By John Lyle Belden
First, a bit of unfinished business. After seeing the opening of Gregory Hancock Dance Theatre’s “Antony & Cleopatra” in June, I posted a quick review on the PWJW Facebook page but have yet to officially add a write-up here. Since, like many companies, GHDT can shine up an old gem and give it another whirl in a future season, this may be some useful commentary:
Like most of his work, this production has choreography and costumes by Gregory Glade Hancock. In addition, he insisted on music and songs by award-winning composer Cory Gabel, who also worked with him on 2018’s “The Casket Girls.”
Aside from being a dance showcase without spoken lines, this “Antony and Cleopatra” is quite different from the Shakespeare play in the story it tells. The narrative is pared down and freely adapted, with adventurous casting. It is set not in Roman-era Egypt, but a more modern time – the nightlife world of Club Isis. Gabel’s songs include (prerecorded) vocals, combining with power-pop and dance music for a feel reminiscent of “Movin’ Out,” with the song lyrics and movement weaving the plot to good effect.
The two men in the company, Adrian Dominguez and Thomas Mason, are the title characters respectively. Not just supporting characters (in both the role and lifting-the-women sense), this is quite a showcase for their talents, especially in a beautifully sensuous pas de deux.
Also incredible are Abigail Lessaris as Antony’s spurned wife Octavia, and Zoe Maish as Lamprius the Soothsayer, agent of Fate. As usual, there are first-rate performances from the whole company, including “G2”.
Even (especially?) with its toying with setting and gender, Hancock’s production is still a compelling fascinating story of forbidden desire and love, rash actions and tragic consequences. It may not be what actually took place in Roman Alexandria, but note the Bard wasn’t a historian, either.
The next performance of “Antony and Cleopatra”… is when Mr. Hancock and company feel like doing it.
To open the 2022-23 season, GHDT celebrates a quarter century of dance with the “25th Season Celebration,” Aug. 26-27 at The Tarkington in the Center for the Performing Arts in downtown Carmel. According to the press release, Hancock “link(s) together theatrical tales from throughout GHDT’s rich 25-year history and will tell the collective story through moving, poignant and memorable theater, thrilling movement, and beautiful music.” Sounds like fun.
This year’s remaining performances also have an air of the familiar. October 28-29, Hancock’s “There’s No Place Like Home” returns. This wonderful production, inspired by “The Wizard of Oz,” is based on young Hancock’s journey of discovery as the Boy from Kansas in a strange land, with dance drenched in the magic and culture of India. Performances will again be at the Tarkington; see our prior review for more info.
This is followed on December 2-3 with the holiday classic, “The Nutcracker.” Everyone has their Christmas traditions; if this is yours, get your seats at the Pike Performing Arts Center (6701 Zionsville Road, Indianapolis).
Celebrating the new this season is “New World Dances” on weekends of February 11-26, 2023, featuring work that Hancock created during the recent pandemic, presented at The Florence, GHDT’s new black box performance space, 329 Gradle Drive, Carmel.
This anniversary “season of reflection” also includes “Illumination,” April 7-8, with a spiritual theme, and “Director’s Choice,” June 9-10, which Hancock (naturally) picks, both at The Tarkington in Carmel.
For the information and tickets, see gregoryhancockdancetheatre.org.