Tag Archives: Martha Ullman West

My fellow Scatterers: the state of the blog

English: Lithograph by Edward W. Clay. Praises Andrew Jackson for his destroying the Second Bank of the United States with his "Removal Notice" (removal of federal deposits). Nicolas Biddle portrayed as The Devil, along with several speculators and hirelings, flee as the bank collapses while Jackson's supporters cheer.

On this very day two years ago — on February 8, 2008 — a fine strapping lad was loosed upon the world, and immediately started yawping. Yes, its name was Art Scatter, and it was born right here in river city: in Puddletown, Oregon, brave bubble of liberality, Do It Yourself center of the universe, fearless exposer of itself to art, curious keeper of the weird.

Call us sentimental, but we’ve been thinking a lot about our friend Art, this thing we call a blog. For one thing, why is it still here?

A lot of blogs burn bright for a while and then flame out. Many are simply places to vent steam, or casual public diaries, or vanity projects. Well, almost all, including this one, are the latter at least to a certain degree. After all, nobody’s making any money out of this thing.

English: Father Time and Baby New Year from Frolic & Fun, 1897Art Scatter has changed a lot over its two years. It was the brainchild of Barry Johnson, my friend and longtime arts section compatriot at The Oregonian, who was looking for a way to explore new approaches to journalism outside of the print world. Barry brought me and his friend Vernon Peterson, a lawyer and talented literary critic, into the project, which was planned to be not too taxing on anyone because there would be three people to fill the virtual space.

Life moved on, and both Barry and Vernon departed for other projects. That left me wondering what to do with the thing, and wondering, sometimes, whether I was letting it eat up far too much of my time. In a very real sense my wife, Laura Grimes, saved the blog when she began to post her own witty and moving observations, eventually under the nom de plume of Mrs. Scatter. How could I not keep Art Scatter going? I was fascinated by how Mrs. Scatter’s adventures were going to turn out. Besides, she injected a bracing shot of humor into the blog, the humor that I have known and loved for more than twenty years.

Martha Ullman West, the noted dance critic who had written a couple of pieces for us, began to contribute more, and that added to the conversation. But I realized that if the thing was going to keep going, it was going to be largely up to me.

So. Why was I doing this?

  • First, writing’s a habit. I do it reflexively, if not always reflectively. Just can’t seem to help myself.
  • Second, it’s fun.
  • Third, it allows me scope to write about a lot of things in a lot of ways that were rarely possible during my years in daily journalism.
  • Fourth, it keeps me connected to my community and allows me to have a voice in a few things that go on in this little corner of the world. Good lord, I’ve made friends through this thing!
  • Fifth, it helps me discover my post-newspaper writing voice. I can feel that voice waking up inside me, gradually realizing that it’s no longer bound by the newspaper straitjacket unless it chooses to be. I can hear it trying out new things, even whooping it up now and again. Good for you, voice. Let ‘er rip.

Slowly, mostly accidentally, the blog has developed its own personality. The characters of Mr. and Mrs. Scatter just sort of announced themselves. The Large Smelly Boys pushed their way into the mix. OED, the Older Educated Daughter, made brief visits. We talked about word games and secret societies and oysters on the half-shell. The League of Tough-Guy Arts Observers had its brief day in the sunshine and then wandered off to sleep in a cave: perhaps it’ll wake up and elbow back into the action again. We found we were able to be serious, and flip, and amused, and reflective, and serious and amused again, and somehow get away with it. We began to take a very broad view of just what the word “culture” means.

I’m sure Art Scatter will continue to evolve. It’s already changed in surprising and often delightful ways. It’s opened doors. I know people will drop in and out. Mrs. Scatter’s day job has been busy lately, and I’ve been missing her brilliant reports. (I’m sure you have, too.) Can’t wait for them to return.

And I’ve become convinced of one thing: The blog has to work with my writing career, not against it. I love the freedom and scope that Art Scatter gives me, and I love that it lets me try things out with a regular and forgiving readership. But I also need to make a living, and I do that by writing. This is not a hobby. It’s what I do. So if Art Scatter is my professional exploratory laboratory (and also the locus of a great deal of my pro bono work) I want it to look professional.

