Mitzi Gaynor fabulous in Jack Cole’s “I Don’t Care” 1

Dance · Film
I love everything about this amazing, high-spirited dance sequence choreographed by Jack Cole for The I Don’t Care Girl (1953). “I don’t care. I don’t care. What people think of me. I’m happy, go-lucky, men say that I’m plucky, so jolly and carefree!” From the first frames — the camera shooting upward through a mirror ...

Merce Cunningham’s Beach Birds (1993)

Dance
It’s August. Let’s go to the beach . . .

Jack Cole to be celebrated at Jacob’s Pillow 2

Dance · Film
arts·meme‘s Debra Levine is proud to announce her participation, on Saturday, August 14, at 4 pm, in “Jack Cole, Unsung Genius” a celebration of the innovative jazz choreographer at Jacob’s Pillow Dance Festival, the summer dance camp for grown ups in Becket, Massachusetts. The Cole commemoration fits surprisingly well with Jacob’s Pillow history. In his ...

A real city ballet for a real city 1

Architecture & Design · Dance
Los Angeles — a patchwork of suburban satellites stitched into a megalopolis — felt urban Thursday night. A smart young contemporary ballet company, City Ballet of Los Angeles, performed downtown using our handsome cityscape as a backdrop. Robyn Gardenhire, the group’s go-get-’em artistic director, a veteran of Cleveland Ballet, Karole Armitage, American Ballet Theatre, and ...

Hey, “Beauty”: Wake up!

Dance
Ah, “The Sleeping Beauty” ballet. Tchaikovsky, its composer, was lucky. They wrote his stuff down. The Russian Imperial Ballet choreographer, Marius Petipa, less so. No video cameras in 1890. So following Petipa’s original “Beauty,” a century of quibbling ensued over the grand spectacle’s staging, intentions, and shoot, its steps! A huge eye-glazing gob of ink ...

Philippe Petit, wired, even when not on wire 2

Dance · Language & ideas · Visual arts
Co-published on Huffington Post arts page “Falling is not my specialty,” quipped Philippe Petit in verbal jousting with “extreme” choreographer Elizabeth Streb during “Hammer Conversations” at the museum’s Billy Wilder Theater last week. Streb was describing how dance “must be extreme or no one will notice it as action.” In amazingly fluent English, Petit rejoined, ...

Arthur Mitchell delights in his ballerinas

Dance
“I love to partner,” admits the great pioneering African-American ballet dancer Arthur Mitchell who joined New York City Ballet in 1955. In conversation he shares affectionate sound bites about the ballerinas he partnered when dancing for choreographer George Balanchine at New York City Ballet, 1955 – 1966. On Allegra Kent: “Otherworldly. A real creature, there was nothing she ...

Jane Russell remembers “Gentleman” Jack Cole 2

Dance · Film
“Yes,” answered Jane Russell last Wednesday evening, nodding emphatically when asked if choreographer Jack Cole had directed the dance sequences in Howard Hawks’s “Gentlemen Prefer Blondes” (1953). Russell’s brown eyes flashed and she became animated on hearing Cole’s name. The brunette bombshell of the 1940/50’s, appearing at a Hollywood Heritage event this past week, chatted ...

Legendary dancer/director Arthur Mitchell visits L.A. 1

Dance · Visual arts
In tandem with the soon-to-close “40 Years of Firsts,” a loving and comprehensive art gallery retrospective of Dance Theatre of Harlem, Arthur Mitchell, the troupe’s artistic director emeritus, will appear at the California African American Museum the evening of June 30. The multimedia exhibit, organized by the New York Public Library for the Performing Arts, ...

Baryshnikov backstage at REDCAT

Dance
Monday evening saw Russian-born ballet dancer Mikhail Baryshnikov join the great Merce Cunningham Dance Company on stage for a fundraiser at REDCAT performance space in downtown Los Angeles. Beneficiaries: MCDC’s “legacy” project and REDCAT. After the show … Barysh & the Merce’ites click for better view Marisa Meets Misha click for better view Mark Murphy, Executive Director, REDCAT, ...