INTERVIEW: Dominic Walsh

Dominic Walsh
Photo by Jaime Lagdameo

Since Dominic Walsh’s inaugural concert in 2003 his career has moved at a racy pace. Last October he scored three premieres in the course of one weekend. The very next year he was named “one of 25 in the world to watch” by Dance Magazine. He shows no signs of slowing down and his season is ripe with large scale projects. Critics have taken notice; in 2004 he was named “best contemporary dance company” by The Houston Press. Former Houston dance writer Christie Taylor writes, “Walsh combines an immense respect for classical ballet with a voice so singular his work speaks at a primal level. Combine his talent with a group of dancers that respect his collaborative approach and you have the answer to the question: ‘Where is ballet headed?’" In between jaunts to Mexico and Japan, Walsh brought me up to date with all things Dominic Walsh Dance Theatre (DWDT).

You are also getting ready for your fourth Illumination Project. Why did you and Jane Weiner of Hope Stone start this project?

DW: Jane and I felt that AIDS awareness was fading from the public’s consciousness. We have lost so many talented individuals to AIDS. The Illumination Project honors these fine artists. This year includes DWDT with Mercury Baroque, Hope Stone, Stages Repertory Theatre, TUTS, to name a few. Funds raised support Bering Omega Community Services and Baylor International Pediatric AIDS Initiative.

What will DWDT be presenting for this evening?

DW: Duo is a light, abstract piece set to Ross Edward's Ecstatic Dances. Inspired by company dancer Lindsey McGill, Duo highlights her unique talent and conveys the feel of an inside joke between the dancers. Rosa, choreographed by company member, Paola Georgudis, will be performed to Stabat Mater by Giovanni Battista Pergolesi, played live by Mercury Baroque. I’ll be dancing in both pieces.

Bring us up-to-date. What did DWDT do this summer?

DW: In June, the company was in San Francisco to perform in Dances of Enlightment, in celebration of the 60th anniversary of the signing of the United Nations charter. Later, I judged the final examination of the official ballet school of Teatro San Carlo in Napoli, Italy and managed a visit with Mauro Bigonzetti, Director and Choreographer of Aterballetto Dance Company, about a possible ballet for DWDT.

In August we traveled to Vail, Colorado as guests of the Vail International Dance Festival where our performance of Katharis drew a standing ovation - quite a morale booster for the company. We were literally the poster child for the festival as our images were on the banners all over the city.

DWDT describes itself as a contemporary ballet company. “Contemporary” runs the gamut between Balanchine and William Forsythe. Where does your work fit in on this spectrum?

DW: My work is all over the spectrum and will continue to be. Flames of Eros was very classical in its composition and movement vocabulary while Mularra is probably one of the darkest and most experimental works I have done.

Why is live music a high priority for you?

DW: I’ve worked with Mercury Baroque, Musiqa, Two-Star Symphony, and the Terrence Karn Consortium. Live music adds another element to the live experience. Plus, I like the idea of collaboration. I’m humbled by the musician’s talents and contributions.

What are some of the challenges of working with live music?

DW: Traveling is complicated and rehearsal costs get expensive. There is always the risk of inconsistency, but once again, that is what makes the live element so exciting. You have to listen and sing along in your body.

Recently DWDT performed in a Jewish temple during the High Holy Days. How did that come about? How did this unusual venue work out for you?

DW: DWDT supporter, Rabbi Roy Walter of Congregation Emanu El suggested I create a work for the temple. The dance centered on musical themes such as the Kol Nidrei. I used an orchestrated version by Max Bruch. For me it was a journey through traditional culture and music of the Jewish faith. The venue was definitely different and I had to do some serious research to make it work. We had a sprung wood dance floor built and rented lighting equipment. In the end, the space looked true to what was, a sacred space, yet functional.

What’s happening this moment?

DW: I am creating a work for the Asami Make Ballet Tokyo to honor Prince Takamado slated for March 2006. Princess Takamado is very involved with all the details and synopsis. This and the music are being created as we speak. I first worked with the company last October with La Fille Mal Gardee.

Let’s talk about touring versus performing in Houston.

DW: Touring keeps us afloat as the presenters foot the bill. In Houston we self-produce, and it costs us roughly $100,000 to $200,000 to produce a two-night show at the Wortham or Hobby Center. We are touring Monterrey, Mexico in October, then to Italy for a Gala performance. Later this spring we head to San Antonio. I hope we can create a balance between performances at home and out of town.

