GHDT reflects recent changes in ‘New World’

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.

Gregory Hancock gives fairy tales a fun twist

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.