This trio, Short Story, seems appropriate to share on Halloween! A touch of mysterious mixed with a hint of sinister! In three sections, this REPLAY of our 2018 work is featuring dancers: Heidi Sutherland, Wade Watson, and Evita Zacharioglou. Read about this piece in our blog from that time. Enjoy!
Check out our screening of Behind the Lens: Adams Company Dance TONIGHT! The link goes LIVE at 8P ! Watch RIGHT HERE on this site!
From the Baryshnikov Arts Center to the shores of Silver Sands State Park in CT and everywhere in between, Mitzi Adams, Artistic Director of Adams Company Dance, along with filmmakers/collaborators Amelia Golden, Benjamin Moss, Joel Stephen, and Faith Marek, weave dancers into their unique settings to create this compendium of 13 film shorts that are whimsical, visually stunning, and emotionally stirring. Adams Company Dance, now in its 29th year, shares a unique look into the ways in which dance connects with the human experience. All films were shot within a 3-hour time frame more or less, and later edited into a theme — what Adams’ coins her “Jiffy-Mix” style. This film has been screened in NYC twice at Producers Club Theater; the Bryant Park Hotel Theater moderated by dance critic, Debra Levine; and last Fall in Greenwich, CT at the Bowtie Criterion Cinema. With four new films in the line-up, including their latest short film, “Sidelined,” made over the 2020 quarantine, this night will have something for everyone!
Program Order Sidelined (2020) This film, based on footage shot prior to the pandemic, twisted itself into new meaning as the Corona Virus surfaced, and serendipitous themes emerged in the editing process. Stemming from a three-hour “Jiffy-Mix” rehearsal taped in February 2020, and loosely based on the subject of the lack of spirituality in our society today, dancers depict feelings of isolation and separation in this transcendent work that unfolded as a gift. A Piece of Shelter (2011) This film, shot at The Secret Theater in Queens, NY, during the rehearsal and live performance of a dance entitled "Shelter," depicts the search for beauty beneath the rough exterior of life. Sea Chapter (2014) Against the backdrop of Mother Sea, this film reveals a man's soulful journey in learning to lean on his instincts and intuition, in order to release the old and embrace the new. (Based on the piece “Flight”) Woodland Aire (2013) Based upon works created to the music of Maria Schneider’s “Winter Morning Walks,” dancers mesh with nature in this spry piece filmed during a one-day residency at the Dragon's Egg in Ledyard, CT. Hush Little Child (2015) From the frozen, snow packed ground to the fragrant, flowering orchids, this film depicts a woman looking back at her life, as if through the lens of a dream. Let’s Face It (2010) A techo-media film, based on the concepts of the loss of spirituality and literature in our society, due to the interference of our technological age (Based on a one-evening dance/theater event). Jeu d’Esprit (2012) With only a hat and a few costume pieces, this work offers the viewer a passport abroad, in this high-stepping ‘French flavored’ solo. (Based on the piece “Avec Moi”) About Face (2011) Based on the dance event “Let’s Face It,” this film takes a look at the fine gap between the ego and the mirror. Ebb & Flow (2017) Based on the process of a “Jiffy Mix” rehearsal of the dance “Dream Spell,” filmmaker, Joel Stephen, weaves his colorful footage from a few short hours to reveal the inner workings and mysteries of a magical dance experience. A Dress In The Stream (2013) Based upon conversations with artists who struggle with their art, this film depicts a young woman who watches her dreams float away, yet finds resolve in the beauty of nature, with nothing to expect other than the rippling, calm of water in the estuary of life. Something Fake (2018) Filled with symbolism, this short, theatrical dance film captures the director’s inner monologue on the current administration’s inane treatment of facts and manufacturing of falsehoods. Playing House (2013) A young woman steps into a raw space, dreaming of future possibilities, full of promise and hope. (Based on the piece “Dust Devil”) Crooked Dreams (2019) A journey through the unconscious mind brings fragments from disjointed dreams. The dreamer strolls through the scenes, as the veils of mystery unfold, with colorful characters accompanying her along the way. * * * A NOTE FROM THE DIRECTOR: I was inspired to start making short dance films, when I faced the crippling realization of the economic effects of producing live dance concerts. In a real hurry to get "in and out" of the studio and to keep my costs under control, I developed a method of working, in short time periods, which I eventually coined "Jiffy Mix Dances"... just add water and stir! With the pressure of time constraint, I put myself to the test to compress my artistic experience, while still striving to maintain a human element. A deep level of trust in my dancers keep me stirring all the ingredients without all the fuss and muss! Though concert dance continues to enrich my choreographic spirit, with all its trim and finesse, it’s the stuff of the “Jiffy Mix” process that excites my “grab-and-go” side and keeps me on my toes! * * * Directed and produced by Mitzi Adams, Artistic Director, Adams Company Dance All choreography by Mitzi Adams Adams Company Dance is a member, in good standing, of ASCAP.
