Students of the Dance

Last night, we went to the Spring show of the Van Nuys High School dance department, “Collabor8”. This is the student produced dance show, featuring primarily student-choreographed worked and primarily student performers (the class instructor, Mike Nakauchi, performed in one number). It is always an interesting show, although I do advise those unfamilar with today’s music scene to bring your foam earplugs, for it gets LOUD in the auditorium, especially when the subwoofers and bass gets turned up.

The show last night featured three acts. Act 0 was the senior spotlight, with Acts I and II being the main production featuring students of all years. I’d like to comment on a number of the productions that particularly caught my eye.

Act 0: Senior Spotlight. In this act, there were two performances I particularly liked. The first was “My Immortal”, choreographed and performed by Dixie Zelaya, perhaps because it was more traditional and ballet-like. The second performance (which was stronger) was “My Chick Bad”, performed and choreographed by Amanda Molano. This was a very athletic performance to a strong beat, which even though I didn’t like the music drew me in from the movement.

Act I. There were a number of good performances here. Here are the ones I particularly liked, in presentation order… “Diamonds are a Girl’s Best Friend”, chroeographed by Tatyana Saldana and performed by Arielle Bell, Layla Chatthoranongsak, Paloma De Ruiz, Alex Geronilla, Amanda Molano, Tatyana Saldana, and Andrea Vargas was a relatively traditional number, which I liked primarily because the music (“Diamonds are a Girl’s Best Friend”, from the Moulin Rouge soundtrack) was accessible, and they did a good job of executing it. “Beautiful Liars” was a belly dance-like number choreographed and performed by Layla Chatthoranongsak and Dixie Zelaya. “ABC” was a tap number choreographed and performed by Natalya Shoaf and Tatyana Saldana to the Jackson 5 song… and I’m a sucker for tap. Always have been, always will be. “Heavy”, choreographed by Thomas Murphy O’Hara and performed by Thomas and Andrea Vargas was an extremely strong number, very moving. “Fembot”, choreographyed by Myelle Bossette, Erin Geronimi, Quest Sky Zeidler and performed by the choreographers plus Zoya Hasan, was a very cute and appealing number. “Stay with Me”, choreographed and performed by the faculty advisor, Mike Nakauchi, showcased his ability very well. Lastly, “SAW”, choreographed by Mike Nakauchi and performed by the Jazz Dance Team, was a wonderful story peace, well performed and danced.

Act II. Again, here are the numbers I liked in this act, in performance order. “Wonderland”, choreographed by Dixie Zelaya, Rebecca Monterroso, and Mary Jannie Taylor, and performed by a hell-of-a-lot-of-people was an interesting take on Alice In Wonderland; I found myself wondering what they might do with the new Frank Wildhorn score. “Mafia”, choreographed by Joseph Cayanan, Stephen Park, Joe Gravina, and Lionel Vivar and performed by the Hip Hop Dance team was also an excellent story piece about mobs and mob violence. Also enjoyable was “Bad Romance”, choreographed by Thomas Murphy O’Hara and performed by another-large-bunch-of-people (including my daughter)—it was a joy to watch. “Otea”, choreographed by Lyndel and performed by May Poovaviranon, was a traditional hulu dance and made an interesting change of pace. I may be biased on this, but I enjoyed “Atonement”, which was choreographed by my daughter, Erin, and was performed by Erin, Taylor Morris, and Quest Sky Zeidler. Lastly, I enjoyed the finale piece, “Salome”, choreographed by Mike Nakauchi and featuring the entire company.

Upcoming Theatre, Concerts, and Dance: Next weekend brings us to “Gypsy… Stripped” at West Coast Ensemble (specifically at the Theatre of Arts Arena Stage in Hollywood) The last weekend of May brings Cabaret” at REP East on May 28. June begins with “Year Zero” at the Colony Theatre on June 5, but most of June is lost to the college visit trip (but who knows — we might go see “Always Patsy Cline” at the Ryman Auditorium in Nashville). July should hopefully start with “Les Miserables” at the Ahmanson on July 2 (pending hottix), and continue with Jerry Springer: The Opera (July 8, Chance Theatre, pending ticketing); “Twist: A New Musical” (July 16, Pasadena Playhouse, ticketed); “Jewtopia” (July 17, REP East, ticketed); Dolly Parton (July 23, Hollywood Bowl); “Shrek” (July 23 or 24, Pantages Theatre, pending ticketing); and “The Sound of Music” (July 30, Cabrillo Music Theatre, ticketed). August will bring “Doubt” at REP East on August 13, and “On Golden Pond” at the Colony Theatre on August 20. The remainder of August is currently open.


