Camden Lancaster

GHDT: Once more, with feeling

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By John Lyle Belden

We have written about a number of recent productions by Gregory Hancock Dance Theatre, and how founder/director/choreographer Gregory Glade Hancock is an excellent visual storyteller. But dance is more than that; dance is art, and art evokes.

Hancock has been open about his journey and his love for dance, his late mother, and places he’s visited and worked, especially India. These things, in turn, inform the dance he creates. “I don’t even have a name for some of the moves,” he confesses. But his troupes, presently the seven principal dancers and the “G2” student team, understand his movement language to beautifully communicate it to us on stage.

This year, as GHDT celebrates its first 25 years, rather than long-form storytelling, we see pieces from various works Hancock has done, getting a bit of the story with a lot of the emotional heft. This is especially true with “Illumination,” a production focused on spiritual themes, especially hope.

Performed on Easter weekend, which coincides with Passover and Ramadan, this series of dances touch on many cultures and faiths. While there are one- and two-person numbers, there is no true “star,” so I’ll list the performers here alphabetically: Hannah Brown, Zoe Hacker, Allie Hanning, Audrey Halloway, Chloe Holzman, Camden Lancaster, Abigail Lessaris, Thomas Mason, Evangeline Meadows, Josie Moody, Audrey Springer, Rebecca Zigmond.

After opening with a piece from 2016’s “The Violin Under the Bed,” the dances, some rarely seen, date back to the 1990s and early 2000s. Highlights include Brown and Payton in “Between Heaven and Earth,” written for two sisters and reflective of any companionship that life conspires to separate; “The Song of Bernadette,” with Lessaris as the Saint and Moody as the Vision; Lancaster and Mason in “1968,” an imaginative piece inspired by the Prague Spring; and Holzman in “1941,” an emotionally-charged solo reflecting on an event in the Holocaust. There are also lighter moments, such as one from “Crop Circles,” an Irish-inspired frolic on “the mysteries of Nature,” as Hancock puts it.

“Illumination” has one more performance, tonight as I post this (April 8). But the 2023 journey is not over for GHDT. The next production, “Director’s Choice,” will be at the Tarkington at the Center for the Performing Arts in downtown Carmel. With a quarter-century of works to draw from, Hancock’s selections will prove to be a sentimental journey for long-time patrons, and a nice “sampler platter” for new fans.

Wendy and I first got to know Hancock and his company while seeing his work in “La Casa Azul,” the musical with dance based on the life and work of Mexican artist Frida Kahlo. GHDT will present “The Music of La Casa Azul” with the Carmel Symphony Orchestra on Aug. 5 at The Palladium (also at the Center for the Peroforming Arts).

Find tickets for these shows at thecenterpresents.org. For more information on GHDT, see gregoryhancockdancetheatre.org.

GHDT reflects recent changes in ‘New World’

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By Wendy Carson

Gregory Hancock Dance Theatre’s first offering of the new year showcases the newly renovated Florence performance space. Named in memory of founder/director/choreographer Gregory Glade Hancock’s beloved mother, the intimate space is ideal for the audience to more vividly experience the efforts of all involved. “New World Dances” is an appropriately powerful choice to christen the space.

The show highlights dances created during the recent pandemic years, previously presented as “Dances for a New World” on stage and online, highlighting the emotional rollercoaster experienced by everyone during that time. Except for one notable exception, the dancers are not touching each other, enhancing the sense of isolation they each felt (and reflecting the fact each had to work alone during quarantine). Hancock noted that this collection of dance works is not his typical visual storytelling. While there is some discernable narrative, the emphasis is more on expressing the emotions felt as the entire planet entered today’s “new” world.

 From the very start, you’re aware this is going to be an experience that you won’t soon forget, with movement open to numerous interpretations. I highlight just a few pieces here along with what they conveyed to me (your results may vary).

The opening number, Isolation, has each dancer wearing a rubber “Plague Doctor” mask (think giant crow head with goggles) and performing the same choreography in staggered succession. The angst and desperation I felt made me think of the various locations worldwide dealing with the unknowns of the Corona virus. They all came to the same conclusion but each in their own time.

Also highlighting this era: Casualties hearkens to the riots and civil unrest throughout our country; Denial shows those who never took any of this seriously until it came into their own lives; and Media has individual dancers weighed down by huge tangles of video tape, engaging our search for truth through the lies flooding in from everywhere.

There are four solo dances in the show. One is performed by the lone male in the group, Thomas Mason, while the others are performed by one of a pair in that slot. Who each is and the dance they perform will depend on the date you attend. 

The first of these, performed by Abigail Lessaris during our show (Josie Moody alternates) seemed to convey our search for normalcy in our new situations while keeping yourself optimistic. Chloe Holzman (Hannah Brown alternates) gave us a celebration of our new skills learned and paths taken during this time (think all that sourdough bread we made). Camden Lancaster gives us the final solo (Olivia Payton alternates) in which her bubbly joy seems to reflect the hope for a return to normalcy with the rise of vaccines and lessening of cases and restrictions.