NOTICE: This film is for research and scholarly purposes only. This film is not designed or intended for monetary gain, nor does the producer or the company receive private compensation for the film. Distribution of this film is strictly prohibited. Adams Company Dance, is a member in good standing with ASCAP.
Back in the day, this was called treason. I am pulling this film out again after the debate Tuesday night. “From Russia With Love?” Mis-speak much, Mr. President? Maga in D flat was the working title, but I ended up with “Something Fake.” I say no more…
Watch our REPLAY of our Going Solo Concert TONIGHT, 9/26 – here on this site, where the link will go LIVE at 8p!
Six talented dancers performed their solos on the eve of May 4th, 2019 at the Triskelion Arts Center in Brooklyn, NY. Read about that magical night here in my blog! Tonight you will get to see a REPLAY of that night, along with LIVE interviews with the dancers, where they described the process of their individual pieces.
The dancers performing are:
1) Flight (2014): Christopher Taylor
2) Mother’s Day (1998): Julie Firoenza
3) Dust Devil (2013): Abby Marchesseault
4) Going Solo (Premiere): Heidi Sutherland
5) My Room (2010): Julie Firoenza
6) Small Voice (2004): Evita Zacharioglou
7) It’s Easy To Drown (2018): Heidi Sutherland
8) Lost & Found (1999): Joshua Tuason
(This replay tonight is solely the performances, and not the films which were featured in the live concert.)
Videography/Editing: Faith Marek
GOING SOLO PIECE DESCRIPTIONS:
FLIGHT: Performed by Christopher Taylor
Exploring the emotional depths of the willingness to survive no matter the odds, this rare solo touches the heart with beauty and grace. The film Sea Chapter is based on this solo.
MOTHER’S DAY: Performed by Julie Fiorenza
This dramatic solo explores dreams that the choreographer and her mother had before her mother’s death. Set to an original text, combined with a haunting music collage, this solo forms a partnership to arouse imagination about the mother/child relationship.
DUST DEVIL: Performed by Abby Marchesseault
This thematic solo was choreographed to enliven the spirit of a poem. The athletically danced, theater-style piece, reminisces about life on the plains, with the swirling, little tornadoes that the poet recalls in the beanfields of the Midwest. (Music granted by Maria Schneider).
GOING SOLO: Performed by Heidi Sutherland
This solo digs into depths of expression, creating a terrain of movement exemplifying the unsteady nature of life, yet allowing for the ground to provide a place for sanctuary and hope.
MY ROOM: Performed by Julie Fiorenza
An opening slideshow with images from Korea, combine with a sensitive, heartfelt dance about a young woman’s adoption. This tender solo, danced to neo-classical piano music, interprets a story from the Far East.
SMALL VOICE: Performed by Evita Zacharioglou
This capricious solo portrays the loss of innocence from childhood, into the complications of adulthood. From the fondness of hopscotch to the gestural entanglements of emotion, this piece reads like a storybook of memories and makes a statement about the process of growing into responsibility.
