A DIFFERENT LIFECHANCE (THOUGH MUCH THE SAME)

Courtesy of Brooklyn Mack and his mother, as well as the facilitation of my coworker Katherine, Chimo and I happily attended the 2015 Lifechance, a celebration of dance, Mack, and the Columbia Classical Ballet, in which the Finlay scholars benefited as well. By a fortunate quirk of luck we were down on the ground floor and had wonderful seats and sight lines. Not only that, but I was able to park closer than I have ever been able to and we had just enjoyed a great dinner at Little Pig. Lucretia generously took time away from her son and friends to come over and chat with us after the show, which was special (no doubt people were wondering how we rated). Renata showed up and I got a hug; hadn't seen her in a while. Got to say hello to Myra. Missed out on seeing Zoltan, who is one of the few remaining dancers that I know personally. And afterwards the boy and I got sorbet/gelato in Five Points. A very nice night of entertainment indeed.

But it was a rather unusual Lifechance, with a small spate of irregularities. Before seating was announced I got a little doused when a Koger Center high-pressure waterpipe burst in the men's room. The sound people had troubles with their system (it was funny to hear someone yelling, "What's going on!"). Three dancers stumbled, a somewhat high rate for such a skilled group, though I know it happens sometimes. In fact, I am amazed it doesn't happen more often, as the physical demands of this art are incredible. I really felt sorry for them, though they all recovered as gracefully as possible. The corps only danced one selection (not counting the finale); there were fewer presentations, a total of seven; and we regretfully only got to see Brooklyn do his signature piece from Le Corsaire. If it were humanly possible, I suspect the crowd would wish to see him in every number. There was a recurring clothing malfunction that mightily entertained Chimo. Even Lee Lumpkin, although she was in attendance, didn't grace the opening as she so often has, welcoming the crowd and thanking supporters. I should say here that it is a great thing that the local hospitality tax provides money for the arts. There was, however, this faint feeling of familiarity, of downsizing, or maybe laziness. In fact, unless my memory is completely failing me, many performances seemed to be reprises. Perhaps it is difficult to offer new stuff in events such as this, especially during the strenuous regular season, and it is not unusual for dancers simply to do what they know best and have practiced the most. Still, alas. . . .

Nonetheless, the dancing was wonderful, as always, showcasing our great local company and dancers from elsewhere (Boston, Charlotte, Washington), many of whom are regulars on this stage at this event. The corps presented Etudes by Frederic Chapin, a beautiful but not too daring offering that frequent attendees will remember. The men in the corps seemed much shorter than in the past, not unexpectedly when there are so many Asian dancers, but they did a pretty good job. I loved the long lines of South Korean dancer Sehyun Jin, the delicate Sakura Oka from Japan; both lead Japanese male dancers were good, I thought. Many countries besides the United States were represented, including Canada, Hong Kong, and Hungary. Sadly I don't think there were any Brazilians or Russians. The only other performance in the first half was Tamas Krizsa and Mika Onuki's Last Days. Despite being forced to hold their opening pose for quite a while, they delivered their wonderful modernist piece. Though I like classical material, I also enjoy seeing modern stuff as well.

I think my favorite dance of the evening was Last Lost Chance, a beautiful, athletic, modern duet featuring Anna Gerberich and Pete Leo Walker. Krizsa and Onuki took a second turn, doing Together Apart (which I think I have seen before), and it was very nice. The always lovely Lia Cirio performed the White Swan Pas De Deux, and I seemed to concentrate on her delicate and distinct head and facial positions, as well as her hands. Delightful. She was partnered with Lasha Khozashvili. Ji Young Chi and Jeffery Cirio danced Flames of Paris. Finally, along with Ashley Ellis, Brooklyn took the stage for his adoring fans, displaying his athleticism and skill. Always a pleasure. He has been so generous to this community and we love him. This is a great annual event that deserves continued support.