Which brings us to Modern, the new design theme that we’ve adopted, yes, today. And which wraps up this semi-impromptu State of the Blog address. Thank you, my fellow Scatterers. Good night, and God bless.

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Illustrations, from top:

  • Not Mr. Scatter delivering his State of the Blog address. Edward W. Clay’s lithograph celebrates President Andrew Jackson’s destruction of the Second Bank of the United States with his “Removal Notice” (removal of federal deposits). Well done, Andy! Wikimedia Commons.
  • Not Baby Art Scatter. Father Time and Baby New Year from Frolic & Fun, 1897. Wikimedia Commons.

A dance critic at the opera: Move it, singers!

Remember the old days, when Cadillac-sized opera singers planted their feet among the scenery and belted beautiful music with no thought to the dramatic possibilities of the opera? Art Scatter’s senior correspondent Martha Ullman West does, and she shudders at the memory. What’s more, she sees the old style’s residual effects in the staging of “Orphee” at Portland Opera. Her message: Pay attention to the dancemakers. They have lessons for the musical stage.

Philip Cutlip as Orphee and Lisa Saffer as La Princesse. photo: Cory Weaver/Portland Opera

Philip Cutlip as Orphee and Lisa Saffer as La Princesse. photo: Cory Weaver/Portland Opera

First the disclaimer — my opera expertise is limited, although my opera attendance began when I was 10 when my father took me to a New York City Opera production of The Marriage of Figaro. I really got the bug when I was in college, and for the past 35 years or so I’ve been an off and on subscriber to the Portland Opera.

So I belong to a generation of opera-goers that has seen a paradigmatic shift in staging: Gone, mostly, are the days when Licia Albanese, say, as the tragic Butterfly, planted her feet, opened her mouth and sang (in heavenly fashion, I might add) her concluding aria; or Pavarotti, as the lascivious duke in Rigoletto, did the same. Today, opera singers have to be able to move. Body language is part of the art form.

And in a Philip Glass opera, they ought to be able to move a lot more dynamically than they were directed to do in Orphee, which I saw Sunday afternoon. In all other respects I thought Portland Opera’s production was stunning, from the score, to the conducting, to the set, to the singing, particularly by Philip Cutlip as Orphee, Georgia Jarman as Eurydice and Lisa Saffer as the Princess.

BUT, my esteemed colleague David Stabler complained in The Oregonian that the production was static, and he’s right. Only Cutlip and Jarman seemed really physically at ease onstage, moving naturally, and with a certain amount of impulse. Saffer did indeed prowl from time to time, but that’s all she did, except to smoke, and everyone else moved stiffly and self-consciously, when they moved at all, except for a bit of leaping on and off of sofas and the bar in the party scene.

I couldn’t help thinking how different it would have looked if it had been directed by Jerry Mouawad in the way he staged No Exit for Imago. In fact, speaking of French poets, are we in Portland this fall enjoying a Season in Hell? (That’s Rimbaud’s long poem, and come to think of it, it would make a dandy opera.)

Glass deserves better physical direction for his operas. He has collaborated with a lot of choreographers. In fact, the first review I did for Dance Magazine, in 1979 (an essay review on post-modern dance in New York) included the premiere of DANCE, a piece he did with Lucinda Childs, which included elegant film images and for which he performed accompaniment himself.

Continue reading A dance critic at the opera: Move it, singers!

Up, down, all around the town: ‘No Exit’ from the dance

Tim True and JoAnn Johnson in "No Exit." Photo: Jerry Mouawad/Imago Theatre

Art Scatter’s indefatigable chief dance correspondent Martha Ullman West, fresh from a sojourn in the Big Apple, hit the ground running on her return to Portland. In a week and a half she took in the Northwest Dance Project’s fall show, White Bird’s presentation of the Hofesh Shechter Company, Jim McGinn and Carla Mann’s “Exquisite Corpse,” and Imago Theatre’s teetering version of Jean-Paul Sartre’s “No Exit.” Herewith her report on her adventures:

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In the past 10 days I’ve witnessed four performances, three of them easily classified as dance, the fourth, if we must be Aristotelian about this, as physical theater.