In the past you have used a core group of dancers with guests gathered from all over the world. What is your hope for a stable company?

DW: Besides myself, I have three core dancers, Paola Georgudis, Domenico Luciano, and Lindsey McGill. They know my style inside and out. Eventually I would like to have 6 to 12 full-time dancers.

How do your dancers contribute to your choreography?

DW: I have tremendous confidence in my dancers. Their opinion is highly valued and they understand my approach. I may teach them a phrase and just watch how they work with it; I am not always interested in them “getting it.” I want to see what they do with the movement. This is the benefit of having your own pool of artists. I see it as the only way to really challenge and develop myself. I am always trying to find something new for them; they inspire and push me forward.

Tell us about some big projects on the horizon.

DW: In March 2007 I will create Orfeo and Eurydice for the New National Theatre Ballet, Toyko. I first worked with them in 2003, dancing in Manon with Alessandra Ferri. I am directing my first opera, Mercury Baroque’s Acis and Galatea, to premiere February 18, 2006 at the Hobby Center. Romeo & Juliet will premiere on May 19th and 20th at the Wortham.

I’m impressed by your fearless spirit in tackling an opera. Even more exciting, what makes your version of Romeo & Juliet different?

DW: I’m familiar with both the text and ballet versions of Romeo & Juliet. While at Houston Ballet, I danced the roles of Romeo and Mercutio; I wanted to experience both perspectives of the story. Traditional ballet versions stray from the original story to make it more ballet friendly; but I am staying close to the text, exploring little-known historic jewels that are rarely focused on, and delving into character relationships even deeper. The Vivaldi score will be arranged and played live by Mercury Baroque and Rob Bundy, Stages Repertory Theatre, is co-directing.

I know you have been working out of Uptown Dance Centre. Do you have a permanent home?

DW: Uptown has been wonderful for us, but it’s time to have permanent home. We have moved into our new offices at 2311 Dunlavy Street and anticipate the completion of our studios by January 2006. I am looking forward to having a central location for the company.

What keeps you coming back to the studio day after day?
DW: Potential— that word has always driven me— as a dancer, choreographer, and now, director.

DWDT and Hope Stone present The Illumination Project on December 1, 2005 at the Zilkha Hall in the Hobby Center for the Performing Arts, 800 Bagby, Call 713-315-2525 or visit http://illumination.dwdt.org/.


This interview originally appeared in Artshouston. www.artshouston.com

INTERVIEW: Deborah Quaniam of the World Dance Institute

WonLande West African Dance and Drum Company.
Photo by Ruben Durand

The World Dance Institute was founded by the Dance Department at Central College, Houston Community College System. Its mission is to focus on the study, preservation and performance of traditional, cultural dance. By drawing on the wealth of artistic experience in Houston's international community, new generations of teachers and students will experience disciplines that have enriched humanity for thousands of years. I had a chance to speak with Deborah Quaniam at HCC about her work with world dance.

Can you tell us something about what we will be seeing on the upcoming event on December 2nd?

DQ: The student performers of Central’s World Dance Ensemble will be performing Spanish Flamenco in the Gitano (Gypsy) style. Flamenco evolved in southeastern Spain from the blending and interaction of several cultures: Spanish Andalusian, North Indian, Arabic andHebrew. The World Dance Ensemble will perform the “tablao” form, a solo improvisational flamenco with only the accompaniment of palmas (clapping) and cante (song). They’ll also offer “Amigos Tangos” a theatrical piece choreographed by Cynthia Cupach.

When did you first become interested in world dance?

DQ: Cynthia Cupach asked me to serve on her Master’s Degree committee; she earned her degree in World Dance from Antioch College. Antioch allows students to create their own plan of study, and to use local authorities as instructors. Following Cynthia through her plan reinforced my perception of the amount and quality of world dance available here in Houston.

We also have a very diverse student population: over 135 nations are represented on our campus. Unlike the U.S., where dance is often considered trivial and unimportant, in most other cultures, dance is a vital, essential aspect of cultural life. By concentrating on world dance, we were able to relate personally to many of our students.

How did WDI come about?

