Formulae & Fairy Tales: Sublime Dance from Invertigo Dance Theatre

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When one looks at the word sublime in the dictionary – assuming we still look at dictionaries, of course – an illustration of the work of Invertigo Dance Theatre should accompany it.

Now at The Eli and Edythe Broad Stage in Santa Monica for one more night, September 14th only at 7:30 pm., Formulae & Fairy Tales tells the heartbreaking story of the life of Alan Turing, the mathematical genius and World War II codebreaker.

Using the ideas and images from his favorite film, Disney’s Snow White and the Seven Dwarfs, the brilliant choreography of Laura Karlin, Invertigo Dance Theatre’s Founding Artistic Director, creates a dream-like, fascinating world of mathematics, artificial intelligence, and cryptography that is also a love story, and a tale that expresses great loneliness and injury.

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Making strong use of the troupe’s floor-based dance movement and sinuous contemporary style, Formulae & Fairy Tales was one of 20 nationwide works selected for a prestigious New England Foundation for the Arts’ National Dance Project production grant. 

Invertigo will continue to tour Formulae & Fairy Tales during the 2020-21 season, starting with a performance at the University of Florida Performing Arts’ Phillips Center on February 5, 2020. Seriously, if you miss it in LA, it’s worth a plane ticket. 

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For those unfamiliar with the story of Alan Turing, considered the father of artificial intelligence and the computer, this genius of  a computer scientist, mathematician, logician, cryptanalyst, philosopher, and theoretical biologist basically broke German code and turned the tide of World War II. Despite this heroic victory, following the war, he was cruelly persecuted for being homosexual, convicted of “gross indecency” by the country he helped save, and in 1954, he died by eating an apple laced with cyanide, a desperate act that was likely inspired by Snow White. 

Karlin describes the dance performance as “a rejection of tragedy in favor of hope, redemption, and an implacable desire that our world be better for the people living in it,” which not only sums up Turing’s life and Karlin’s telling of his story, but also the troup’s truly give-back philosophy, with its Dancing through Parkinson’s program and various school programs.  And it just might sum up the palpable joy that vibrates through this Invertigo performance and those we’ve had the pleasure of seeing in the past.

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During the show, much witty, trenchant, and loving use is made of Turing’s love for Snow White and the Seven Dwarfs, the first animated feature to be produced in English and in Technicolor©. The muse of fractured film images as well as numbers, letters, and binary code is projected behind the dancers as they leap, writhe, soar, and collapse onto the stage. 

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Karlin has managed to embody Turing’s creativity, his mathematical world, his hidden meanings, his secret love life. Throughout the 80 minute performance, the dancers’ movements often play on computational systems, on the known and unknown.

The end result is both magical and precise, story telling crafted from motion. And that motion often  mirrors the decoding of classified information in that dancers and viewers alike are bound to the mystery and resolution.

Karlin created the choreography in collaboration with the dancers: Cody Brunelle-Potter, Hyosun Choi, Jessica Dunn, Spencer Jensen, Corina Kinnear, Dominique McDougal, and Luke Dakota Zender. Composers Toby Karlin, Julia Kent, and Eric Mason’s music are also featured in the piece.

Karlin was compelled to create the work after hearing an NPR broadcast about Janna Levin’s book on Turing,  A Madman Dreams of Turing Machines;  the end result is both a beautiful tribute to Turing and a fresh representation of Levin’s fascinating material. Unlike the rather staid film about Turing’s life released in 2016, The Immitation Game, Karlin’s work gets into the heart, soul, and sensuous bones of her subject.

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The joy, defiance, and anguish in a final dance featuring Turing and his lover, meeting not lip to lip but with an apple clenched in their teeth between them, is absolutely brilliant. Like the production itself, this is an incredible, richly memorable moment in dance.

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When Karlin joined the dancers tonight for a final bow, the company received a well-deserved standing ovation.

 

Tickets are now on sale at www.thebroadstage.org or by calling 310.434.3200.

The Eli & Edythe Broad Stage is located at 1310 11th St. Santa Monica CA 90401. Parking is free.

  • Genie Davis; photos: Joe Lambie, George Simian – provided courtesy of Invertigo Dance Theatre

 

A New Take on Opera from Juan J. Colomer Composer, Co-Founder of LA Grand Ensemble

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LA has a new opera in town – and a new take on a classic. Created by Juan J. Colomer, the composer is also the co-founder of the LA Grand Ensemble.