For my New York colleagues this would have been a light schedule. For me it was pretty packed.

Not that I’m complaining — it’s terrific, particularly in these times, that we get to see so much performance in our town. Portland artists are brave and bold, even when the work may not be, and White Bird continues to provide us with dance that ranges from the phenomenal (Baryshnikov and Ana Laguna) to the intriguing (Hofesh Shechter).

Let us begin with the Northwest Dance Project, which I attended opening night at the Newmark, on Friday the 16th. In a pre-curtain speech, executive director Scott Lewis stressed the importance of presenting new work, pointing with considerable pride to a program made up entirely of “world premieres” — a term which, like “world class” and pre-curtain speeches themselves, I wish would get lost in the stratosphere.

A cascade of water soaks Andrea Parsons in Sarah Slipper's "Not I." Photo: BLAINE T. COVERTHis pride in Dance Project artistic director Sarah Slipper’s new work, Not I, is justified.  While I wish I had known when I was watching Andrea Parsons perform this very demanding and emotion-laden solo that the monologue she was dancing to was the uncredited Samuel Beckett’s —  and while the video monitor on stage was a bit too reminiscent of Bill T. Jones’s controversial Still/Here, which also dealt with bodies raddled by illness and minds sinking into dementia — Slipper’s jitter-laden, despairing movement has stayed with me. And it’s passed this sure test: I’d like to see it again. Moreover, it was the only piece on this program that had a discernible beginning, middle and end.

But new does not necessarily mean good. Nor, necessarily, bad. Except for Not I, the work commissioned for this concert ranged from the mediocre to the ordinary. There were moments in the second part of Edgar Zendejas’s Bu Ba Bee when I began to hope he was going to make use of the energy of the dancers in this young company, and he did create a quite fine solo for Patrick Kilbane. But nobody moved much in the three-part work, and what’s more, I never did figure out what any of them was about, or their relationship to each other.

Continue reading Up, down, all around the town: ‘No Exit’ from the dance

An ‘Emerald’ out of the rough: second thoughts on OBT

Balanchine's Emeralds at OBT. Photo: Blaine Truitt Covert

Once again Art Scatter is pleased to have the considerations of dance critic Martha Ullman West appear in our august corner of virtual space. Martha, who also reviews ballet for The Oregonian, is working on a biography of dancer and choreographer Todd Bolender. Plus, she’s a charter member of Friends of Art Scatter and the League of Tough-Guy Arts Observers. Her thoughts after seeing the first two performances of Oregon Ballet Theatre’s Emerald Retrospective:

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The critic was wrong, and she admits it. After filing my review of Saturday night’s opening performance for The Oregonian, I went to the Sunday matinee performance of Oregon Ballet Theatre‘s Terpsichorean relay race known as the Emerald Retrospective and was moved to tears by Artur Sultanov’s and Alison Roper’s rendering of the pas de deux from James Kudelka’s Almost Mozart.

I still think it’s gimmicky –the dancers never let go of each other as they wend their way through Kudelka’s sinuous and steely choreography; and the costumes, as a friend said, look like an ad for bodybuilder Charles Atlas. However, these dancers’ commitment to Mozart’s mournful music and the anguish expressed by their bodies made me relive some profound personal losses.

Is that good? Yes. Great performances heal; the Greeks called it catharsis.

One of those losses (to the art form I love, and tend to take personally,) was Dennis Spaight, who died of AIDS in 1993, not yet forty. Once a tribute program had been performed in 1994, his work got buried with him, at least as far as OBT was concerned. I hope the bits from Gloria on this program are a trailer if you will for mounting the whole, and soon.

Or perhaps Frauenlieben leben, or Theatre Dances, or Rhapsody in Blue — or, if the money can be raised for live orchestral accompaniment, Scheherazade, that luscious, lavish deeply moving re-telling of the Arabian Nights story that has sets designed by Henk Pander, elegantly louche costumes designed by the late Ric Young, and lighting designed by Peter West, whose lighting for Gloria was handsomely reproduced by Michael Mazzola.