Who Says There’s No Performing Arts HS in the SF Valley?

For there is: Van Nuys HS Performing Arts Magnet. Further, they are having their spring dance show, Collabor8, on Friday 5/13 at 7:30pm and Saturday 5/14 at 7pm. Tickets are $10 adult, $8 student at the door. For more information, see the Facebook event page or the page for the Van Nuys HS Dance Department.

We’ve been to some of the past Van Nuys Dance showcases (review, review, review), and they have been excellent (although a bit loud—bring your earplugs). I strongly recommend this production.


Two Nights of Dance

The last two nights we’ve gone out to see dancing—specifically, productions of the Van Nuys High School Dance Department under the direction of Mike Nakauchi. We learned about the program because our daughter, Erin, is in the Advanced Dance class.

Thursday night’s program was Dance Showcase 2011. This was a production highlighting the work of the beginning and advanced dance classes, as well as the VNHS Jazz and Hip Hop Dance Teams (you can learn about all these program at the VNHS Dance page). As one would expect from such a program, there was a wide mix of skill levels and talent, but loads and loads of enthusiasm and heart. The production consisted of segments in various styles (ballet, jazz, modern, and hip-hop) punctuated by performances by the teams. There was also a mix of student and instructor choreography. In total, there were 10 class performances (2 beginning ballet, 1 advanced ballet, 3 beginning jazz, 1 advanced jazz, 1 beginning modern, 1 advanced modern, and a combined hip-hop), and 5 team performances (3 jazz team, 2 hip-hop team). If I had to name some favorite performances two days later, I’d have to say the various team performances (not a surprise, as they are at the competitive level) and the Advanced Modern performance, “We Are All Finnish Farmers”. In general, it was an enjoyable evening (although the music was a bit loud for me).

Last night’s program stepped it up a level, for it was the Alumni Show 2011. This is the show where graduates of the Van Nuys Dance program voluntarily come back and do a show (evidently, it is pretty unique to have such a show in LA Unified). This show featured 13 segments, and included performances by the Fasmode Dance Crew, kangaGroove, and the Elusive Dance Crew. All of the performances were high-quality and excellent (including the hip-hop, and I’m not a big fan of hip-hop). I had three favorites. The first was “The Lazy Dance” (choreography by Joseph Cayanan, danced by Stephanie Hoston and Joseph Cayanan). My daughter said there were some technical errors in this, but I found it fun and enjoyable. Even stronger was “Solo” (choreographed and performed by Miko), which was a technically strong performance that was joy to watch. The last of my favorites was “Kids” (choreographed and performed by Joseph Gurrola and Amanda Riley). This was enjoyable not only for the dance but for the acting skills of the dancers. However, these were likely favorites because the music was more accessible to me; all of the dancing (even with the music I didn’t like) was great. I do have to say, however, that wearing foam earplugs definately helped with my enjoyment 🙂

If you live in Southern California and enjoy dance, I suggest you set aside May 12-14 for the “Collabor8 Dance Production” at Van Nuys High. Tickets should be avalable at the door. If you’re free today, you can go to the Student Dance Festival starting at 1pm at Van Nuys HS. The Student Dance Festival features dance teams from all across LAUSD.

Upcoming Theatre, Concerts, and Dance: Tonight brings “Loving Repeating: A Musical of Gertrude Stein” at ICT Long Beach. February starts with “Frankie and Johnny in the Claire de Lune” at Repertory East on February 4, and “Dangerous Beauty” at The Pasadena Playhouse on February 5. The next weekend also brings two shows: “The Marvelous Wonderettes at Cabrillo Music Theatre on February 12, and “Adding Machine: The Musical at The Odyssey Theatre Ensemble on February 13. The third weekend of February is another with two shows: “Rock of Ages at The Pantages Theatre on February 19, and “33 Variations at the Ahmanson Theatre for February 20. February closes with “Moonlight and Magnolias” at The Colony Theatre on February 26. March is also busy. It begins with a Noel Paul Stookey concert at McCabes on March 4. March 5 is the MRJ Regional Man of the Year dinner at TBH. The first two weekends of March are also the Spring Musical, “Evita”, at Van Nuys High School; we’re likely going on Saturday, March 12. Sunday, March 13 is “The Cradle Will Rock” at the Blank Theatre. The weekend of March 19 is currently open, but that probably won’t last for long. Lastly, March 26 brings “The Diary of Anne Frank” at Repertory East. April will bring the Renaissance Faire, “The Producers” at Cabrillo Music Theatre, “The All Night Strut” at the Colony Theatre, and (pending ticketing) Brian Stokes Mitchell at the new Valley Performing Arts Center.