The final two numbers, You Can’t Stop Love and A New World show not only the fear and awkwardness of our return to “normalcy”, but also our resolve, determination, and strength to conquer all future problems whether we be physically together or separate.

The “G2” student dancers – Zoe Hacker, Allie Hanning, Audrey Holloway, Audrey Springer, Rebecca Zigmond – also display their talents in two superb numbers.

With costumes also designed by Hancock, the dances are a visual spectacle of color and movement. Hancock’s style does reflect his love of Southern Asia, but other influences emerge, with the finale more resembling classic ballet.

We are happy to add that, unlike the one-weekend dates at the Tarkington, this show continues for two more, through Feb. 26. The Florence is contained within the Academy of Gregory Hancock Dance Theatre, 329 Gradle Drive, Carmel. Get information and tickets at GregoryHancockDanceTheatre.org.

Enduring mystery subject of GHDT program

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By John Lyle Belden

Gregory Glade Hancock excels at telling stories through dance, such as the unusual and fascinating case of “The Black Dahlia,” presented by Gregory Hancock Dance Theatre through Feb. 27. 

Though many facts and theories have surfaced over the decades, the brutal 1947 murder of aspiring actress Elizabeth Short in Hollywood remains unsolved. Hancock presents, in routines set to the music of the era, four possible scenarios, each with its own suspect.

To make the story clear, aiding the Film Noir atmosphere, dancers speak to introduce each act. We initially meet the Dahlia herself, Hannah Brown as Short. Next, we hear from the suspects: 

  • the Sister (Abigail Lessaris), whose work with and against Brown (to the song “Sisters”) creates much of the humor; 
  • the Reporter (Adrian Dominguez), which also features Zoe Maish as a jilted and jealous girlfriend (“Blues in the Night”); 
  • the Showgirl (Olivia Payton), in a set pulsing with Latin rhythms; and 
  • the Doctor (Thomas Mason), introduced by Chloe Holzman, one of the nurses (with Camden Lancaster) paid “Pennies from Heaven” to look the other way and clean up the mess. 

We also witness the graceful talents of Josie Moody, Zoe Hacker, Allie Hanning, Audrey Holloway, Audrey Springer, and Rebecca Zigmond.

The dancers participated in the creation of the show, with spoken words by Christine Thacker, and choreography and spot-on costuming by Hancock.

Who do you think committed the murder? As part of an ongoing capital campaign for improvements to the dance studio and performance space, audience members can vote for suspects with their dollars at boxes in the lobby.

This entertaining and easy to follow ballet noir has sold out all its initially scheduled dates through Feb. 27 at The Academy of GHDT, 329 Gradle Drive, Carmel. Contact GregoryHancockDanceTheatre.org or follow on Facebook for information and tickets for added performances.

Oz-inspired production a celebration of India

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By Wendy Carson

With Gregory Hancock Dance Theatre’s “There’s No Place Like Home,” founder Gregory Glade Hancock has brought us his most personal show to date. He spins the tale of The Boy from Kansas (performed by Thomas Mason) and his journey of grief and self-discovery that leads him back to the inevitable conclusion that all you ever need is right in your own back yard. However, rather than traveling to Oz, he is transported to the even more magical land of India.

The show begins with the Boy visiting his mother’s grave. His sadness and loss is beautifully depicted and left tears in my eyes at its conclusion. He is then swept up in a tornado of grief that eventually lands him in this exotic place where Mother India herself (Abigail Lessaris) welcomes him. He is also treated to welcoming dances from various groups throughout the land.

He is encouraged to “Follow the Golden Path” Where he meets three deities (all played by Abigail Lessaris) who bestow upon him the gifts of Wisdom (like the Scarecrow’s brains); Compassion (the Tin Man’s heart); plus Strength and Courage (the Cowardly Lion’s nerve).

The journey is not without hazards, though. his Antagonist (Adrian Dominguez) portrays the Grief, Fear, Doubt and Cancer that he literally struggles with throughout his time here.

Even with this ever-present danger lurking, he still delights in all of the beauty and pageantry that India has to offer. Amongst the highlights of these experiences are his participation in Holi (the celebration of colors); a Bollywood film; performances from Kathak Dancers and Bhangra Dancers; as well as a ritual cleansing in the Ganges.

There is honestly no way for me to begin to describe the sheer beauty, emotion and celebration of this show. It made me laugh with delight and cry with sorrow but mostly it moved me to experience more of the history and culture of India, especially the wide variety of dance therein.