The Eugene Ballet and Nashville Ballet have performed Scheherazade in recent years. Crayola, parts of Gloria, and Irish Suite have been done by schools around the country. It’s a shame not to have Spaight’s work where some of it was made, and where some of it was polished and changed by the choreographer for specific dancers.

Continue reading An ‘Emerald’ out of the rough: second thoughts on OBT

Venti Smelly Boys go wild: Mysterious Unruly Whinings

Circus Parade, Albany, NY, ca. 1910

The Scatter Family hits the road, Mostly Unaware of Wrinkles.

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The Scatter/Condiment Family is on the move again. The pickles have been stacked in the pantry and the beach toys have been packed in the cargo hold.

This week: Points North.

Next week: Points South.

To get from here to there: Get on I-5, go south, drive 10 hours, turn right.

Special instructions: Time trip to drive through Seattle at 3 a.m.

Special aside: When driving through Seattle, Large Smelly Boys mysteriously morph into Venti Smelly Boys.

Parenting tips: Remove sharp implements from cargo hold. Soundproof. Stock with water, snacks and car games. Toss in Large Smelly Boys. Toss in tree air freshener. Lock tight.

Tell Large/Venti Smelly Boys the cargo hold will be unlocked if they produce a blog post. Not surprisingly, they obligingly spill the bounty from their latest car game (cargo hold game?) … coming up with words that start with MUW. They take over the keyboard …

Mystery Under Wear
Mighty Underpants Woman
Merry Uppity Weasel

muw-2Mousy Undulating Waves
Mini Upstanding Wafer
Minor Unthinking Whuppass

Masterfully Uppity Women
Mayonnaise Usually Withers
Most Unusual Week

muw-1Missing Ugly Whale
Misanthropic Unruly Witch
Morbid Urpish Whittler

Malicious Uneasy Win
Men’s Underwear Weekly
Making Urban Weirdness

muw-3Malevolent Ugly Wench
Magnificent Ursine Whiskers
Making Ursula Whimper

Morticians Usually Win
Mainly Upsetting Wigs
Masticating Uncooperative Worms

Martha’s Uncle Whistles
Mighty Uncouth World
Munching Unusual Weed

Merry Urologists of Windsor
Making Unlikely Whoopie
Mighty Useless Winnebago

They typed nearly letter-perfect! I made only one change: I added the “S” in “Ursine.”

— Laura Grimes and the Venti Smelly Boys

Spreading the love of pickles, one jar at a time

The raw materials: Cukes to the people. Photo: Laura Grimes

Move over, blogsters. Clear the counters. It’s pickle time!

I had planned to tear down a fence this week, in part to keep the Large Smelly Boys busy because it’s the one week all summer when THEY’RE BOTH HOME. But then I realized it was the only few days I’d be in town during pickle season.

So, please, don’t bother to call. We’re too busy with mustard seeds, canning salt and – oh yeah – cukes!

We make bread and butters, dills and sweets. Other times we make jam, apple chutney, pesto and mustard. So you might think we’re the Scatter Family, but really we’re the Condiment Family.

Why pickles? Well, we like to eat ’em, we like to make ’em, we like to give ’em away.

But there’s a deeper level, and it’s a sweet and sad little story. I first “published” it somewhere else on the internets, so forgive me if you’ve read it before. It’s slightly adapted for this audience. I originally wrote it as part of a series of stories about the author Henry James.

Why pickles make the perfect present
OR
Changing the literary landscape, one jar of pickles at a time

As in many Henry James novels, often the smallest gesture has the biggest import, backed by layers of meaning, history, implication and nuance. It can be a short, shared experience between two people, seemingly commonplace, but it immediately accelerates to a potent moment when given just a little backstory. James knew all about backstory, the bigger picture, the stuff rich stories are made of.

1963 Heritage Press edition of "The Ambassadors" by Henry James. Photo: Laura GrimesMartha Ullman West, Art Scatter’s favorite dance correspondent, emailed me soon after my story about trying to read James appeared in the O! books section of The Oregonian on Jan. 4 of this year.

I had notified most people that I was including their comments in my story, but I didn’t say a thing to Martha. I left it all as a surprise.

