Art Forms Brilliantly Collide in TO SAIL AROUND THE SUN at the Kennedy Center

--Jennifer Perry, Broadway World

Every year, Kennedy Center patrons can experience a slew of world class theatrical and dance productions as well as a myriad of splendid instrumental and vocal performances. Sometimes, opportunities arise to see all of these art forms in the span of sixty minutes. Such was the case this weekend, when To Sail Around the Sun made its premiere at this venerable Washington institution. Written and directed by Paul Gordon Emerson, this Kennedy Center co-commission with the Company I E dance troupe educates the tiniest of Kennedy Center patrons about the four seasons in probably the most creative way you could imagine.

At the insistence of an African woman (vocalist/actor Amikaeyla Gaston), a young girl sets off on a whirlwind journey around the world to experience all four seasons - spring, summer, autumn, and winter - before dinner time. She has an underwater adventure in Australia during the spring season, treks through the rainforest in Argentina in the summer, and then jets off to Japan just as the leaves begin to fall. Her day ends with a trip to chilly Kazakhstan as the snow falls beautifully in the mountains. At each stop, she captures the "color" of the season as directed. There's an illuminated blue ball for spring, a green ball for the summer, a red ball for the autumn, and a white ball for the winter. The wise woman in traditional clothing explains that her all­weather experience was made possible because of the way our beautiful Earth circles around the sun. No matter where we live, we all experience the wonder that is the beauty of our planet.

Certainly, it's true that any young child could learn this science lesson in a classroom, but at Kennedy Center the lesson is presented in a way that also enchanted this adult. As the young girl undertakes her journey, the sound of Antonio Vivaldi's "The Four Seasons" fills the Family Theater, played by four brilliant National Symphony Orchestra musicians (Glenn Donnellan and an especially expressive Wanzhen Li on violin, Tsuna Sakamoto on viola, and Eugena Chang on cello). Whether we're in coastal Australia, the rainforest of Latin America, colorful Japan, or the mountains of Central Asia, animated designs (Sabra Design) displayed on a large screen transport us there. Dancers from Company I E, dressed all in white (costumes designed by Marija Djordjevic), fill the stage and accompany the spirited girl (portrayed by an uncredited dancer in the company) wherever she goes and interpret the musical with deliberate, passionate, mesmerizing, and perfectly matching movement. With each crescendo in the music, for example, the dancers respond accordingly.

Many of the dancers had a hand in choreographing parts of the piece along with two other choreographers and it shows because of how natural it is for the dancers to perform the steps. (As credited, Jason Garcia Ignacio did the choreography for the spring section, Robert J. Priore for the summer section, Kathryn Sydel I Pilkington for the autumn section, and Alicia Canterna for the winter section, with additional contributions from Abby Leithart, A.J. Guevara, and Arman Bayev.) The relationship between the movement and the music is quite natural.

The assistance the dancers provide to the musicians in relocating their music stands to other areas of the stage (and, in the case of the cellist, the platform on which she sits) throughout the performance exemplifies the idea of collaboration and "oneness" that underlies the entire experience. Other examples of "oneness" are also evident, including the way the dancers perform as one unit, the way the musicians perform together, and how the young girl interacts with a woman who looks very different from herself.

An aural and visual feast, To Sail Around the Sun is wonderfully inventive and will hopefully set the stage for similar multidisciplinary programming in the future. Much like Damon Woetzel's Demo series, this kind of work is what sets the center apart from other large arts venues around the country.

TO SAIL AROUND THE SUN played the Kennedy Center for four performances on March 25 and 26, 207

DANCE REVIEW: 'VOYAGERS: A DANCE AMONG THE PLANETS' at the Kennedy Center Family Theater
-- Leila Mire | Maryland Theater Guide

Company E, in collaboration with the Kennedy Center Theatre for Young Audiences, performed “Voyagers: A Dance Among the Planets” set to the iconic work of Gustav Holst’s “The Planets” on its 100th year performance anniversary. The piece effortlessly integrated dance, projections, and original jazz compositions to inspire young audience goers with the infinite possibilities that lie at the root of discovery.

Choreographed by Kathryn Sydell Pilkington with sections by Paul Gordon Emerson, Abby Leithart and Tara Ashley Compton’s rehearsal direction, the piece demonstrates astrological characters in each movement beginning with Mars and concluding with Neptune. Each movement imagined a distinct personality for the planet to give audiences a taste of different techniques and styles of dance; which simultaneously demonstrated the technical diversity within the company. With traces of anything from Graham technique and Gaga to classical

Emerson and Patrick Lord’s co-designed projections with lighting design by Emerson were accessible for young audiences to follow an accurate depiction of planetary movements. The dancers wore flattering costumes, designed by Marija Djordjevic, that reflected their designated role without distracting from the projections.