Dulcinea XL performed at the Colburn School in DTLA this week, is based on episodes of Don Quixote, according to Colomer. “It is based on the one in which Sancho, in order to cover his own lie, tries to make Quixote believe that an ugly and overweight peasant is the beautiful Dulcinea. Only this time, Quixote sees the reality, and thinks that he might be under a spell and that’s he can’t see her beauty. In the second act, a couple of Noblemen try to have fun at their expense, which includes Sancho having to pay for his lies.”

Colomer notes that while recently many classic operas or plays have been changed to a more recent time period to make the appeal more modern for a 21st century audience, that was not his choice.

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When I wrote this opera, I preferred to do something more subtle, and instead of extrapolating, just focus on a minor detail of the original book. By changing the focus to an idea that existed in the original but nobody cared about, we bring the attention to an issue that is absolutely relevant now. The fact that Dulcinea is extra-large resonates more with people now and is a reflection of the issues of this time.”

Colomer stresses that another issue is self-acceptance.

“Dulcinea is secure of herself and knows a fool when she sees one. She could easily be flattered that an apparent ‘knight’ fell for her and believe his lunacies, but she was grounded and knew who she was and that made her secure enough to make fun of Don Quixote. That could easily be extrapolated to Hollywood and how easy is for people to fell prey of ‘pseudo-producers’ that tell you how rich and famous they’ll make you, when it is clear from the beginning that their offices might be a mail box and and their cars wouldn’t pass the slightest inspection.”

Prescient and perfect for our time, the opera promises to be an exciting evening at the Colburn.

“In a sense, these classics have withstood the passage of time, and remain relevant because they talk about the human character, and that remains the same,” Colomer says.

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The L.A. Grand Ensemble is a flexible group composed of musicians mostly from the Los Angeles Opera and LA Philharmonic, according to Colomer. The group offers concerts with visual elements, lights, projections, dance, and costume design. He felt that an opera was a natural medium to explore all elements, and stresses that “All the visual aspects of the production are present and the audience can enjoy the musicians on stage instead of buried in the pit, which is also a part of the visual appeal, especially when they are some of the best musicians in Los Angeles.”

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The eclectic and original work features singers, Xavier Prado, Milena Gligiç, Melissa Treinkman, David Castillo, and Camila Lima, shown above.

“Costume designer Swinda Reichelt with her completely unique vision of the über famous characters, and the choreography of Lorin Johnson add another layer of humorous drama,” Colomer says. Dancers are Meg Murphy and Katelyn Sanchez.

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“We are also very excited to have a video animation and illustrations by the charismatic Sergio Arau that serve as set design. All of that under the baton of Maestro Ignazio Terrasi.” (above)

He adds “We are also very thankful that the Tourist Office of Spain has helped us bring this production to life.”

Looking ahead, Colomer says the LA Grand Ensemble has many projects to choose from. With Dulcinea Xl, however, he says  “Our main goal with is to serve as a presentation of the work, so that other people or organizations looking for new operas can see it and present it at different venues.”

Be one of the first to see this exciting production on Wednesday, January 30th at 8 p.m. at the Zipper Conert Hall, located at 200 S. Grand in downtown LA. Tickets are $30 to $50. For more information, visit: LA Grand Ensemble; tickets at: Eventbrite

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Art, Theater, Therapy: Elizabeth Tobias Creates Immersive Engagement

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“Self-nurturing and healing through the arts.” That’s how Elizabeth Tobias, a trauma-informed therapist, community advocate, and multi-media artist describes her work. She creates change, through immersive arts therapy programs that have assisted both individuals and groups, offering profound assistance in dealing with and overcoming depression, anxiety, trauma, assault, and PTSD. She also provides relationship therapy. And, she performs works of art at public events that address timely social issues. Her purpose is always about creating positive change: with her performances, she’s engaged in creating awareness in the community about a wide range of issues.

Tobias says “Expressive arts therapy aligns so well with what I do as a perfromance artist …it’s about the process, not the product. We are on a journey together…whatever the theme may be…not knowing what the outcome will be, and just trying something different, taking risks in order to try to create change.”

As both artist and therapist, Tobias has always been a risk-taker. With an MA in Spiritual Psychology from The University of Santa Monica and a Professional Diploma from The Expressive Arts Institute in San Diego, she’s prepared herself to combine her artistic discipline and achievements with game-changing performances and installations that confront some of the most serious issues of contemporary life.

From elementary to high school groups, to The San Diego Unified School District Department of Student Advocacy, The LA Gay and Lesbian Center, Girl Up, and Lifting Generations, to The Expressive Arts Foundation, Tobias has opened hearts and minds, assisted with mental health issues, addressed and offered relief from traumas. And running like a thread throughout her career is her unique ability as artist and advocate to address cultural and societal issues that impact a broader audience as well as affecting smaller groups and individuals.