John adds: This was a truly wondrous performance; I left wanting to see it all again. Hancock, who has repeatedly traveled to India (inspiring this show), took great pains to capture the authentic spirit of the subcontinent. He collaborated with India-born artist Madhuchhanda Mandal to create a beautiful mural that was made into the stage backdrop, GHDT board member Anindita Sen to bring in dancers from the Nrityangan Kathak Academy, and Yusuf Khurram of Jiapur, India, to arrange rare genuine Kalbeliya costumes.

The dancers were outstanding throughout, especially Mason, and the graceful Lessaris who dances as naturally as others breathe. Also notable are Camden Lancaster and Dominguez in their portrayal of Krishna and Radha.

Performaces, at the Center for the Performing Arts in Carmel, were Oct. 28-30, but bookmark this review! Hancock will hopefully bring this marvel back in a future season. For upcoming GHDT events, including December’s “Nutcracker,” see gregoryhancockdancetheatre.org.

Gregory Hancock gives fairy tales a fun twist

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By John Lyle Belden

An issue I sometimes have with dance is that I find it hard to follow exactly what is going on, what the dancers are trying to portray — there is no such problem with “Once Upon a Time,” by Gregory Hancock Dance Theatre.

The subject matter is as familiar as childhood — popular fairy tales. But Gregory Glade Hancock and his dancers have put their own spin (and leap, and…) on the stories to freshen the narrative. Like in the musical “Into the Woods,” they all seem to occupy the same fanciful space, including an Enchanted Forest, in which the dancers got to work their own choreography.

Red Riding Hood (Hannah Brown) starts the stories by making her delivery. It seems Grandma appreciates the goodies so much, she just wants to dance with Red, though she does look suspiciously furry. As it turns out, the Wolf (Olivia Payton) while big, isn’t so bad — despite harassing pigs — and mostly just wants to get belly-rubs from the Princesses. 

Narcoleptic Beauty (Chloe Holzman) — turns out it wasn’t just a cursed spinning-wheel — turns in the show’s best performance, especially when constantly dancing in and out of consciousness with the Handsome Prince (Thomas Mason). She puts in moments of gracefully collapsing throughout the show, to great comic effect. As for his Highness, being the only man in the company, he has to be everybody’s Prince, which does result in a chase scene or two. But the one he loves is himself, exemplified with his solo number with a hand-mirror — what a “selfie” was 500 years ago.

In other stories coming to life: 

  • Cinderella (Camden Lancaster) sweeps through, dreaming of future happiness, but the glass that is most important to her is in the spectacles on her face, not the shoes on her feet. The Fairy Godmother (Hannah Winkler) gives her frames worthy of Elton John. But Cindy’s desire to look good is greater than her myopia, with appropriately funny results.
  • Little Bo Peep (Josie Moody) has given up on sheep and herds the Three Little Pigs (Payton*, Winkler, and Jillian Hogan). 

(*Not only ironic — playing Pig and Wolf — but I could have sworn all three Pigs were with the Wolf when he huffed and puffed them. Talk about talent.)

  • Rapunzel (Zoe Maish) has the strongest weave in the kingdom, which others can’t resist messing with. 
  • Snow White (Anna Williamson) shakes off the apple’s effect and, with the Prince otherwise occupied, looks for love elsewhere. Seven young students don cap and beard as the Seven Dwarves (Annabelle Breeden, Ashton Curry, Violet Kitchen, Vincent Kitchen, Josephine Meadows, Isabella Webb, and Elli Thacker) — one of which also opens the show by playing the Boy in pajamas with the storybook of these twisted tales.
  • Pinocchio (Morgan Beane) is the Trickster character of the show. Having not learned his lessons yet, he gets his long nose into all manner of mischief throughout the evening.
  • As for the Witch (Abigail Lessaris), the apple isn’t the only curse that’s failing. Her powers have fizzled, and she dances desperately to rekindle them — but be careful what you wish for.

We are also enchanted by some fairies (Zoe Hacker, Alyssa Henderson, Evangeline Meadows, Megan Webb). The supporting cast (who also act as ushers) include Stephanie Blaufuss, Allie Hanning, Audrey Holloway, Molly Kinkade, Stella Kitchen, Sophia Rice, Taylor Smith, Audrey Springer, Ava Thomas, and Rebecca Zigmond. 

This is the Hancock company’s annual cabaret fundraiser, fitting nicely into the big black-box studio of the Academy of GHDT (329 Gradle Drive, Carmel, near the Center for the Performing Arts). The students don’t pressure you too much to give, though there is a clever “grow Rapunzel’s hair” board to track giving. There is also a free treat at every seat.

The talent and athleticism are amazing to watch, with graceful and easy-to-follow storytelling through movement. This show gives a chuckle to all ages, is an easy inspiration to youth — and reminds the casual viewer that there is more to dance than “The Nutcracker.”

It’s also very popular. The final performances Saturday and Sunday are sold out, but Friday, Feb. 21, has been added. Get tickets at ghdtonceuponatime.eventbrite.com. Get company information at www.gregoryhancockdancetheatre.org.