LIFECHANCE 2014

It seemed to have warmed up a bit as the boys and I walked out of the Koger Center on Saturday night, no doubt a result of the hot dancing that went on inside as the Columbia Classical Ballet presented its annual Lifechance performance, this year supporting the Ray Tanner Foundation. What a smooth, delightful selection of dances. I was left wanting more---especially of Brooklyn Mack, our local dancing treasure, who enthralled his audience, as always. Not only did he participate in the larger group dances, but his short interpretive dance (I guess it is called) was beautiful as well. Columbia loves Brooklyn and you can feel the crowd buzz when he steps on to the stage. I don’t know most of the new dancers in this year’s rather large company, though there are a few old favorites such as Zoltan Boros, Sasha Vykhrest, and Matthew Waters. The company seems to have a decidedly Asian representation, with dancers from China, Japan, and Korea. The ballerinas were beautiful and lovely to watch, and the men were great too. There was a tall dancers who very much reminded me of Akari Manabe, who I much miss seeing dance, as well as many of the former dancers (who have now scattered all over the globe).

Some of last night’s dances were extremely nice. I really liked the fluidity of Tamas Krizsa and Maki Onuki’s “Together Apart.” Although Lasha Khozashvili looked too skinny to pull it off, he showed great strength and agility lifting and then moving the beautiful Lia Cirio (who has been a regular at Lifechance over the last few years), so she seemed to be floating, in “Giselle.” I especially enjoyed the modern piece (choreographed by Simone Cuttino), with the men barechested and wearing dark flowing skirts, and the crowd seemed to really enjoy it too. If I had any criticism it would have been nice to have a few different backdrops.

After admission there was a cute short featuring CCB dancers, not listed on the program I don’t think, featuring six in a comedy skit of gender-bending. Joey looked at me and said, “You wouldn’t get me out there doing that one.” But the crowd enjoyed it. In another dance, I think it was Kota Fujishima and Sakura Oka, they seemed like two tiny delicate flowers floating in “Flames of Paris.”

Overall, I really loved all the dances and the evening moved along at a brisk and pleasing pace. Been coming for years, often at the generosity of Brooklyn’s mom. I couldn’t see how many people were in attendance, but it looked like a pretty good crowd. I was surprised to find Coach Tanner standing by himself unmolested in the lobby and I thought I would get in a quick handshake, and we ended up chatting for probably ten to fifteen minutes, until his wife Karen joined us and others began coming up. They are really nice nice people. We talked about ballet (I think this may have been his first), Gamecock coaching and basketball, and a few other things. I was honored to have met him. Everyone knows what he means to USC sports, and also his charitable contribution to local children and homeless.

LIFECHANCE 2013

Was it me, or did this year's Lifechance, the charity event put on by Radenko Pavlovich and the Columbia Classical Ballet seem a bit shorter, a little rushed, than it has in the past? Even so, the performance tonight brought back to Columbia its favorite star, Brooklyn Mack, some regulars such as Lia & Jeffrey Cirio, and a host of dancers who provided both traditional and cutting-edge modern work. The crowd was quite big, it seems, and everyone was well entertained, and I think it shows the growing support for ballet in the city and state. And for me a special treat, because my friend Renata from Brazil, showed up and I always like seeing her. I hope she can bring Waldilei with her next time (I really miss them).

The night opened, as it usually does, with a work performed by the entire CCB. Dressed all in white, they danced "Etudes," a delightful piece that let everyone shine a bit. I especially liked Nana Yamatani. I may have the name wrong, but I also liked very much the dancing of Yukihiro Tamura. Some of the ones I know from the past---Edward, Lauren, Zoltan, Matthew, Sasha, and Christopher danced, and I even noticed that Nations has been promoted. Eight dancers later performed "Pulse," which was crisp and nicely done, kind of favoring a 40's dance hall, the women dressed in red.

Brooklyn, who just about everyone really comes to see, and coming off rave reviews and a neck load of medals from recent international competitions, did three pieces: a traditional turn with the lovely, talented Ayano Kimuro in "Grand Pas Classique;" a nice piece, titled "On the Way," which oddly enough I saw one of the Japanese dancers do about a month ago, and very well, and Brooklyn brought to his performance the strength and power we are familiar with (I was later told that this work is often used in competitions); and a piece he choreographed, "Lost in Time," an athletic, vibrant, energetic dance that wowed the crowd.

