Dance Kaleidoscope

Dance Kaleidoscope presents fresh spin on Irving ‘Legend’

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By John Lyle Belden

When a prestigious professional dance company takes on a familiar story, the results are as amazing as they are accessible to a broad audience.

In the spirit of the season, Dance Kaleidoscope presents “The Legend of Sleepy Hollow,” adapted, choreographed, and directed by Joshua L. Peugh. The short story by Washington Irving, set in the years following the Revolutionary War in rural New York, has been deepened from its usual brief telling into a 75-minute program in contemporary and balletic styles. The narrative and atmosphere can get a bit frightening, so this is recommended for ages 13 and up.

Historically, the area around Tarrytown (including Sleepy Hollow) was a frequent battleground between American Continentals and the British Redcoats, joined by Hessian mercenaries, leaving many on all sides dead (including locals of varying allegiance and descendants of the original Dutch settlers). There was even a report of a Hessian officer being decapitated by a cannonball, only identified by his uniform as the head was never found.

This background is a vital part of Peugh’s production. We are frequently visited by various denizens of the spirit world, as well as the restless dead. The dancers in these roles appear in masks, often gauzy to make their faces even more haunting.

Company member Zay puts his slender body to work as the central character, Ichabod Crane. Being sensitive and superstitious, he quickly starts seeing things upon his arrival in town. Ever the academic, he banishes the dark visions with a wave of his book, but they won’t stay away long. He gains the patronage of well-to-do farmer Balt Von Tassel (Nathan Rommel) in setting up his position as schoolmaster, hoping to also gain the hand of his daughter Katrina (Julie Russel) for both her beauty and eventual inheritance (not so much a matter of greed as of honest opportunism). Katrina is flattered but not committed. She and Ichabod share an intimate dance and written love letters, but publicly she still spends time partnered with burly Brom Bones (Ryan Galloway).

Just as Crane is not all hero, Bones is not a pure villain. His jealousy over this interloper manifests more in pranks than assaults, made easy by Ichabod’s growing visions. As the days pass in what seems like a normal routine, the ghosts – including of a man Ichabod saw die in a fight that got out of hand – draw ever closer.  

At last comes the harvest festival, where Brom – dancing with a pumpkin – delivers a frightening tale. The rest of the story, you may already be familiar with. Just be sure to hold on to your hat (and what it rests on).

Our spirits of soldiers and villagers are joined by flying witches, a Woman in White (Savannah Rolfe) and even The Great He-Goat (Rommel). Filling the various roles, as well as living residents, are George Brous, Natalie Campbell, Ryan Jaffe, Gavin Kimmel, Marie Kuhns, Briah Napier, Morgan Ranney, Sarah Tylor, and Manuel Valdes. The famous climactic chase features Kimmel as The Horseman with Jaffe puppeting the frighteningly beautiful horse (designed by Nicholas Peugh).

The movement is exquisite, telling an easy-to-follow narrative while blending with the production’s overall haunted look. Historic McGowan Hall, practically across the street from the Benjamin Harrison house on North Delaware, is spooky from the moment you step inside. This continues onto the spare stage by scenic designer William Boles, with cornstalks standing sentry at the back that eventually move inward like the marching forest of Shakespeare fame. To display pride in the new nation, a giant 13-star Old Glory briefly spreads above. And as spirits can pass through walls, don’t assume there’s a “fourth wall” here. Incredible costuming was designed by Elizabeth Bourgeois. Evocative music was composed by Brandon Carson.

So – no “Trick” – here’s a “Treat:” The premiere of Joshua Peugh’s “The Legend of Sleepy Hollow” continues into a second weekend! Performances are Friday through Sunday, Oct. 9-11, at 1305 N. Delaware St. Get tickets at www.dancekal.org.

A perfectly chilling part of the Indy Spooky Season (with plans to return next October), this “Sleepy Hollow” may itself become legendary.

DK explores shifting relationships, past and future

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By John Lyle Belden

The power and high quality of Dance Kaleidoscope continues in artistic director Joshua Blake Carter’s second season, starting 2025 with a bold program, “Nothing is forever, darling,” at the Schott Center for the Arts on the campus of Butler University on Indy’s near-northside.

In Carter’s choreography, we encounter a wide variety of style and emotion in company premiere works. The title piece is performed to a set of songs by Rufus Wainwright, whose unique voice is a vital aspect of the atmosphere. This soundscape is given life by the movement of the dancers ranging from carefree (“Movies of Myself”) to melancholy (“Leaving for Paris”) and back again.

In “Fever Dream”, mortality and intimacy meet, choreographed by Sean Aaron Carmon to the music of Iron and Wine. In minimal, flesh-toned costumes, dancers Cody Miley and Sarah Taylor perform a stunning “nude” pas de deux.

With “Take A Gambol” the company has fun with a 60s jazz style in hip black suits and – in a first for DK – shoes! Originally created by Carter for a Chicago company in 2018, this piece includes music by Maynard Ferguson and Perry Como. Think “Fosse meets Rat Pack” for a hint at what it’s like.