DQ: In a perfect world, we would have a real building, with libraries of books, and videotapes, and musical instruments. We would have rooms of costumes, and dance studios. But buildings cost money, and buildings need personnel. We decided to go virtual until we can afford a building. But the major purpose of the WDI is to share information, with each other and with anyone who is asking. A website is the logical place to be in this age of technology.

How does Houston rate on the world dance scene?

DQ: We have world class performers and teachers in: Flamenco, classical Indian dance, classical Bali dance, tango, folklorico of Mexico and most Central and South American cultures, Russian folk dance, other folk dances of Eastern Europe, Irish dancers, Chinese classical dance, Japanese classical dance, Brazilian martial arts.

How do students benefit from training in world dance?

DQ: Much of academia within the U.S. only admits ballet and modern dance as being worthy of college credit. That is a very myopic and self-serving view point. Our culture has a lot to learn from the dances of other cultures.

Do you think there exists a global way of moving where dancers can learn to access qualities and rhythms from around the world?

DQ: The human body is the same all over the world. There are just so many ways to move your legs and arms. Dance training in one style usually translates into increased facility in learning another style.

Is it possible to actually gain a more global perspective by dancing other cultures dances? How can this change the world?

DQ: When a person studies the dance of a culture, she also studies the music, the costuming. Gender roles are usually immediately apparent in dance forms. People dance about their religion, their mythology, their history. Dances change over time, so a particular dance is usually the product of a particular time in a civilization. Knowledge is power. The more we know about another person, the more likely we are to regard this person with an open mind. The history of dance chronicles the diasporas and resulting fusion of great civilizations.

What are your hopes for the WDI?

DQ: We originally hoped the WDI would help us imbed world dance in our curriculum. We have achieved this goal. At the present time, HCCS teaches World Dance, African American Dance, and Folkloric Ballet. We teach dance appreciation from a global point of view. Our plan now is to imbed WDI in the cultural life of Houston as an example to the rest of the world.

HCC presents the World Dance Institute’s Winter Concert on Friday, December 2nd, at 7:30pm at Central’s Heinen Theater, 3517 Austin at Holman. For reservations and information, call 713-718-6570.

Quirky Works Turns 3: A Conversation with the Houston Met's Michelle Smith

The Houston Metropolitan Dance Company
Photo by Amitava Sarkar


Michelle Smith, Artistic Director of The Houston Met, has to be about the perkiest member of the Houston Dance Community I’ve come across in my hunting. Her positive attitude, can-do spunk, and willingness to try new ideas are the ingredients for staying power in these not so arts-friendly times. The Met shows no signs of wear and will be presenting three Houston premières. I caught up as her group of capable dancers were preparing for another round of Quirk Works at the Wortham.

How did Quirky Works come about?
MS: Quirky Works came about after our re-organization in 2001. The Houston Met had the November 2002 dates but we were not sure we wanted to take on the performance ourselves and thought if we had another company or two to help with expenses we could still perform. We talked to Linda Phoenix of Chrysalis and Kathy Wood of FLY and asked if they would be interested in joining us. The idea was a complete collaboration where everything is shared – everything 50/50 expenses and income. We didn’t quarrel over who brought more minutes or who did more at the mail out – it was simply a split of everything. The artistic goal was to present companies in a quirky, fun evening and be able to bring both dancers and audiences together.

Where do you shop for choreography?
MS: The dancers themselves work outside of Houston and in their travels are always looking for artists. We also receive tapes from choreographers wanting to present their work on the company. The artistic committee reviews their tapes and selects to form a well-rounded performance year.

How does the tripling up at the Wortham work?
MS: The Wortham is the house for us. The sharing of expenses is only one aspect; building audiences is also important. If we can bring some of those groups together than the audience members can see one or two of their favorites in one evening rather than trying to get to two or three performances.

How did the line-up for this Quirky Works III come about?
MS: We’ve had a long standing relationship with Acia Gray of Tapestry. Plus, we thought out audiences would love tap dancing. Michele Brangwen came to us and, after talking some we invited her in to perform. In each case of Quirky Works, the Houston Met has been the instigator in the collaborations. The requirements are this: to pay for a portion of the expenses, to receive a portion of the income and to perform.

How do you all agree on a program order?
MS: Diversity is key, not just in style but music, mood, timing of pieces. It takes a lot of talking to get it right.