She didn’t know that the fine edition of The Ambassadors that had belonged to her late husband, Frank West, would be featured so prominently.

She generously gave me that book after I told my woeful tale of my sad little copy from the library. I gave her a quart jar of my best dill pickles in return.

Soon after, Martha wrote: “Unbeknownst to you, I think the pickles were a completely appropriate gift, because Frank made pickles every summer until the last year of his life. Kosher dills were his specialty.”

My dad made pickles. Once.

It was just a few weeks after my mom had surgery to remove a large tumor from the middle of her brain when my aunt showed up at the house with a box full of pickling cukes.

Before my mom had surgery my family didn’t know how or if she would recover. We weren’t given any expectations. We didn’t know whether she’d be able to walk or talk. We were told the recovery process could take up to a year.

But only a few weeks after surgery my mom was up and about a bit. Oddly, the memory embedded most in my mind is my mom sitting on the front stoop of the house, a large bandage wrapped around her head, carefully trying to control her hand movements as she put smelly mothballs into pantyhose, tied them, and then buried them in the planters next to the stoop as a ruse to keep out the pesky squirrels that dug there all the time. It never worked. The squirrels just scratched aside the mothballs, one tied pantyhose after another, leaving the porch to smell like a nasty attic. My mom did all this while sitting rigidly straight and not bending over, because she risked her brain collapsing in and then the outside of it hemorrhaging. Which would have been bad. It could have killed her.

My dad, who was always antsy in the best of circumstances, carefully attended my mom and was determined to keep everything as normal as possible. He never stopped moving. He did all the things my mom had always done. He cooked. He cleaned. He couldn’t keep himself busy enough.

And then my aunt showed up with cucumbers. When my dad asked what he was supposed to do with them, my aunt replied that my mom always made pickles.

And so she had. Every summer. Along with canned peaches and pears.

First off the assemby line: bread and butters. Photo: Laura GrimesBread-and-butter pickles were her specialty. They’re the ones with sliced cucumbers and soft streamers of onions and a bunch of mustard seeds and peppercorns that look like confetti. Those pickles were always in our pantry and in the fridge. They were always in fancy dishes on holiday tables. I had never known them not to be there.

And I had never known my dad to command the mottled black enamel canner until that summer. He made batch after batch of bread-and-butter pickles. The jars started lining up on the counter and they started to pop as they sealed. My dad would say, “Did you hear that? They go ‘pop, pop, pop.'” I would laugh and say, “How was that again?” He would repeat it: “They go ‘pop, pop, pop!‘”

After a day or two he had stacks of jars, each labeled with his tidy uppercase printing.

After a few months he started to have headaches. When he finally went to the doctor, he was immediately given prescriptions and an appointment with a neurosurgeon. He had a brain tumor.

We could tell the rhythm was completely different this time from when my mom had surgery. With her, doctors weren’t hurried about setting dates, taking plenty of time to carefully map her brain to figure out the least invasive path. They knew her tumor was most likely benign and slow-growing. With my dad, appointments were scheduled right away.

His surgery, just days after his diagnosis, confirmed what we had suspected: The tumor was malignant. He had one of the most aggressive types of brain cancer. We were told he would probably have a year.

My dad, who had so attentively taken care of my mom, not just after her surgery but for all the months and years before it when her behavior was so goofy and we didn’t know why, now had to be taken care of. And my mom, just months out of surgery and still recovering herself, suddenly had to take care of my dad.

By the time pickling cukes were in their prime again my dad was wobbly and sleeping more. He never made pickles again.

So you see, Martha, pickles were a perfectly appropriate gift. Unbeknownst to you, my dad made pickles. Just once. Near the last year of his life. Bread-and-butters were his specialty.

Don't sweat it, just heat it. Photo: Bob Hicks

Remembering Merce in his element: the vast Northwest

Merce Cunningham Dance Company, Nearly Ninety. Photo: Anna Finke/2009

Dance critic and historian Martha Ullman West has spent a lot of time thinking about Merce Cunningham, the great 20th century dancer and choreographer who rethought what dance means by  introducing chance as a primary element in the mix. Cunningham, who was born and raised 90 miles from Portland in the small town of Centralia, Wash., died July 26 at age 90. Martha considers, among other things, the effect that the Pacific Northwest had on Cunningham’s art.