For the intense second act, Carter presents the world premiere of “Shaker Loops,” with his choreography to the 1978 work of that name by composer John Adams. This could be looking to the past, inspired by sound-recording methods of its era with costuming a nod to a now-vanished religious sect, but its electronic sound, frenetic tension-building movement and stark lighting (designed by Laura E. Glover) gives a sort of sci-fi vibe. The result is a fascinating and sensual experience with dancers in perfect command of their bodies.

Along with Miley and Taylor, performers were Jonathan Cubides, Ryan Galloway, Ryan Jaffe, Courtney Jefferies, Marie Kuhns, Vivian Mickels, Natalie Nagy, Morgan Ranney, Nathan Rommel, Julie Russel, Manuel Valdes, and Zay.

This program had a single weekend, Jan. 17-19. Upcoming performances by Dance Kaleidoscope include the world premiere of “Emerge” by DK’s Jaffee & Hall Emerging Choreographer Award Winner, Tsai Hsi Hung, on March 14-16, and “Under the Covers,” featuring dance by Carter and Autumn Eckman to songs by familiar artists including Billie Eilish and Brandi Carlile, May 30-June 1. Both of these will be at The Toby at Newfields. For information and tickets, see www.dancekal.org.

‘Tales’ part of DK’s continuing story

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By Wendy Carson

Last week, I had the privilege of attending a preview performance of the latest Dance Kaleidoscope show, “Late Night Tales,” at the Indiana Repertory Theatre. I decided to go into it without having any idea about what I would see and was delighted by the result.

As I didn’t have a copy of the program at the time, I was not able to read about the ideas behind each of the four sections, so I give you my insights and interpretations as to what I personally experienced. Overall, my impression was that the show took us through several decades of dance styles and history.

The initial piece, hiFi (choreographed by Sean Aaron Carmon), was lively and very jive inspired. It included several fun songs and some classic crooners from Perry Como. This felt like a beautiful tribute to life in the late 1940s, incorporating ballet and touches of modern dance as well.

Dance number two, Rhapsody in Blue (choreographed by David Hochoy), whisked us from the streets of New York City to the ‘50s glamor of Hollywood. It included a spectacular homage to Ginger Rodgers and Fred Astaire, along with choreography indicative of several hit shows of the period.

The third number, Peak/Valley (choreographed by Janice Rosario), brought us to the ‘60s and the strong influences of Martha Graham on the dance styles of this time. The movement evoked images of tribal celebrations, African wildlife, and personal interactions. Being much more stylized, it felt more in tune to the modern dance styles one would expect from the company.

The final number, “Late Night Tales (choreographed by Joshua Blake Carter), brings forth the title of the show and some of its inspiration. With clips of an interview with David Bowie interspersed, we are plunged into the gritty underground rock movement of the ‘70s. The latter half of this offering felt like a tribute to futuristic sci-fi stylings (think Metropolis) and provided an amazing showcase to highlight each dancer’s physical prowess and abilities.

In all, the show was delightful and appeals to all ages, hopefully inspiring some familial stories for our generations to share. Unfortunately, it only had one weekend of performances, but DK has more wonderful dances planned in the coming months: “Nothing is Forever, Darling,” featuring the music of Rufus Wainwright, in January at Schrott Center for the Arts; and world premieres “Emerge” and “Under the Covers,” March and May, respectively, at Newfields. Visit dancekal.org for details.

I would also like to mention that with it being a preview, I was privy to watching the cast go through their individual warm-ups prior to the show. That was a wonderful performance all its own. If you ever have the chance to experience it yourself, I strongly suggest you do.

IndyFringe: Dance Kaleidoscope ‘Make ’em Laugh Workshop’

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This show is part of the 14th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 16-26, 2018 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By John Lyle Belden

Local fine arts legend and Dance Kaleidoscope artistic director David Hochoy once again gives his professional company a chance to take some risk and be creative, developing original dance routines for this Fringe revue. He had just one request — a tough one for serious dancers — Make ’em laugh!

Company members Brandon Comer, Manuel Valdes, Paige Robinson, Stuart Coleman, Missy Thompson, Timothy June, Jillian Godwin, and Mariel Greenlee knock it out of the park with their choreography (or would a better metaphor be “hilariously slip on a banana peel while rounding the bases”?). They each appear before their piece to give their concept, admirable on its own as they should be breathless from working each others’ dances.

They get off to a rollicking start with an energetic and saucy routine to a song from the musical “Cabaret.” As the dancers exited the stage, Wendy muttered, “Follow that!” Well, they did — again and again.

The next piece — celebrating children at “Recess” — had as much whimsy as humor. Other works have fun with topics including the high school prom, ghosts, the hassles of dancing to serious jazz, waiting in line, and even a humorous take on the occupant of the White House (with music by Randy Rainbow).

One number, June’s “Naptown Misfits,” shows the high degree of skill necessary to dance “badly” — which they do to hilarious effect.

One performance remains, 4:30 p.m. today (Saturday, Aug. 25) at the District Theatre (formerly Theatre on the Square), 627 Mass Ave. And as I’ve often said, where else are you gonna see a Dance K show for only $15?