Dance to the Max

Last night, we went to the final performance of the Van Nuys High School Dance Department production “Momentum”. This production featured a number of student- or teacher- choreographed dances from both the beginning and advanced dance classes, as well as specific productions that were auditioned by dance members, productions from the VNHS Jazz and VNHS Hip-Hop Dance Teams, and (Saturday night only) the Senior Spotlight.

I’ll start with some general observations.

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The Beauty of Dance

There are certain performing arts that I regularly attend: musicals, plays, and the occasional popular music concert (such as Big Bad Voodoo Daddy). There are other genres with which I have much less familiarity: chamber music, ballet, classical concerts, and modern dance. I mention this because the rest of the family does enjoy those other forms, and so I’ll be broadening my ticket purchasing from time to time. Last night was one such time, when we went to the Alex Theatre in Glendale to see “Celebrate Dance 2010”.

“Celebrate Dance” is an annual event (now in its 5th year). Produced by Jamie Nichols, “Celebrate Dance” brings together nine local dance companies handpicked to provide a mix of styles. There’s an article on the production from the Los Angeles Times here. The production has won numerous dance awards.

But, of course, those are the opinions of the dance critics. I’m not well schooled in the language of dance. I don’t know the names of the ballet moves; the only choreography I know is what I see in musicals. So what did I pick up from this show?

Some general observations first. Being a theatre person, I’m more geared to stories on stage. Thus, for those presentations that had a discernable story, I found myself relating to them easier. If I could find the storyline, then even without words, it was more my style. But as the evening wore on, I began to realize that dance is dance, and theatre is theatre. One needs to look at dance—especially modern dance&mdance;as one looks at artworks in a museum. The story is secondary: what is important is the feeling imparted and the emotions conveyed. This is a very different way of looking at stage performance, and perhaps explains why the two audiences are a bit separate. Lastly, in general, I was really impressed by the strenght and power of some of these dances. This wasn’t artsy movement: this was powerful musculature and strength. The dancing I saw could rival in raw muscular power any sports performance.

The first performance in Act I was “Always Remember, Never Forget” by Visions Dance Theatre. This was a more conventional story-based piece: It started with a couple dancing, demonstrating their love. He goes off to war, fights, and is killed. The body returns, and she mourns at the grave. This was a good first piece: pretty, but with a story that makes the program initially accessable. The duet was danced by Bradley Beakes and Sara Vincent, and the other dancers were Cole Clemens, Cassie Cole, Jewel Davis, Bobby Neal, and Andrew Sawiles. Artistic director and choreographer: Macarena Gandarillas. Costumes by Abel Zeballos. Set design: Fred Kinney. Lighting Design: Eileen Cooley.

The second performance was “Found” by Josie Walsh’s Myokyo. I think this was the one my daughter liked, with two dancers in white. I’m not remembering it that well, so alas it wasn’t one of the ones that stuck in my head. Dancers: Heather Phillips and Donte Phillips. Artistic director and choreographer: Josie Walsh. Lighting design: Eileen Cooley.

The third performance was “Flowers That Pick Themselves” by the Rhetoracle Dance Company. This performance was bunch of dancers, primarily in white, seemingly addicted to knives and cutting. What struck me more about this performance was the dancers themselves: instead of the usual stick-thin modern ballet dancers, these young women had curves, and the lead was positively rubenesque. It was a very beautiful performance. Dancers: Bri Allard, Jill Dean, Ashley Grimes, Jia Huang, Rochelle Mapes, Sam Marcella, Courtney Ozovek. Artistic direction, choreography, and costume design: Nate Hodges. Set design: Lynn Hodges. Lighting design: Eileen Cooley.

The fourth performance was “Expansions” by Jazzantiqua Dance and Music Ensemble. I must confess this particular performance didn’t grab me, but it was one my daughter liked. It was more modern jazz dancing, but I don’t recall much more. Dancers: Terrica Banks, Bernard Brown, Keisha Clark-Booth, Teresa Harrison, Yvonne Johnson, Kacy Keys, Shari Rhone, Maurice Watson. Artistic direction and choreography: Pat Taylor. Costume design: Sam Loyola. Lighting design: Eileen Cooley.