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In 2011, she addressed food scarcity with her Let Them Eat Cupcakes, exploring hunger in LA. She traveled throughout the city setting up home-made cupcake pop-up shops from Skid Row to Beverly Hills, exchanging cupcakes for stories about hunger and homelessness. The culmination of this program was partcipation in a group show at Chapman University. In the group show, her pop-up became installation art, an ersatz colorful cupcake party housed in a yellow emergency tent. She earned a Durfee Grant for this exhibition on the hunger epidemic in 2012, traveling the project nationwide to destinations including Harvard College. In 2014, she received a Learning Innovation Fellowship from the National Science Foundation for a collaborative project on climate change.

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Now, in 2019, the LA Art Association selected her to develop a presentation for The LA Art Show. Her performance will touch on another pressing and prescient issue: sexual assault. With Survivor! Share Your 98 Second Story, she’s working with a collective of 24 artists.

Calling her work experimental as well as experiential, Tobias says “I work to engage audiences with me in a process that helps to bring awareness to very sensitive issues …I take these issues very seriously, whether I am working in a private or public venue.”

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Survivor! is a strong continuation of her multifacted approach to art and therapeutic transformation. Tobias, whose advocacy on this subject has recieved commendation from Sen. Kamala Harris, will use a combination of live performance, audio, and her unique social practice to create a fully immersive project for viewers. Choreography for the performance was assisted by the Ooh La La dance company. The project also includes support from Los Angeles Art Association/Gallery 825, Shoebox PR, Kristine Schomaker, Peter Mays, Micol Hebron, Dawniel Carlock, Stewart Naomi, Tara Judith, Greer Essex, Wes Chester, Expressive Arts Institute, Tara Graviss, Anna Cirronis, Felís Stella, Joi Cole, Robyn Alatorre, Dee Weingarden, Kayla Cloonan, Natalie Brewster Nguyen, Seven McDonald, Janet and Jennifer Danica Teyssier, Lifting Generations, and the many more.

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Sexual assault is an epidemic in this nation, yet it is often under-reported. The #MeToo movement has barely scratched the surface. Survivor! will illuminate the overwhelming and brutal fact that every 98 seconds there’s a sexual assault occuring in the U.S. The hash tags that Tobias is using in regard to the piece are to the point: #WeInsistOnProgress#ThisIsHowWeEndSexualViolenceSpoken word and improvised sound form the delivery system for Tobias’ performance along with an ensemble of artist survivors. They’ll speak to the need to raise awareness and advocacy for sexual assault survivors throughout the public – and specifically in the art community as well. 

Part of Tobias’ advocacy with this project is devoted to addressing the need for support and resources in general terms; within the arts community, she is looking toward the expression of survivor stories within it and beyond it, for those who’ve experienced or been impacted by sexual assault.

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In both her upcoming performance at The LA Art Show and moving forward with this project from there, Tobias aims to not only destigmatize what survivors have experienced, but to decrease the potential for future assault.

How so? Interpersonal violence expert Dr. Jennifer Freyd, has presented imperssive statistics that show the literal act of speaking out – which Tobias is doing at The LA Art Show, has a measureable impact on decreasing violence. Optimally, courageously, Tobias’ group performance has the potential to directly reduce the statistics. Now that’s true political, consciousness-raising art.

Survivor! will take place at The LA Art Show at the LA Convention Center at 2 p.m. on Sunday the 27th.

Don’t miss.

  • Genie Davis; photos provided by Elizabeth Tobias and LA Art Show

 

Night at the Rendon Stories: Photo Essay

Lit up and glowing, film project transformed the shell of the Rendon Hotel into a living, breathing entity, teaming with life. Listen to the opera unfold from a balcony, step inside the 22 activated rooms for a look at drag queens, psychics, a wanna-be boxer, practicing violinist, chatty mother, strung out couple, man and his parrot, and so much more. An exciting mix of life, an urban dream, a low-rent, long-term hotel space spilling stories from it’s seams. Enjoy our Night at the Rendon.

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Step inside the speakeasy and hoist a few.

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Creators director Ralph Ziman and creative director Maria Greenshields-Ziman with the ultimate production coordinator, Cindy Schwartzstein from Cartwheel Art.

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An operatic opening hit the high notes.

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Artists, writers, dancers, singers, performers of all kinds find a temporary home.

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Fighters, lovers, family, friends…

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Psychic predicts; a murderer is investigated.

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Next door, things are tranquil among friends…

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…as voyeur/attendees wait their turn to see inside.

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  • Genie Davis; PHOTOS by Jack Burke