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Merce Cunningham. Photo: Mark Seliger/2009 Merce Cunningham died the other day, in his sleep it is said, which means he was still hard at work at the age of 90. Artists do, you know, work in their sleep, as well as their waking hours. There is no rest for the psyche.

He died in New York on Sunday, July 26, at his home in Greenwich Village. In his obituary for the New York Times, Alastair Macaulay, who is working on a book on Cunningham, called him “always a creature of New York.”

That’s not untrue, at least from 1939 on, when Cunningham joined Martha Graham‘s company. But it’s only part of the story.

Merce, in fact, was one of ours. So was Robert Joffrey. So are Trisha Brown and Mark Morris, who, thank God, are still around. All are natives of the Pacific Northwest, specifically Washington State.

I believe that Merce’s use of space, his sense of infinite possibility, his connection to nature, his conviction that you can do anything that pleases you on stage as long as it works aesthetically, came from the ethos of this part of the world. You see those elements in the poetry of Gary Snyder, who like Merce and composer John Cage, Merce’s long-term partner in life and art, was influenced by Zen thinking. You see them, certainly, in the work of Trisha Brown.

And, to bring it home to Portland, you see it in the choreography and technique of Mary Oslund, who studied with Cunningham and several members of his company, including the late Viola Farber. Oslund remembers being at dinner with Merce when White Bird presented the company (which, God love them, they did twice, in 2001 and 2004). Merce talked with her about Farber, Mary says, in his “diminutive and humble way.”

“He gave us a lot of permission,” Susan Banyas told dance maker Gregg Bielemeier when she heard the news of Merce’s death.

Continue reading Remembering Merce in his element: the vast Northwest

Elegant, physical, forward dance: The pleasure was ours

Phase Phrase, tere Mathern. Photo: Performance Works Northwest

Our partner-in-scattering Martha Ullman West, taking a break from the balletic battles, scurried over to Performance Works Northwest over the weekend for a shot of contemporary-dance fresh air. Here’s her report:

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“I am wired for skepticism. I cannot leave the questions alone. They unravel everything. My skepticism is like an old screen door. There is a metal smell and old dust that stings my nose. There is a tiny hole in the screen, which I can’t help but worry larger with my finger.”

— Sarah Hart

What that text had to do with the movement, the elegant, thoughtful, considered and highly physical dancing presented at Performance Works Northwest last weekend beats me, but Daniel Addy’s installation, consisting of a screen door with a moist green landscape projected behind it, and on the other side of the studio, a window with a watery view, framed The Portland Project handsomely.

TouchMonkey. Photo: Performance Works Northwest The show began with TouchMonkey, in the persons of Carolyn Stuart and Patrick Gracewood, who are longtime practitioners of Contact Improvisation, a form based on trust and the ability to make on-the-spot kinetic connections. Stuart was wearing a black cloth over her eyes, which meant her responses to Gracewood were entirely by touch and contact.  Their duet, titled Special Alembics, (nice pun!) was performed to music played live by Eddy Deane, Alley Teach, and David Lyles of The Contact Lounge Band.

The performance was at once sensual and intellectual, and downright suspenseful. My God, what are they going to do next? I thought at one point, as they entwined and re-entwined their bodies on the floor, becoming at times a single body that appeared to have eight misplaced limbs. Nobody “wired for skepticism” can dance with a partner blindfolded, it seems to me, particularly one on whom she depends to shape the next step in the dance.

Tere Mathern, one of this city’s most cerebral choreographers,
came next with Phase Phrase, performed by Hannah Downs, Sally Garrido-Spencer, Vanessa Vogel and Mathern herself. As they went along they embellished the propulsive phrase they performed and then stripped it down again, characteristically geometric and angular.  The four women to some degree played off one another, but this dance was pretty clearly planned ahead of time, with plenty of contact — one dancer touching another on the shoulder, causing that dancer to extend her arm in a straight line — but little improvisation. Tim DuRoche created a score that was minimalist to the Nth degree; I’ve liked his previous collaborations with Mathern and Mary Oslund, but this one I found exasperatingly repetitious.