The last performance in Act I was “The Cage” by Motiontribe. This was one of my favorite pieces. It consisted of two dancers: a woman inside a rolling iron cage, and a man outside. It told of their love through powerful motion: these two balanced in postions that required significant strength. It was just amazing how they used that cage to support their bodies and tell the story. Dancers: Fabienne Levenson and Ben Sayles. Artistic direction and choreography by Marie de la Palme. Costumes by Fabienne Levenson. Set design by Brock Cilley. Lighting design: Eileen Cooley.

Act II started with “Drift” by the Bare Dance Company. This was a pretty piece consisting of two male dancers and two female dancers working on top of a square of white fabric, demonstrating how relationships weave in an out. Alas, I was distracted by a spark of dark on one of the white costumes, which turned out to be torn crotch seam. This demonstrates the importance of why costumes must be right: wrong costumes can distract the audience. Still, the dance was pretty. Dancers: Jessie Agdeppa, Efrén Corado, Jessie Hartley, Chad Van Ramshorst. Artistic direction, choreography, and costumes by Mike Esperanza. Lighting design: Eileen Cooley.

Second up was “Joie de Vivre”, by Ptero Dance Theatre. It was during this number I began to see dance more as art than as theatre: the costumes combined with the movement to create beauty, and the joy came across in that movement without need for a storyline. Dancers: Molly Brictson, Louie Cornejo, Miko Doi-Smith, Briana Masson, Paula Persent, Eva Weiland. Artistic direction and choreography by Paula Present. Costume design by Shannon Harris and Paula Present. Lighting design: Eileen Cooley.

The penultimate performance was “My Breath Comes Differently” by Body Current Dance. This performance was interesting for its lighting: The dancers were lit from the front of the stage creating large shadows in the back, turning the four dancers into as many as eight, amplifying the moves, creating interesting effects. I moved from watching the dancers themselves to watching the shadows, and it was quite interesting. Dancers: Kimberley Hannah, Belinda Lutes, Andrew Palomares, Emma Storey. Artistic director and choreography: Lorin Johnson. Costumes by Liz Pelster. Lighting design: Eileen Cooley.

The last performance was also the most spectacular: “Guiding Rings” by Catch Me Bird Dance Theatre. There were two distinct parts to this performance: an on-the-ground celebration of love, including slowly fluttering confetti from the sky… followed by an aerial ballet on rings in the sky, danced in silhouette, amplifying the sensuality of the dancers and their movement. This one, just like “The Cage”, was sheer beauty and power and was a spectacular close. This was danced by C. Derrick Jones and Nehara Kalav, who also choreographed and served as artistic directors, as well as designing the set. C. Derrick Jones designed the aerial rigging, with the aerial sculpture design by Adam Olson Davis. The video was by Annika Kay. Lighting design: Eileen Cooley.

“Celebrate Dance 2010” was a one-night performance. I’m sure we’ll be attending more dance throughout the year.

Upcoming Theatre. As for us, what’s upcoming on the theatre calendar? Next weekend brings “On Golden Pond” at REP East on Saturday night @ 8pm (this was rescheduled from March 14 due to Lauren’s memorial service), with Sunday bringing another installment of “Meeting of Minds” — this will be the second episode with Karl Marx (Ed Asner), Sir Thomas More (Bruce Davison), Queen Marie Antoinette (Meeghan Holaway), and President US Grant (Dan Lauria). The last weekend of March has no theatre, but is still busy: there’s a Games Day on March 27, and Rick Recht is doing a free concert at TAS on March 28. April brings more of potential interest, including Jacques Brel is Alive and Living in Paris” at the Colony Theatre (tickets pending, likely April 10 or April 16), “Damn Yankees” at Van Nuys HS (tickets pending, April 15-17), the April installment of “Meeting of Minds” at the Steve Allen Theatre on April 18, “12 Angry Men” at REP East (April 24 @ 8pm, although Erin may have to see the May 2 Sunday Matinee due to AP Stats Camp). May looks to be equally busy, with “Little Shop of Horrors at Cabrillo Music Theatre (May 1), See What I Wanna See” at the Blank (likely May 9), The 39 Steps” at the Ahmanson (likely May 15, evening), the May installment of “Meeting of Minds” at the Steve Allen Theatre (May 16), the Spring Dance Show at Van Nuys HS (May 20-22), and “The Wedding Singer” at Repertory East Playhouse in Newhall (May 30 @ 2pm). May will also bring the annual visit to the Southern California Ren Faire, although it looks like we’re going to have to divide and conquer: we’re like to go on Saturday May 8, and ellipticcurve, Erin, and one of Erin’s friends will go on Sunday, May 16 (we can’t do it that day due to “Meeting of Minds”, but it puts it after all of Erin’s AP exams).

