Clement Mensah of Reggie Wilson/Fist and Heel Performance Group.
I have a fantasy that my son would take a dance class. He would get a full scholarship to Juilliard and dance professionally. He wants nothing to do with this scenario, but after reviewing dance performances in 2017, I will add this to my dance-mom vision: I’d love for him to dance with Reggie Wilson/Fist and Heel Performance Group or The Seldoms.
When Milwaukee native Reggie Wilson brought his Brooklyn-based company to Overture’s Capitol Theater to perform Citizen in January it was a shame that extremely icy conditions kept people away. Wilson often explores the experiences of Africans in the Americas, and all of the dancers in Citizen were excellent. But three men — Yeman Brown, Clement Mensah and Raja Feather Kelly — were such distinct movers and performers that passages of their solos are seared into my memory almost a year later.
Power Goes from Chicago company The Seldoms was an evening-length work about Lyndon Baines Johnson. Carrie Hanson, director and choreographer, was inspired by Robert Caro’s biography of LBJ, and the piece combined photos, audio clips and spoken word with dance. Everyday gestures took on new meaning as the company’s six dancers all shared an intensity and forthright style.
Kats Photography
Magnum Opus
Kanopy Dance does an excellent job giving audiences a look back at early modern dance works, but they aren’t afraid to delve into imaginative new territory. This fall’s Beautiful Isolation, featuring two works from modern dance pioneer Anna Sokolow, was more enjoyable than the spring production of Baba Yaga, based on a Russian folk tale. But Baba had good moments (dancers costumed as fanciful trees and Brienna Tipler as a lovely Mystic Spirit). Zada Cheeks, Emily Shelton and Alaina Tae Keller did some especially good dancing this fall.
I was curious about Madison’s new Christian ballet company, Magnum Opus, founded by accomplished dancer Abigail Henniger, so I attended a preview of excerpts from Henniger’s Full Light, which is set to Handel’s “Messiah.” I appreciated the solid technical skills of the company’s six dancers. Standouts Henniger and Lexie Ehmann danced well together, and Henniger has a knack for creating pleasing shapes with the dancers’ bodies and exploring the nuances of the score.
The UW-Madison Dance Department celebrated its 90th anniversary and I was happy to see the final performance of their busy anniversary performance schedule this spring. This concert, which featured works created and danced by alums, faculty and students, made me appreciate their long history of producing excellent movers and thoughtful dance-makers.
UW professor Jin-Wen Yu also celebrated an anniversary in 2017. Page 20 marked his 20th year at UW. Sadly, it also marked the last time Yu will perform his solo work. In early December, UW dance students showcased their work in the annual Kloepper Concert. I predict big things for senior Kimi Evelyn. Her solo, John 3:16: Lost in Translation, was powerful and mature. Alice Svetic, Bailey Seymour and Kaitlin Verchimak are also promising performers and choreographers. Keep your eyes peeled for them in upcoming dance department shows.