Sometimes dancing is just about dancing, despite the program note about Gregg Bielemeier‘s Tracings that explains it is a duet working with the idea of distilling form, vessel and shadowing. And what a pleasure to watch Taylor Alan Young, a recent arrival in Portland, incorporate Bielemeier’s relaxed-appearing movement style into his own body. That kind of ease, that comfort in one’s own skin, is hard to come by, particularly the juxtaposition of small movements of head, neck, hands, against large, traveling ones.

What all three choreographers have in common isn’t Hart’s intriguing text, but rather the experience and wisdom to abstract from it a mood, or an atmosphere, or a dance that expands the horizons of the audience and at the same time provides a great deal of pleasure.

The Portland Project was skillfully curated by Anne Furfey, who produced it along with Linda Austin as part of Performance Works Northwest’s Alembic series.

Taylor Alan Young (left), Gregg Bielemeier. Photo: Performance Works Northwest

Martha Ullman West on Dance United: a personal take

Like so many great art forms, dance is a series of interlinked relationships and memories, a tradition that continually redefines and reinvents itself. It lives in the past, and the present, and the future, and its story is written in the memories and associations of open-hearted observers as well as the muscles of dancers and the patterns in choreographers’ minds.

Dance writer Martha Ullman West, one of our best observers, took in last Friday’s Dance United, and for her it was like biting into a madeleine: The reminiscences and connections just began to flow. Somehow, no matter how far-flung, they all looped back to Oregon Ballet Theatre, its history and successes, and this extraordinary event to keep the company alive and vital.

Here is the link to Martha’s review in The Oregonian of the performance. And here, below, is her more personal report on what it all meant:

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Daniel Ulbright, New York City Ballet. Photo: BLAINE TRUITT COVERTReally, it was a cross between a potlatch and an Obama rally, a gathering of the clans.

Dancers came from Texas, Utah, Massachusetts, Canada, Washington state, California, Chicago, Idaho, and that other geographical location, in New York called Downtown, here designated as Portland’s modern and contemporary dance community.

The gifts they brought were generous: their talent and their time. And they were welcomed to Keller Auditorium with the same enthusiasm as Obama’s supporters do and did, reaching into their wallets with many relatively small donations to keep Oregon Ballet Theatre alive. On Tuesday, OBT had in hand $720,000 of the $750,000 it needs to make up THIS season’s deficit.

I’ve been watching dance in Portland and elsewhere for more decades that I wish to reveal, and professionally since 1979, when I wrote an essay on postmodern dance in New York for Dance Magazine. In so many ways, this gala triggered some Proustian moments, also making me think of all the ways that dance and dancers are connected to each other.

Linda Austin’s thoroughly postmodern “anybody-can-dance, any-movement-on-stage-is-valid” Boris & Natasha Dancers (on catnip) took me back to New York’s SoHo and a performance created by Karole Armitage consisting of a group of dancers on their hands and knees, painting stripes on the floor, in humorless silence. They were not skilled at either painting or dancing, but it was the same democratic approach to the art form as Austin’s new dance, which featured such pillars of the Portland community as two Bragdons (Peter and David), Scott Bricker, James Harrison and Peter Ames Carlin galumphing across the stage, one of them wearing red sneakers that I wondered if he’d borrowed from White Bird’s Paul King. (Armitage, you may remember, also made work on OBT’s dancers on James Canfield’s watch.)

Sarah Van Patten Damian Smith, SFBallet. Photo: BLAINE TRUITT COVERTThe Joffrey Ballet’s Aaron Rogers, performing Val Caniparoli’s Aria, recalled for me the profound pleasure of watching Val work with Portland dancers, first at OBT’s precursor Ballet Oregon, and then at OBT. Caniparoli’s kindness and courtesy in the studio turned out to be extremely productive when the company performed his Street Songs and other work. Rogers looked like he was enjoying himself, flirting with that mask, and certainly seduced the audience in the process.

