years, managed to establish a reputation for tight, finely executed dance and music with the Owen/Cox Dance Company. Fuga Tanguera was clearly symmetrical, balanced and well put together. It is not a large company but they work together regularly and it shows in performance.

Talking/Walking it out at tech: dancers Jennifer Tierney, Lauren Fitzpatrick (center) and Jennifer Owen - in Fuga Tanguera by Jennifer Owen at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Talking/Walking it out at tech: dancers Jennifer Tierney, Lauren Fitzpatrick (center) and Jennifer Owen

Brad Cox at piano, Jeff Harshbarger on bass - dancers hunched down in silhouette - in Fuga Tanguera by Jennifer Owen at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Brad Cox at piano, Jeff Harshbarger on bass - dancers hunched down in silhouette

Laura Jones - in Fuga Tanguera by Jennifer Owen at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Laura Jones

Jennifer Tierney - in Fuga Tanguera by Jennifer Owen at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Jennifer Tierney

Lauren Fitzpatrick, Laura Jones, Jennifer Owen, Jennifer Tierney - in Fuga Tanguera by Jennifer Owen at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Lauren Fitzpatrick, Laura Jones, Jennifer Owen, Jennifer Tierney

Choreography Jennifer Owen
Music Brad Cox
Dancers Lauren Fitzpatrick, Laura Jones, Jennifer Owen, Jennifer Tierney
Musicians Brad Cox, Christian Fatu, Jeff Harshbarger, Gregory Sandomirsky, Sam Wisman
Costumes Lisa Choules



Last Call

Jeff Curtis in Last Call by Jeff Curtis - This picture probably represents the piece better than all clear shots, especially the shot where I lost his head (not on purpose, just seemed fitting when I saw it). He is dancing as a drunk character to a Tom Waits song and the irony in the words goes better with a headless shot and two blurred action shots. - at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Jeff Curtis - This picture probably represents the piece better than all-clear shots, especially the shot where I lost his head (not on purpose, just seemed fitting when I saw it). He is dancing as a drunk character to a Tom Waits song, The Piano Has Been Drinking, and the irony in the words goes better with a headless shot and two blurred action shots.

I don't normally care to see drunks as fun or funny. I've known (and know) too many persons whose lives were wrecked and who sadly impacted so many others that drunk acts are just not funny for me. But I have to admit, Jeff Curtiss, managed to carry this off with humor and seemingly effortless athleticism in stylistic stumbles and aerial pratfalls.

Jeff Curtis in Last Call by Jeff Curtis - a clear view - at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Jeff Curtis - a nice clear view

Choreography Jeff Curtis
Music Tom Waits, The Piano Has Been Drinking
Dancer Jeff Curtis


The Strength to be Willing

Cameo Ibsen and Gwen Tripp in The Strength to be Willing by Suzanne Ryan Strati- at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Cameo Ibsen and Gwen Tripp - although this is a part of the choreography, here they are clowing during tech as evidenced by the "V" sign.

Gwen Tripp in The Strength to be Willing by Suzanne Ryan Strati- I took these as Suzanne Ryan Strati asked Gwen to do these leaps so that she could get a few shots as otherwise they were just standing around in tech waiting for lighting adjustments. These are shot with mostly worklights on. All are at 1/30th second f/2, with a 35mm lens - at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Gwen Tripp - I took these as Suzanne Ryan Strati asked Gwen to do these leaps so that she could get a few shots as otherwise they were just standing around in tech waiting for lighting adjustments. These are with mostly worklights on.

All are at 1/30th second f/2, with a 35mm lens, a shutter speed normally reserved for snap shots of family members who are making every effort not to move as you take the picture with your Kodak Brownie (I had one). I got all seven leaps. The one you are not seeing here had a little more blur (head motion) so I didn't use it and the six used here offer a nice symmetry.

Gwen Tripp in The Strength to be Willing by Suzanne Ryan Strati- at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Gwen Tripp

Kat Kimmitz and Cameo Ibsen in The Strength to be Willing by Suzanne Ryan Strati- at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Kat Kimmitz and Cameo Ibsen

Choreography Suzanne Ryan Strati
Music The Tower of Babel original composition by Jacob Gotlib
Dancers Mikaela Garrett, Cameo Ibsen, Kat Kimmitz, Gwen Tripp
Costumes M. Suzanne Ryan Strati
This work is inspired by Max Lueade's book, "Traveling light" Special thanks to original test members Stephen Plante, Rachel Plante, Mario Reddowoy, Rachael Thompkins, and Rachel Rebolloro for their contributions to the piece.


and we hold tight together

Jane Gotch and Ann Shaughnessy in: and we hold tight together by Jane Gotch - at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Jane Gotch and Ann Shaughnessy