IT’S EASY TO DROWN: Performed by Heidi Sutherland
This solo was inspired by the delicate nature of the human spirit and how easy it is to drown in life, yet resolves to achieve hope and strength to overcome.
LOST & FOUND: Performed by Joshua Tuason
This whimsical solo, with narration by the choreographer’s first dance teacher, Hedy Tower, connects past and present in a tribute to healing and hope. Lifted from a desolate reality and shown a renewed passion for life, this piece contracts and expands, depicting these rippling themes through jagged edges and graceful exuberance. Imbued with the strength to overcome, this light-spirited, colorful dance pays respect to the sentimental journey of the heart.
A NOTE FROM THE ARTISTIC DIRECTOR
“The stuff of solos” chronicles the messages from a lone voice that speaks through the pores of the soul. Its very essence is founded through the dancer that “puts it on,” like a new outfit that you buy at the store. Stepping into the skin of the solo awards the dancer the right to interpret his or her own meaning, loosely based on the original script. In rehearsals, I use pencil instead of pen to allow for the artists to erase what might have been, so they can etch their own branding into the storyline. Ultimately, it is through their letting go of all my notes when they finally go paperless. When I no longer see the choreography, but just see a beautiful dancer expressing themselves, I know I’ve done my job. I am honored to be in the company of such elite artists, who have chosen to dive deep into “the stuff of solos.”
~ Mitzi Adams
(This film is for scholarly and research purposes only. This film is not designed or intended for monetary gain, nor does the producer or the company receive private compensation for the film. Distribution of this film is strictly prohibited.)
Thank you for joining us for our concert REPLAY! Look for us again in October for the RE-SCREENING of Behind the Lens: Adams Company Dance~
Watch a replay of an Adams Company Dance favorite: “Itty Bitty Nitty Gritty, “ where a tug-of-war of musical chairs, meets a folk-frenzied ballet, in this trio made up of world class dancers performed at the Ailey Citigroup Theater in 2012. When so many of you have said, “sorry I missed your show,” we’ve made it easy for you to catch up!
RT: 12 minutes in length
See the dance here:
Dancers: Catherine Borrone, Milan Misko, & James A. Pierce, III.
Photos: Cathryn Lynne
Video: Marie Le Claire
Thanks for your support of Adams Company Dance!
August is typically a month filled with creative ideas, and numerous rehearsals. Sadly, COVID-19 is now center stage, so I have to step aside, and take stock in things that bring me joy. I’m happily reflecting back to a summer where I can’t remember feeling more relaxed and happy making a new work. It was 2008, and I whipped this piece up in a jiffy. The dancers were so into it, and with music by a family friend, Muriel Anderson, it was nothing less than a magical, summer delight! It had numerous runs, but when it appeared in my 2009 concert at the Ailey Citibank Theater, sparks were flying! I yearn to put this back back together someday. Til then, I hope you’ll enjoy watching this slideshow of the making of ‘At Ease,” by Cathryn Lynne. I’ll have the performance online later this year.
Dancers: Julie Fiorenza, Milan Misko, Ryan Schmidt, & Sarah Wiechman
Join us at 8P for the premiere of our new film, “Sidelined,” on Vimeo. After four tedious months of remote editing, we’ve finally completed our film, “Sidelined.” Using raw footage shot on 2/5, long before we were sidelined, — this short film revolves around the themes of quarantine and the pandemic. It started out loosely based on the idea of the lack of spirituality in our society today, but unconsciously, there was something being channeled that cold, winter day. As the days and months unfolded into the crisis our world was facing, the film’s fate twisted into new meaning. Read our blog about the details of the film shoot day here. Take a sneak peek into some of the images of that day here.
Thursday, 7/30 at 7:50: Join Mitzi for a small chat about the process prior to the screening on FB live on Adams Company Dance’s FB page: https://www.facebook.com/adamscompanydance/live (and then go to Vimeo).