Lia Cirio and Sabi Varga presentes "Polyphonia Pas de Deux," parts one and two, a modern selection that emphasized their strength and precision, somewhat gymnastic in style, a bit dark, and the music a bit jarring. But they did a wonderful job. Maki Onuki and Tamas Krizsa also took two turns, the "La Ofrenda," which in style was similar to "Polyphonia, and a piece from "Giselle." Misa Kuranaga and Jeffrey Cirio finished the night with "Don Quixote."

Thanks to Lucretia for getting us tickets, and to Katherine for facilitating. It was a lovely night, and the boys and I had a great time, as usual. Soon enough, CCB may have to perform Lifechance on two nights!

LIFECHANCE 2011

As Radenko Pavlovich and the Columbia Classical Ballet have done for fifteen years, on Saturday night they reprised community favorite LifeChance (International Gala of the Stars), combining the presentation of a variety of styles which benefit both local dance followers and charity, in this case Big Brothers Big Sisters. The interesting dichotomy of classic performances and modern renditions were much appreciated by the large crowd, which was bigger than I have remembered. Almost all of the performers have danced here before. I wish there had been more dances, but we are so lucky to have this wonderful event every year. The crowd also reflected the fact that LifeChance (as are most CCB shows) is accessible to a wide range of patrons, from the well-heeled to families and students.

Most attendees, it seems, come especially to see hometown favorite Brooklyn Mack, presently of the Washington (D.C.) Ballet, who again did not disappoint with his athleticism, grace, and energy. The capitol crowd is lucky to have him up there; I could easily watch him dance all night. His selection from Lacrymosa was beautiful and inspiring, and elicited the usual enthusiastic response from the audience. Although my memory may be off, I remember seeing him dance the selection from Don Quixote before, but it was still great, especially his soaring, powerful leaps behind his beautiful partner, Maki Onuki, who is lovely and enjoyable to watch as well (sue me, cause I am a sucker for the Japanese ballerinas). Yet, despite my admiration and love of his work, I think Brooklyn seemed just a bit off, maybe a little tired, in some of his performace.

The show, however, belonged this year to the energetic dancing of Chanel DaSilva and Dylan G-Bowley, who especially wowed the crowd with Surrender. Last year I thought DaSilva slightly outshone her partner, but this time they were equally matched and highly entertaining. I remember seeing Wild Sweet Love last year, but it was likewise a crowd favorite. Their style is brisk, funny, and athletic; it reminds me of watching swing dancers from Harlem. Also returning to Columbia were Lia Cirio and James Whiteside, of the Boston Ballet, who combined traditional dance in La Bayadere with a little lighted flash in Indestructible (which my boys called Tron). I really enjoyed the elegant Lauren Ciobanu (with Joseph Walsh) in the selection from Madame Butterfly. Jeffrey Cirio (brother to Lia) was very good in Fleeting. Great Galloping Gottschalk by USC dancers Ashley Johannsen, McCree O’Kelley, and Ryan Thomas, was interesting, but in the choreography the guys didn’t seem to have much to do.

The CCB corps presented two nice dances, Essence and You Don’t Own Me. I thought both were well done, though not as spectacular as they could have been. Perhaps the outfits in the first dance could have been a little more exciting, but I loved the red on black of the second. Lauren Frere and Ivan Popov were featured in Essence, as well as in a piece of their own, Manon, which was theatrical. I thought the company did a good job, especially despite being robbed of practice time due to bad weather. Thanks to Myra for remembering me and the boys. My favorite memory of the night was watching Joey react to the dancers, occasionally turning to me and critiquing, “that was really nice” or “she didn’t seem to be trying too hard on that one.”

LIFECHANCE 2010

Tonight, Columbia was treated to a wonderful experience, a crowd-pleasing performance put on by the Columbia Classical Ballet and several guest artists from around the world. Lifechance: International Ballet Gala of the Stars not only gathers great dancers and offers fresh material to dance lovers of the Midlands, it raises money for charity, in this case for the Palmetto Health Children's Hospital Special Care Center. It also, I think, allows local dancers the chance to work with their peers, develop new skills, and form networking friendships that can be helpful down the road. Despite its size, Columbia does not lack for opportunities to see a wide range of dance, but this annual event (the fourteenth)---put on largely through the hard work of Radenko Pavlovich---brought together a diverse and accomplished group. This year's production was probably the best attended and most rewarding ever. Thanks to our good friend Renata Franco, the boys and I were treated to excellent seats and we left the auditorium inspired and thrilled. The Koger Center seemed to be practically sold out and the dapper crowd was in the mood for high-level entertainment and was very appreciative of the presentation. They came to see the best young dancers displaying their talents and they were not disappointed.