The performance had excellent use of space. Obviously from a scientific perspective but also in terms of stage usage. The already small stage was further confined by the live musicians who stood upstage. Nevertheless, the nine dancers never alluded to any confinement difficulties as the choreography carried them through each movement with fluidity and ease. My eye was particularly directed toward the captivating performance of Diana Amalfitano (Saturn) whose captivating phrasing and stage presence resonated on stage.

Perhaps most notable, however, was Eric Shimelonis’s arrangement of Holst’s classic in relation to the choreographic musicality as dancers created music visualizations with playful accents and unpredictable, clever partnering. The music itself, performed by Anthony Jones, Gene Alestock, Mary Lawrence, Trey L. Sorrells, and Brendan Mills successfully delivered an imaginative albeit well-informed interpretation of an iconic work.

From a choreographic stance, I was impressed by the musicality employed. When one thinks of musical choreographers, the public usually refers to artists like Mark Morris or Miro Magloire. However, the choreography used a musicality quite comparable if not superior to the former mentioned with a rhythmic awareness often lacking in DC area dance performances. While the performance was not thought-provoking in a cerebral sense, it was catered to a young audience and satisfied my desire for strong musicality and technical proficiency.

As verified by the children’s “oohs and aahhs” the short performance successfully appealed to a family audience. The witty choreography and captivating music allowed the children to become swept into a world of curiosity and intrigue.

(In)Security was conceived, directed, and produced by Paul Gordon Emerson, Company E’s Co-Artistic Director (with Kathryn Pilkington). Washington dance-goers know that Emerson once worked for the U.S. Foreign Service and is committed to international diplomacy through art. He was the perfect person to lead this project, but a plethora of other artists contributed. The program notes detail the extent of collaboration: in addition to six primary choreographers,including Emerson, there was an original score by Gavin Stewart; film and media by Emerson and Aidan Katsumi Dunning; costumes by Marija Djordjevic; lighting and technical design by Ari Korb and Owen Burke; writing by Emerson, Stewart, and Olga Sunyaikina; musical performances by Michelle Fowlin (soprano) and Wanzhen Li (violinist); guest artist Sirena (an actual horse), and a bunch of other dancers. Sometimes, of course, too many cooks spoil the broth, but not here. (In)Security succeeded, in my opinion, in giving its intense subject matter sensitive treatment that sustained audience attention — a real challenge in such a sprawling space.

Watch the full concert

Presidents Kennedy and Khrushchev and their respective countrymen, at first on opposite stages, presented American and Soviet perspectives while the vast red-carpeted lobby stretched between them, a symbolic and literal gulf. Screens above the respective stages showed live video footage of what was taking place across the hall, or sometimes in the middle. The opposing figures approached and backed away and eventually physically engaged. There was a handshake, a wrestling match, poses for the camera, and even a funeral procession headed by a white horse. (Yes, you read that correctly, a white horse led a funeral march just outside the Grand Foyer).

During the work, audience members were encouraged to watch in whatever manner they wished, whether selecting a single vantage point or strolling from place to place. I walked around a lot, but paused a lot, too, taking in the dancing as I pleased. When I saw the white horse on one of the screens, I went outside. I felt drawn to walk alongside the dancers as they exited. I appreciated the freedom. Many immersive dance pieces force audience members to participate, and it can be uncomfortable. In (In)Security, however, there was no wrong way to be part of the experience. And watching fellow audience members was fun as well. Little children joyously roamed, older adults stood still, enrapt, and vice versa.

I began my viewing on the Soviet side, admiring energetic folk dancing in colorful costumes and then the more anguished dancing in dull gray dresses for the women that followed. Subsequently, I strolled to the other side, where dancers in navy blue costumes represented the United States. They later departed the stage and clustered together as they danced through the lobby, first leaning heavily to one side, then leaning backward, and finally sneaking up warily within view of the enemy. The movement was dynamic and dramatically told the story of the feelings each side possessed. Besides the dancers that started out on stage, there were dancers placed here and there throughout the audience, and when they joined in dancing, it was a nice surprise (although not too surprising, maybe, since they wore no shoes and looked, well, like dancers, most with hair swept back and strong makeup).

I thought this JFK-focused work was far more compelling than Frontier, Ethan Stiefel’s JFK inspired space ballet that I watched the previous evening. While Stiefel’s choreography didn’t really move me, the dancing in (In)Security did. I think the biggest difference in my reaction may have had to do with my proximity to the artists. My seat for Frontier was only a few rows from the back of the theater, whereas for (In)Security, I could venture much closer to the dancers. That closeness has its rewards, particularly when the dancing is as powerful as it was (In)Security. Ryan Carlough, of all the dancers, kept my attention the longest during the performance. He dances with amazing ferocity and has a bright future as a contemporary dancer.