Our film will be LIVE at 8P: Go to: https://vimeo.com/440838786 and press PLAY — and by all means, let me know what you thought!
Running time: 12 minutes
Produced by: Mitzi Adams
Choreography: Mitzi Adams
Editor: Faith Marek
Creative Editor: Mitzi Adams
Dancers: Misaki Hayama, Heidi Sutherland, Abby Marchesseault, Yasmin Venable, Tsubasa Nishioka
This pandemic has us all needing to adjust and adapt to other ways of thinking and doing. If we can let go of our preconceived notions of normal, then we might just start to see life unfold in new and different ways, which could actually serve us. Resting, napping, cleaning clutter, and exercising have never felt so good. Folding laundry can be meditative if you can allow yourself to ponder the folds and textures of the fabrics. Same goes with editing remotely. I didn’t think I could do it with my editor, (Faith Marek), so well, but as it turns out — the slowed-down, nitty-gritty approach is making me focus more.
The film we shot in February came out of the can, finally! It’ll be laborious to work remotely, no doubt, but that requires more patience, and won’t that be a good lesson? Dancers have a built-in adaptation process. If they didn’t, they’d never survive the demands of the art, but adapting at home now, while no teacher or director is telling them what to do, will be the most challenging time for them. Self-discipline is the key to this make it through this time, and it is my wish for all dancers to keep taking class with great teachers out there remotely — at least in the meantime!
And, in the meantime, enjoy a few of these shots from our film shoot! Previews from coming attractions below:
It’s an unprecedented time in our world where announcements to isolate and social distance from one another is our new norm. In December 2019, I had three dreams foretelling about this time, complete with tales of assembly lines for vaccinations for a flu; food insecurity; and my work falling by the wayside. I was unconsciously prepared, just as with my dreams prior to 9/11, where the events that unfolded were described in my night vision. Turning back the calendar page to February 5th’s Jiffy-Mix film project, I was apparently channeling ideas that had been in those December dreams, unbeknownst to me. So much symbolism to follow.
Just last month, the project I did with five willing and able dancers who trained it up to Bridgeport, CT from the city, was apparently being channeled. Other than a few loose fragments of thoughts about how society needs to come together spiritually, I had no detailed pre-determined script of what I was about to do. From my research, I had found this incredible Victorian mansion in Bridgeport some months prior, where multiple businesses occupy the floors, but the upper floor literally floored me!
It’s a cavernous space with beautiful stained glass windows wrapping around the perimeter, with dazzling panoramic views, old wooden floors, and a dome-like structure in one corner that could be nothing other than a widow’s walk. The room is used for various events, including a church group that meets there on a semi-regular basis. “The Oysterman’s Pearl Studio,” is the name of the space, aptly termed after a wealthy oysterman who peddled oysters along the Northeast corridor back in the day. They made a killing with their trade, as the architecture of the room so richly displays. The space itself inspired the idea of spirituality, which I feel we embraced, but toward the middle part of my project that day, I had the dancers running and leaping while I shouted, “imagine you’re panicked about something,” — obviously the inspiration was not feeling spiritual then. We were even rehearsing to David Bowie’s piece Lazurus, from his last album Dark Star, which invokes the idea of death and perhaps dark nights of the soul. Weird, eh? There was a palpable feeling of fear in the air. Virus??
Then, at one point I had a dancer looking like he was dying, perhaps a little Jesus-y on-the-cross– feeling, but he was laying on the ground, (not on a cross), writhing and contorting, until the other dancers finally came to him and made human connection. Hmmm– front-line emergency workers? At another point I had all the dancers looking out the window, stretching their hands and arms upward on the stained glass windows, as if to look like they were stuck inside and couldn’t go out. Social distancing?