The star of the show was hometown favorite Brooklyn Mack, whose coach and mentor is Pavlovich, and he did not let down his legion of local fans. Although many of the male danceurs were excellent, when Mack steps----no, SOARS---onto the stage, he is a thing of beauty and energetically shows why he is such a sparkling talent. His jumps are tremendous, his enthusiasm infectious. He feeds off the crowd, and the Washington Ballet is lucky to have him as a principal. His Song for You, done to the music of Donnie Hathaway (one of my favorites) was wonderful, as was his duet with Grace-Anne Powers in Le Corsaire (though I think I would have liked a better selection of costumes for that one). Many times I heard people gasp in awe and comment positively on this jump or that move.

Not to be outdone by any measure, the corps of Columbia Classical Ballet gave three beautiful performances. While Satanella and Majissimo were delightful in every way, I was simply blown away by the job they did in Assassin's Tango. It was an absolutely delightful arrangement, and it had the crowd atwitter. I thought all six ballerinas and the six guys were great (and as always, the ladies were lovely). I must compliment the choice of costumes, especially the black outfits, in all three parts. The dancers were crisp and seemed to be enjoyed themselves. Lauren Frere and Journy Wilkes-Davis have become something of a pair on stage (they also starred together in the recent Nutcracker), and since both are tall and svelte, they match well in their duets. Of course, my favorites are Renata and Akari Manabe, but then again I am somewhat biased. Akari can simply melt you with her smile and Renata is a genuinely beautiful spirit. Kaori Yanagida (and I think Aoi Anraku, though I might be wrong) got the center stage in the first dance. DeeDee Rosner and Kaleena Burks were also great. I think the company really showed the crowd how lucky we are to have them here. Satanella was very good and set the tone for the evening. They can really be proud of their performance tonight. I may not be a ballet afficiando, but I was really impressed and pleased to have seen it.

I will not bore you with a detailed description of every guest performance, though I will say that they were uniformly excellent and each brought a different flavor to the banguet. We were treated to dances put on by five members of the Boston Ballet. Several really stood out. Lia Cirio and Sabi Varga's Tsukiyo pas de deux was sensual and impressive. Cirio is strong, almost feline, in her command of the stage. I thought there was a little too much arm movement in As One, but overall, she is impressive, as was her partner. Jeffrey Cirio, James Whiteside, and Whitney Jensen were also good.

Two dances given by members of the Trey McIntyre Project of Boise, Idaho, were crowd favorites and extremely well performed. Chanel DaSilva and Dylan G-Bowley's Wild Sweet Love was athletic and playful, and really got a rousing reception. G-Bowley's Nitelite was equally impressive. I would love to see Mack and DaSilva share the stage in a duet someday.

The adorable (ok, she's only thirteen) Alexandra Parsons of North Carolina danced two beautiful numbers and she definitely has a wonderful future ahead of her. Alexander Buber (of Belarus via Japan) was crisp and light in much of his dancing, and I enjoyed the Flower Festival at Genzano, with the lovely Kayo Sasabe. Much credit should be given to Sasabe, whose initial foray onto the stage was interrupted by a technical glitch; the crowd warmly applauded her return. Rounding out the first act were Meaghan Hinkis and Alberto Velazquez, from New York's American Ballet Theater, in Don Quixote, and I thought both were good, though Hinkis seemed to outshine her partner.

My only criticism was that too often, dancers standing in the wings had their shadows projected onto the backscreen, possibly by the lighting being at a bad angle or the performers standing too close to the stage. For example, it was disconcerting when G-Bowley was performing his modernist dance, to see the shadow of Parsons twirling behind him. Most people probably didn't even notice it, though.

Overall, I think the night was wonderful. I am delighted that my son dances with this group. I wish I was about twenty and could dance with them. Much thanks should be given to the cities of Forest Acres and Columbia for providing funds for the arts, because we are a much better community because of it.