2014–2015 REPERTORY LIST
Absolute Rule (DBDT Premiere 1994)
Choreographer: Elisa Monte and David A. Brown
This arresting work investigates the natural ebb and flow of various emotions during the course of a relationship. Elisa Monte describes it as a look into the “push and pull of emotional forces that surround the interaction of two people.” Absolute Rule examines the power and intensity of male and female relationships. Each dancer manipulates the other to create sensuous human sculptures. This ballet was made possible by a grant from IBM.
Angelitos Negros (1972)
Choreographer: Donald McKayle
Angelitos Negros is an excerpt from the ballet, Songs of the Disinherited. Translated to English, the lyrics read: Painter born in my native land with the foreign brush; Painter that continues the course of all the painters of old; Though the Virgin may be white, paint black angels for me; For the good ones also go to heaven; Painter indeed you paint with love!! Why do you deprecate those of your color, if you know that in heaven God also loves them? Painter of saints in alcoves, if you have a soul in your body; Why have you forgotten blacks in your paintings? Every time you paint a church you paint beautiful angels, but never do you remember to paint a black angel.
…And Now Marvin (1994)
Choreographer: Darryl B. Sneed
This work pays tribute to the legendary artist Marvin Gaye. He was an extraordinary singer, composer and arranger. Through his music he expressed despondency over key issues of his generation: politics, the war in Vietnam, the ecology and human conditions.
Choreographer: Alvin Ailey (World Premiere 1983, US Premiere 1993, DBDT Premiere 2012)
Restaging: Christopher L. Huggins
When Escapades premiered in the United States in 1993, The New York Times called it “...breathtaking in its invention.” This ballet was originally choreographed by Mr. Ailey for the Aterballetto – Centro Regionale Della Danza of Italy in 1983 and set to a score by jazz legend Max Roach. A suite of four dances, this piece tells a love story through a fluid combination of modern, jazz and ballet techniques. The central couple is continually surrounded by duets and quartets of dancers who effortlessly move in and out of earthy sensuality and graceful lyricism.
Etudes and Elegy (1990)
Choreographer: Gene Hill Sagan
Choreographed by the late Gene Hill Sagan, this modern classic clearly shows the lyrical style behind the motif of Mr. Sagan’s ballets. Choreography made possible by a grant from AT&T.
Choreographer: Troy Powell
Mr. Powell takes us on a personal journey with him to Alaska where he was highly inspired by the way eagles survived—how similar their actions were to human beings. In creating Lambarena, he uses his dancers’ forms and shapes to capture the images.
Choreographer: Garfield Lemonius
Memoirs recounts aspects of an individual’s life; the joys, the pains, the passion, and the calm. This work was first commissioned by the Conservatory Dance Company at Pointe Park University.
Choreographer: Sean J. Smith
Monologues is a compilation of twelve short dances illustrating both the plagues and triumphs of being a modern woman. Set to the spoken word of Canadian poet and songwriter Meryn Cadell, this exhilarating new work highlights the female dancers of DBDT in a clever and intriguing new way. Monologues addresses a host of topics of the feminine persuasion including but not limited to dating, religion, employment (or lack thereof), ungrateful cheating spouses, obsessions with plastic Barbie dolls, driving during rush hour, and fantasies about becoming an airline stewardess. Choreographed by DBDT company dancer Sean J. Smith, Monologues is deliciously sarcastic and certain to leave its audiences amused.
Mourner’s Bench (1947)
Choreographer: Talley Beatty
This emotional solo portrays spiritual struggle through muscular interplay between a male dancer and a bench. The work was inspired by Howard Fast’s novel Southern Landscape, and refers to the tragic influence of the Ku Klux Klan on a mixed-race community in the rural South after the Civil War. The soloist asserts himself within and against the themes of oppression and transcendence in the highly stylized, gestural vocabulary of the piece. The dancer, “sitting on the mourner’s bench,” reflects upon the end of his community and the horror of its slaughter. Set to the traditional spiritual There Is A Balm in Gilead.
Reflections in D (1962; DBDT Premiere 1987)
Choreographer: Alvin Ailey
This strong yet serene solo is a stunning, masterful expression of Duke Ellington’s music.
Choreographer: Bruce Wood
“After working with the dancers from Dallas Black Dance Theatre for a while I noticed that they all have their own personal elegance; and as a company, they have a great sense of humor. I decided to take those two elements and put them in a dance for them to inhabit and for you to enjoy.” – Bruce Wood
Southern Recollections: For Romare Bearden (2013)
Choreographer: Bridget L. Moore
Dedicated to the life and work of Romare Bearden—Each collage depicts a series of collected memories, forging the past and the present. Mr. Bearden left a legacy of art that is socially relevant, depicts beauty in color, revealing his love and passion for humanity. Romare Bearden once remarked “modern painting progresses through cumulative destructions and new beginnings.”