Wildly symbolic of a pandemic, the material on the camera was downloaded to a corrupt harddrive. What?? I was about to begin editing with my editor extraordinaire, Faith Marek, just a couple short weeks after our shoot, when we encountered a glitch that disallowed us to see any of the footage she had shot. COVID-19 had corrupted the harddrive? Wait, and that’s not all. So, the harddrive was sent to CA to a harddrive retrieval business, where they gave her an astronomical estimate for the work. As her personal files were also on that harddrive, she had to bite the bullet and get the job done. After weeks of not knowing anything, I finally found out that my project had been saved, but my editor’s files were not scanned properly… more symbolism (?) — some people are spared by the virus, and some don’t make it.
This “art imitating life” reality is really quite amazing. At the moment in time I found out my work was spared, we had already started to isolate from one another, so with the inability to get together physically with my editor, my work was temporarily put on hold. I suppose I could work remotely, but I’m reluctant to succumb to that method, being I’m such a hands-on person… whah, whah — I’m not liking all this virtual do-it-on-Zoom stuff. Put on hold is the new way of life now. My business is that way, as with everyone else who is a non-essential, self-employed person — so what now?
A loaded question, right? Perhaps we need to return to the symbolism of “The Oysterman’s Pearl Studio,” with the panoramic, stained glass windows, for The answers: We have all around us the comforts of Mother Nature, with all her colors of the rainbow stretching before us like a kaleidoscope of hope in the darkness of the night. And, yea though I walk through the valley of the shadow of death, I shall fear no fever, for thou art with me thy rod and art they comfort me…
Mother Nature is probably giving us a big kick in the pants charging us to love one another, and develop more unity within the world. She got too hot with global warming and needed us to STOP everything. “I’ll give you this virus so you can re-think, reconfigure, and re-establish what your real goals should be moving forward.” Aren’t we all called to do that now? I’m thinking, yes. And, one thing on my list is crafting a new short-film from all this footage from February 5th. Btw, that’s my birthday — hmmmm… symbolic?
2019 was a blend of old and new coming together to flesh out what became a year to remember. Going Solo was a gem of a concert, and occasion to dig out my past and add some new works to the mix, as well. Brooklyn’s Triskelion Arts was the perfect theater for the six, sizzling dancers that burned up the stage that magical night in May. Interspersing my short solo-based dance films seemed to be appropriate for the menu that night. I felt so in awe of the dancers who went above and beyond that remarkable evening!
I delighted in finding new dancers at my Master Class in June.
I had so many energetic movers attend that day, but found a small crew that ended up in my film shoot which took place in Brooklyn later that month back at Triskelion Arts. With the help of my tech and film crew, we managed to get a lot of footage in the can that day — and then added later, another film shoot with soloist Heidi Sutherland, to round out all the footage that later became our new film, Crooked Dreams.
See film here:
Behind the Lens at the Greenwich Bowtie Criterion Cinema was a culmination of all our films we’ve made over the years. This line-up of dance films screened on a rainy night in October, but we had a hearty audience there to cheer us on. I am so proud of all my dancers who worked on this and gave me the gift of everlasting beauty!
Behind the Lens: Adams Company Dance
The Steffi Nossen Dance Foundation invited us to perform on their bill in November, finishing out my year with a look back at a duet I created in 2011 entitled, Heart Song. The Emelin Theatre in Mamaroneck was a theater I’ve always been curious about, and finally I was able to get my foot in the door. I loved the grandeur of it, and it featured the dancers so well on their spacious stage. Heart Song this time around had a new twist to it, allowing for its beauty to stretch to higher levels. See photo album of their performance here.
See dance here:
To be honest, 2019 with its current political climate deepening in doo-doo, was not a year of having warm and fuzzy feelings permeating throughout my being. Thank God for art, though, and its ability to transform our hearts and minds, if not only for a day. Each one of the ACD events that came to pass this year left me a little more lifted, and energized — allowing me to look back on 2019 with a smile!
My gratitude to all the dancers, tech staff, camera pros, editors, and my husband, without whom none of this work would’ve been possible!
*Photo by Ellen Crane