As always: live theatre is a gift and a unique experience, unlike a movie. It is vitally important in these times that you support your local arts institutions. If you can afford to go to the movies, you can afford to go to theatre. If you need help finding ways, just drop me a note and I’ll teach you some tricks. Lastly, I’ll note that nobody paid me anything to write this review. In fact, I receive no remuneration for any reviews I write.


Gotta Dance!

Last night, we went to the annual Van Nuys High School Student and Faculty Dance Production. It was spectacular.

Let me start out by noting that Van Nuys is a Performing Arts magnet within the larger high school (the other magnets in the school are Math/Science and Medical). But their theatrical program has been hampered by a poor teacher and weak productions. Thus, the dramatic skills of these young adults doesn’t come across as well as it could on the stage. The theatrical production attempts to showcase more broad comedic skills (farce in the winter, musical in the summer). The dance production, on the other hand, contained more professional quality dramatic expression and quality acting than I have seen in ages. This is a tribute to their instructor and his professionalism.

The program consisted of three acts: the first (shall we call it “Act 0”) was a “senior spotlight”, which gave each of the graduating seniors a chance to present an individual performance. Almost all of these were uniformely excellent; the ones that weren’t fell into the “pretty damn good” category. Performances of particular note were “Hurt”, performed and choreographed by Christine Dominguez; “Liberian Girl” performed by Joseph Gurrola and Quinn Harris, choreographed by Quinn Harris; “Bold As Love”, performed and choreographed by Adela Pineda; “John Wayne Gacy, Jr.”, performed and choreographed by Mikel Bossette; and “Just Testing”, performed and choreographed by Kian Khiahan. Of these, I’d like to highlight three particular performers: Joseph Gurrola showed remarkable form and finesse and strength in his movements, and was just a remarkable dancer; Mikel Bossette has demonstrated herself to be a triple threat — she can act, she can sing, and boy can she dance — and I hope she goes far in the theatrical world; and Kian Khiahan, who had a remarkably improvised technopop routine that was just mesmerizing in its movement. All seniors in this program will go far.

Act I consisted of 12 pieces. Not all of them stick in my mind, although I enjoyed all of them during the performances. The ones that I particular remember were “Holding Out for a Hero”, dones by the entire VNHS Jazz Dance Team, choreographed by Mike Nakauchi; “While My Guitar Gently Weeps”, performed and choreographed by Diana Flores; and “And So It Is”, the faculty performance, performed and choreographed by Mike Nakauchi. The fact that I did not list a performance here doesn’t mean it wasn’t excellent — rather, it means that the morning after the production I can’t match the names of the pieces to the performances.

Act II also consisted of 12 performances. Again, ones that I particularly remember were “The Calling”, choreographed by Mikel Bossette and performed by Mikel Bossette, Stephanie Hoston, April Machado, and Julia Rachilewski; “For You”, and extremely touching and powerful piece performed and choreographed by Joseph Gurrola; “Expression of the Subconscious”, performed and choreographed by Quinn Harris, “Shikdum-A Night in Bollywood”, performed and choreographed by Fariba Toha, and “Burn”, choreographed by Mike Nakauchi and performed by the Jazz Dance Team (although I found the music, by Nine Inch Nails, a bit loud on that one). However, as I noted before, just because I didn’t list a performance doesn’t mean it was poor — it means my memory is bad.

The VNHS dancers consisted of the following young adults (* indicates seniors): Beginner Dance: Nora Adamian*, Omary Aguilar, Arielle Bell, Lara Bersabal, Sheila Carlos, Jennifer Casas, Layla Chatthoranongsak, Annie Chareonsin*, Catherine Corea, Dani DeMond, Melissa Gestopa, Sydney Green, Diana Grigoryan, Lubaba Khan, Ariel Kostrzewski, Glessy Magaling, Ariana Martinez, Mayra Martinez, Trammy Nguyen, Eddie Perdomo, Juliene Picart, Jackee Rico, Christina Soldano, Katie Swanson. Intermediate/Advanced Dance: Kimberly Alegria*, BGreanna Burnette, Jessica Castañeda, Heidy Contreras, Ma Christina De La Rosa*, Chiza Eze, Annie Gaspar, John Geronnilla*, Tim Glick*, Melissa Larios, Marooshka Noronha*, Deeanna Padilla, Yadira Pulido, Justine Daphne Regala*, Sarah Smith, Paulo Tadle. Hip Hop Dance Team: Kimberly Alegria*, Jessica Casteneda, Joseph Cayanan, Layla Chatthoranongsak, Natalie Chavez, Stephenie DeCastro* (co-captain), Christina De La Rosa*, Charmaine Ramos* (co-captain), Justine Regala*, Paulo Dadle, Mary-Jannie Taylor. Jazz Dance Team: Christine Dominguez* (captain), Diana Flores*, Hasmik Fndryan, Romina Karla Gonzalez, Mireya Gonzalez*, Joseph Gurrola*, Jamie Quinn Harris*, Marissa Perplies, Gloria Roca, Zoe Shiovitz* (co-captain), Mary-Jannie Taylor, Maya Wright.