Jane Gotch, Tuesday Faust, Ann Shaughnessy, Justin Cowart in: and we hold tight together by Jane Gotch - at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Jane Gotch, Tuesday Faust, Ann Shaughnessy, Justin Cowart

Jane Gotch, Tuesday Faust, Ann Shaughnessy in: and we hold tight together by Jane Gotch - at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Jane Gotch, Tuesday Faust, Ann Shaughnessy

Choreography Jane Gotch
Music Variations on J.S. Bach's Cello Suite #5 In C Minor
Dancers Tuesday Faust, Jane Gotch, Ann Shaughnessy, (understudy- Kalen Compernolle)
Musician Justin Cowart
Costumes Erica Mahinay

The creation of this piece was funded in part by on Inspiration Gront from The Metropoliton Arts Council of Konsos City and by a space grant from Charlotte Street Foundation's Urban Culture Project.


Broken Flight

 

Patrick Suzeau in Broken Flight by Patrick Suzeau - I think of this as a portrait shot. It shows Patrick and represents his energy nicely. - at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Patrick Suzeau - I think of this as a portrait shot. It shows Patrick and represents his energy nicely.

Patrick Suzeau in Broken Flight by Patrick Suzeau - end of piece as trash is blown over him, engulfing him - at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Patrick Suzeau - end of piece as trash is blown over him, engulfing him. This is a superb little vignette of pollution, noise, chemical, trash, overwhelming the central character.

Patrick Suzeau in Broken Flight by Patrick Suzeau - at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Patrick Suzeau

Choreography Patrick Suzeau
Music Sound Collage
Dancer Patrick Suzeau
Costume Susan Rendall



"The Reckoning" an excerpt from The Little People

 

Maura Michelle Garcia in The Reckoning, an excerpt from The Little People by Maura Garcia - at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Maura Michelle Garcia - You can see here some of the Native look to the modern dance which Maura brings to the piece. It is both visual and aural, dancing to words as much as to music. Maura Garcia, whose card reads "Mixed Blood Woman" fuses in her dance the biological and cultural fusions in her life.

Maura Michelle Garcia in The Reckoning, an excerpt from The Little People by Maura Garcia - at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Maura Michelle Garcia

 

Choreography Maura Michelle Garcia
Music "Going Home" and "Stomp" by Ulali
Dancer Maura Michelle Garcia
Costume DeAnna Edwards
Painting Soumitra Dasgupta
Lighting Design Ray Robins

This piece is about the Cherokee fairies or Yvwi Tsvsdi. While exploring their multi-faceted personalities, it also deals with the reclamation of Cherokee traditions and a conscious Native identity.

 


Innerlying Landscapes, Section III. Elemental Procession

Lindsay Spilker Tate and (to the left) Shandi Fine  in Innerlying Landscapes, Section III. Elemental Procession by Michelle Diane Brown - at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Lindsay Spilker Tate and (to the left) Shandi Fine

Allison McKinzie, Shandi Fine, Lindsay Spilker Tate, Tuesday Faust (being held) and Holly Noel Harmison  in Innerlying Landscapes, Section III. Elemental Procession by Michelle Diane Brown - at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Allison McKinzie, Shandi Fine, Lindsay Spilker Tate, Tuesday Faust (being held) and Holly Noel Harmison

Tuesday Faust, Lindsay Spilker Tate (front) and Holly Noel Harmison  in Innerlying Landscapes, Section III. Elemental Procession by Michelle Diane Brown - at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Tuesday Faust, Lindsay Spilker Tate (front) and Holly Noel Harmison

Choreography Michelle Diane Brown
Music Tchaikovsky, Serenade for Strings in C Major for String Orchestra Op. 48 Third Movement
Dancers Tuesday Faust, Shandi Fine, Holly Noel Harmison, Allison McKinzie, Lindsay Spilker Tate
Costumes Colin Coit, Laura Powell, Jenn McKelvie, Michelle Diane Brown
Photographic Images Michael Oliver

Innerlying Landscapes was created in four movements:
I - Substrate
II - Twisted Geometries
III - Elemental Procession (the excerpted movement performed here)
IV - Conchoidal Fractures

The full piece debuted at Kacico's Fall 2009 concert (17 October) at The Folly Theatre to live music from the Kansas City Chamber Orchestra, directed by Bruce Sorrell playing: Serenade in C Major for String Orchestra, Op. 48 by Peter Ilyich Tchaikovsky

Each of the movements had different choreography and different costumes, all stunning, original, very creative. The costumes were designed to match the projected micro-photographs, shown above and behind the dancers.