You have a work on the program by Charlotte Griffin. I understand she was the 2005 recipient of the Scripps/ADF Primus-Tamiris Fellowship at the American Dance Festival, representing the USA in the International Choreographers Commissioning Program. That’s impressive. How did her work come to your attention?
MS: We got Griffin’s work through Peter Chu and Marlana Walsh. Most of choreography comes to us via connections and word of mouth. We had seen her work at the Jazz Dance Congress back in 2001 when Ballet Jazz de Montreal performed Tequila Shots for a Fool and we loved the work.

Tell me about the other works on the program.
MS: Priscilla Nathan-Murphy’s Cadence, slated to premiere at the Weekend of TX Contemporary Dance, is a percussive building of music and movement. It involves 12 dancers and has been a challenge for the dancers both in movement and especially music. We are very excited Doug Bentz’s Faun and, yes, it’s contemporary spin on Afternoon of a Faun Bentz is from Point Park University where several of our members attended.

What’s new at the Met?
MS: We performed at the Midwest Touring Conference Showcase in Indianapolis, We hope it kick starts touring nation wide. We took five dancers and showcased four pieces. Then we just finished two weekends in Ft. Worth, TX at the first annual “Up and Running” Choreographers Festival. Kiki Lucas had her piece selected along with 15 other choreographers.

What’s next for the Met?
MS: We will be teaching and performing at Dance Fusion, at Colin County Community College in Plano, TX. Peter Chu will be returning to choreograph a new piece in December, Kevin Wynn and Pattie Obey are slated for the spring and Michele Sherrill, formerly of Dallas Black Dance Company, for the summer.


The Houston Met, Tapestry Dance Company, and Michele Brangwen Dance Ensemble present Quirky Works III, at the Wortham Center/Culllen Theater, 510 Preston on November 19, 2005 8:00 p.m. Call 713/522-6375 or visit http://www.houstonmetdance.com/.

Houston Ballet: Mentors & Prodigy Looks Back and Ahead

Peter Franc and Bridgett Zehr in Dark and Lovely, Mmmm
Photo by Jim Caldwell

Houston Ballet’s Mentors and Prodigy highlighted the work of three contemporary choreographers in a substantial evening of dance. The program combined work from Brian Enos, a rising upstart, Jiří Kylián, a seasoned pro, and Stanton Welch, a choreographer moving into mastery. The evening yielded a rare opportunity to consider a larger concept of mentorship in the dancer/choreographer relationship. Choreographers mentor dancers in the act of dancing itself. Seeing all three works together provided a potent lens into the full spectrum of contemporary ballet today.

Ben Stevenson recognized a prodigy in Brian Enos when he was a student at the Academy. Enos traveled the ranks of the Academy to the company in record time. At the tender age of 18, he created Landing for the company. At 23, Enos is still developing his craft as evident in his world, Dark and Lovely, Mmmm…. Nicholas Phillips, a prodigy himself, has been making his mark in the ballet world for some time now. Phillips’ linear and high-tech set and lighting lent a futuristic feel and accentuated the geometry of Enos’ classical on the bottom, post-modern on the top choreography. Light beams constructed of Neo-Neon Flex gave a more fluid than neon effect. Moving lines of light neatly contained Enos’ somewhat dense designs, creating a potent tension between form and chaos. Surprising moments of vibrant unison punctuated this sometimes cluttered dance. A thin narrative involving a lonely outsider added mystery to this otherwise abstract dance. Corps member Jessica Collado was riveting as the black-skirted outsider. The piece, although ripe with fresh energy, felt a little undercooked. Still, Enos is one to keep watching.

Stanton Welch knew he wanted to be a choreographer when he danced Kylián’s Forgotten Land. The company delivered an elegant performance of Kylián’s somber, yet poetic work. Inspired by Benjamin Britten’s Sinfonia da Requiem and a painting by Edvard Munch, the work draws its theme from the loss of land from an encroaching sea. In light of recent events, the work touched an emotional chord.

Welch was in his mid-twenties when he created Divergence for The Australian Ballet, young enough to be considered a prodigy himself. This bold and daring work has “signature” power for Houston Ballet. The company looked positively explosive in Welch’s daring-the-convention off- kilter choreography as they tackled Welch’s harder-than-hard ballet with industrial-strength spunk.