The performances were enhanced and amplified by the remarkable design work of the VNHS Technical Theatre Crew, led by Marque Coy (faculty). Moving lights were designed and operated by Josh Price and Cody Banks. Conventional lights were designed and operated by Shaunna Lucas and Erin Faigin. Spotlights were operated by Leslie Montano and Patty Ponce. Sound was by Emily Tugwell and Christopher Chesler. Some particular items in this area I remember were the incredibly beautiful background lights; the strong use of silhouettes for dancers; some of the moving light effects; and how in some numbers the sound seemed to move around the stage.

You can see a YouTube of the bows here, and it has links to some of the other specific performances.

Upcoming Theatre: This afternoon our theatre continues with “big” at West Coast Ensemble, to be followed by “The Green Room at Hermosa Beach Playhouse on May 24 @ 7:00pm. The end of May (May 28, 29, 30) brings Fiddler on the Roof” at Nobel Middle School. June 20 @ 8pm is “The Little Foxes” at The Pasadena Playhouse. Lastly, July 11 will bring “Fat Pig” at Repertory East Playhouse. Based on the reviews, we’ve decided to take a pass on “Marry Me a Little/The Last 5 Years” at East/West Players. Other shows pending scheduling and ticketing include “Spamalot” at the Ahmanson (7/7-9/6/09), the “Guys and Dolls” concert at the Hollywood Bowl (7/31-8/2/09), and Liza Minelli at the Hollywood Bowl (8/28-8/29/09). Also of potential interest are: “Setup and Punch” at The Blank Theatre Company (LAStageTix) (5/14-6/21/09); “Cat on a Hot Tin Roof” at the Neighborhood Playhouse (Venue Goldstar) (7/9-7/26/09); “Breaking the Code” at The Production Company in North Hollywood (5/15-6/20/09) (on LAStageTix, Venue Goldstar) (with “Equus” over the summer); and “The Apple Tree” at Crown City Theatre in North Hollywood (6/5-6/28/09) (LAStageTix). I’m also always looking for interesting productions on Goldstar and LA Stage Tix.


Dancing into my Consciousness

A few months ago, I would have been hard pressed to know where ethnic and period dancing was in the Valley (although I probably could have contacted my High School friend, David “Shorty” Kamins). Now, these events are dancing into my consciousness. Yesterday, I noted the article in Westways on Regency and Period Dancing. Today, I was reading the Los Angeles Times, where I found an article on the resiliance of the Celtic Arts Center in Valley Village (actually, right near our synagogue). So I went out to the webpage for the Celtic Arts Center.

It turns out that:

Looks like a place worth investigating (from my point of view, for the theatre program). Of course, knowing the way the dance stuff is popping out, next I’ll find some suitable Israeli dancing in the valley, and get back into learning it (and exercising).


Dancing in Los Angeles

I posted a short version of this last night after I discovered the article, but I’ve done some more investigating. What I said last night was:

This month’s Westways has an article on Regency and other Period Dancing in Southern California. I do know one of the dance groups, Miss Haseltine’s Drum, because Sue Haseltine who runs or ran it, worked with me when I was at SDC (yes, I do know everyone :-)).

What I found out was:

  • Yes, Sue is still involved with her drum.
  • There is a Fezziwigs in Southern California in Riverside in February. There’s a Victorian Dance troop that dances there. They practice in Riverside.
  • There’s a whole History Association in the San Fernando Valley that explores history through the performing arts.

As I said before, I’m mentioning this because a bunch of folks on my friends list are dancers. Me? Dance? Although I will do the occasional Israeli dance, that’s about the extent of my foot fleetedness.