This excerpt, Elemental Procession, remains stunning, maybe more so with further practice and perhaps with extra attention because 1) this was the last time with Diane Brown as artistic director and 2) they were down from five dancers to four because Tuesday Faust could not be in the piece, having been injured earlier in the evening in Jane Gotch's piece. The spacing and the processional feel of the piece worked in any case.

The costumes were deliberately non-symmetrical and required each dancer's left arm to be tied down, within the costume, so they were dancing with one arm tied, literally


low

 

Lindsay Pierce in low by Lindsay Pierce - at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Lindsay Pierce

Lindsay Pierce in low by Lindsay Pierce - at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Lindsay Pierce

Choreography Lindsay Pierce
Music Brian Harnetty, To Hear Still More, and As Old As The Stars
Dancer Lindsay Pierce

 


Longing, Fleeting, The End*

 

Stephanie Whittler, Kat Kimmitz, Amanda January, Ann Shaughnessy and (hidden) Katie Brennan and Tracie Davis  in Longing, Fleeting, The End by Penelope Hearne  - at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Stephanie Whittler, Kat Kimmitz, Amanda January, Ann Shaughnessy and (hidden) Katie Brennan and Tracie Davis

Stephanie Whittler, Kat Kimmitz, Amanda January  in Longing, Fleeting, The End by Penelope Hearne  - at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Stephanie Whittler, Kat Kimmitz, Amanda January

Tracie Davis  in Longing, Fleeting, The End by Penelope Hearne  - at A Modern Night at the Folly (by City in Motion) photo by Mike Strong - www.kcdance.com
Tracie Davis

Choreography Penelope Hearne
Music The Books, Big A little a, Carla Bozulich
Dancers Katie Brennan, Tracie Davis, Amanda January, Kat Kimmitz, Joanna Des Marteau, Ann Shaughnessy, Andrea Skowronek, Stephanie Whittler
Video Jules Hearne

*enjoy your worries, you may never have them again.

Special thanks to Tracie Davis for her creative input, Susan Warden for her time and guidance and to textile artist Nichole Hobbs for consulting and dying the costumes for the second section.

 

From the Program ...


Board of Directors

Vanessa Vaughn-West President
Greyson Twist Vice President
Stephanie Whittler Secretary
Nicole Doyle Treasurer
Gary Rittenhouse
Dale Fellin
Kat Kimmitz
Marianne Johnson

Artistic Co-Directors

Andrea Skowronek
Dale Fellin
Penelope Hearne
Stephanie Whittler

City in Motion Staff

Regina Compernolle School Director
Andrea Skowronek Children's Dance Theater Director

City in Motion Dance Theater, Inc. is a professional dance company, a presenter of dance and a school of dance. Its mission is to foster the development of high quality contemporary dance programming and expand the dance audience in the Kansas City metropolitan area.

City in Motion Dance Theater was incorporated as a 501 (c)3 organization in 1985.

Donations may be sent to:
City in Motion Dance Theater
3925 Main Street
Kansas City, MO 64111


Flash photography is NOT permitted at any time during the performance. Use of a camera or other recording devices is not permitted unless arranged in advance. All choreography is copyright 2009 by the choreographers. A Modern Night at the Folly is the service mark of City in Motion Dance Theater, Inc. Program design and contents copyright 2010 by City in Motion Dance Theater: all rights reserved.


Production Director Jane Gotch
Technical Director/ Lighting Designer John "Moose" Kimball
Stage Manager Tara Varney
Adjudicator Susan Womack
Folly Technical Director David Tebow
Folly Technicians Members of IATSE local 31
Photographer and Videographer Mike Strong
Program Design Tracie Davis
Poster and Cover Design Tammy Shell
Printing Services Neal/Settle Printing Inc. and Western Blue

Special Thanks to: Moosewerks, W.T. Dittman, The Toon Shop, Rachel Gomez, Kim Riley, Metropolitan Community Colleges for our continued partnership, Amy Barber, Miss Shirley Weaver, The Arts Council of Metropolitan Kansas City, The Missouri Arts Council, and The Neighborhood Tourism and Development Fund for their continued support, The Greater Kansas City Community Trust and Foundation, and the wonderful Folly Staff. The production staff would like to thank our hard working board members and volunteers for their inspiring support.

 

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Suzanne Ryan, 2/9/2011
Just a correction in the text by The Disappeared photos:

The women have a cloth handkerchief, not a diaper, in their belt.The National Dance of Chile is the Cueca (pronouced kwa-kuh). This is a circular partnering dance where both participants wave handkerchiefs.In The Disappeared, the women wave handkerchiefs at the end of the dance to use dance as a form of protest (as they do in Chile) - instead of performing the dance as a duet, they perform solo to bring attention to the missing person in their lives.I hope this helps.Here is a link to a site with a video of the Cueca dance http://www.youtube.com/watch?v=yr9WKG259qI


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