And I thought about Mark Goldweber, ballet master at OBT under Canfield, then for some years at the Joffrey, and now at Ballet West. (He gave the only authentic performance in Robert Altman’s dance film The Company, in my view.) I wondered what Mark thinks about the way Adam Sklute, now Ballet West’s artistic director, staged this version of the White Swan pas de deux.

When I encountered this ballet’s real-life Prince Siegfried, Christopher Ruud, at OBT’s studios earlier in the week, I spoke with him about his father, who had helped Todd Bolender at Kansas City Ballet (Bolender is the subject of a book I’m working on). Ruud told me he had staged one of his father’s pieces on the company several years ago.

Continue reading Martha Ullman West on Dance United: a personal take

OBT’s ‘Rush + Robbins’: Some further thoughts

Fund drive as of Wednesday, June 10THE LATEST NEWS FROM OREGON BALLET THEATRE, which is struggling with a life-threatening deficit that has it feverishly trying to raise $750,000 by June 30 to keep from going out of business: The campaign hit the $524,000 mark by Wednesday. That morning OBT’s Erik Jones said 900 tickets were still available for Friday night’s gala benefit performance Dance United, which will bring star performers from across North America to raise money for OBT. Buy your tickets here — this could be the event on the season!

At Portland Arts Watch, meanwhile, Barry Johnson reports on the challenges OBT faces AFTER June 30.

And prominent national dance critic Martha Ullman West, who plies part of her trade (the pro bono part) here at Art Scatter, has some things to say below about last weekend’s season-ending program and how it revealed the necessity of keeping this company alive. She even took time to give her Scatter editor a scolding for something he posted on the subject: When you’re pro bono, you get to do that!

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When I wrote on Monday in The Oregonian that the way Oregon Ballet Theatre‘s dancers performed The Concert last weekend clearly and painfully demonstrate how much we have to lose if the company folds, I didn’t mean the same assessment couldn’t be applied to the rest of what was a very difficult program.

Artur Sultanov in The Concert. Photo: BLAINE TRUITT COVERTOBT’s season-finale program was designed to accomplish several goals, one of which was to challenge the dancers. And there is no getting around the fact that the work those dancers had performed most often — Rush, Afternoon of a Faun and The Concert — was polished to the accomplished shine you see only in major companies: New York City Ballet, San Francisco Ballet, Pacific Northwest Ballet, Houston Ballet and the like. These are troupes with far bigger budgets, many more dancers and far more opportunities to perform than OBT.

What Christopher Stowell, as artistic director, and Damara Bennett, as OBT School director, have accomplished in Portland in six years is truly remarkable. And it’s known throughout the country, which is why, when OBT announced its life-threatening financial emergency last month, so many artistic directors answered his call for help in the affirmative.

This company is extremely well-schooled. That was abundantly clear in Rush and in the second performance of The Cage on Saturday afternoon, as it was in the spring performances of William Forsythe’s The Vertiginous Thrill of Exactitude, which OBT’s dancers will perform in Friday’s benefit gala. I was startled when I returned from Kansas City last spring, having seen Kansas City Ballet the night before, by the contrast. KCB celebrated its 50th anniversary last year, but it’s OBT that has a true company style.

That’s an achievement for which Stowell, Bennett and ballet mistress Lisa Kipp can take credit. Most of these dancers had quite different training. Sure, there’s a cadre that has been to the School of American Ballet that includes Gavin Larsen, Adrian Fry, Lucas Threefoot (summer program), Christian Squires and Javier Ubell. But a number were trained in OBT’s school, at PNB or SFB. And the excellent Ronnie Underwood trained in Tulsa, so is part of the Ballets Russes strand of American ballet style. Artur Sultanov’s schooling was Russian, at the Vaganova Academy, and Chauncey Parsons, who joined as a soloist last fall, trained at the Kirov Academy in Washington, D.C. Parsons will show us some bravura Kirov style dancing at the gala. Yuka Iino — hardly second string, Mr. Hicks, as the Novice in The Cage at the matinee (nor was Grace Shibley in Faun) — trained in her native Japan, as did Ansa Deguchi.

Continue reading OBT’s ‘Rush + Robbins’: Some further thoughts