Komansé Dance Theater: Skid

Seeing Komansé Dance Theater’s Skid on Friday was my first time in the Ferst Center since its auditorium was renovated. It’s Sunday and my back still hasn’t fully recovered from the awful new seats. The seat-backs tilt forward somewhere around 10-15°. What animal are those even designed for? Definitely not human and definitely not someone with a lower back problem like mine. The center aisle has been done away with and replaced with two aisles separating three seating sections, which is nice since now there are actually seats in the middle of the auditorium. Gone, too, are the bright safety lights that were on the steps in that middle aisle that would get in your eye if you sat within 5 or so seats of the aisle. They’ve been replaced by bright, white lights in the sides of the seats on either side of the aisles that are directed out instead of down so that now you get to enjoy having bright lights in your peripheral vision no matter where you sit. I was in row F, which is the first terraced row and a half-step above E. I thought it was a good height and would afford me a good view of the stage even if a six-foot tall person sat in front of me. Row G is two steps above F, so if you’re really short you may want to sit there. Or you may want to see if they’ll let you stand to avoid having the seat try to push you into a poor and painful posture. I have two more things on my calendar for the Ferst this season: I’ll be taking a lumbar pillow with me to the next one and if that fails to help me then I may just be done with the venue all together. Although I’ve actually been going there more often in recent years, that’s mostly been because of favorable scheduling as the programming has become less and less interesting to me in recent seasons.
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Corian Ellisor Presents My People

I usually throw a few notes down on my computer before going to bed if I think that I might want to write about something that I’ve been to. The first note that I left for myself after getting home from seeing Corian Ellisor and Alex Abarca’s My People at 7 Stages was the question “Why am I drunk?” I got a cup of wine from Java Jive before the show and found that my face and lips had gone completely numb and I was finding new comfortable ways to lean against the banister by the stage. For a moment I wondered if I’d actually been drugged but I suspect that my body was just worn out by a long week and there was more wine in that cup than normal. Fortunately I had walked there and didn’t really have to worry about driving.
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Kibbutz Contemporary Dance Company: Horses in the Sky

My response when I was told by security that I couldn’t bring my umbrella in and then by the ticket person that if I leave to put it in my car that I cannot come back in was an angry proclamation that “This place is bullshit!” It was rude and, although I stand by the sentiment, I regret the tone. However, it did get the attention of someone who pointed out to the security person that the smaller kind of umbrella that I was carrying was fine. I was already frustrated from getting lost trying to find the place,1 but even if I wasn’t frustrated then I’d still feel that this wasn’t the best way to greet new patrons to a new arts center. The least that they could do is put the ticket scanner person on the other side of security. I mean, this is suburban Atlanta: you are going to have a lot of people with concealed carry permits coming there and there will definitely be a few who aren’t going to know in advance that they can’t carry there and aren’t going to be terribly happy about the idea of having to check their (not very inexpensive) weapons. Let people at least have a chance to drop their unapproved items back in their cars before you refuse to readmit them. Or, even better, drop the security theater: the moment that I walked through it I noticed two different ways that I could have smuggled contraband and even other people in without much trouble. I spend a lot of time in theaters and auditoria and this and the Fox are the only two places that do this.
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Kit Modus: Me/diums

Last night I went to Callanwolde for Kit Modus’ Me/diums with choreography by Porter Grubbs. This post is probably more about my state of mind last night than the actual piece of work that I saw, although I am ostensibly writing about the piece. The two or three friends who read this blog because they are interested in my thoughts and feelings about the stuff that I go to might want to read on but you other few people who just found this by Googling yourselves might want to skip it. Or at least take anything negative in it with a grain of salt: I really don’t feel that I was able to give it a fair shake.
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Atlanta Dance Collective: Being

Last night’s dance concert by Atlanta Dance Collective was, overall, a good show. It featured six works by as many choreographers, four of which were set on the ADC ensemble and two others performed by two different guest ensembles. The pieces were all a little short and none of them stood out as the “must see” portion of the show, but it was definitely an enjoyable hour plus of dance at the Balzer Theater at Herren’s.
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Atlanta Ballet: Tu Tu & More

I generally enjoyed Atlanta Ballet’s program last night. Up first was Tu Tu by Stanton Welch, set to Ravel’s piano concerto. Costuming was pretty fun, with everyone in shiny, Klimt-esque attire. The women were in pancake tutus with bare legs and the men were just in shorts. The set was fairly simple, making use of a white backdrop lit with a color gradient with black panels in front of it. Each movement had a different configuration: for the first movement, only a center panel of the colored white backdrop was visible, the second was all black, with the dancers lit mostly from above, and the third was an inverse of the first movement, with a black panel in the middle and a blue gradient stretching to the wings on either side.
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Dance Canvas: 10th Anniversary Performance Series

One of the reasons that I like going to Dance Canvas’ annual performance series, Introducing the Next Generation, is because it always features a good diversity of dance forms and aesthetic styles from an equally diverse group of emerging choreographers. This year’s production marked their 10th anniversary, so they celebrated by bringing back 10 choreographers from their previous shows.
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