The Roger Williams University Dance Theatre will present two works created from their participation in The National College Choreography Initiative Project: Danny Buraczeski's Repertory Etudes and his reconstruction of Jack Cole's Happy Endings Every Time. This unique collaborative project was selected for documentation by the National Endowment for the Arts and Dance /USA.
Other guest artist works are by Sean Curran of NYC and Christine Bennett and DeAnna Pellecchia of Boston.
April 11, 12, 13 at 8 PM and April 13 at 2 PM
RESERVATIONS: 401-254-3624 or 254-3623
Seating in this restored historic building is limited and reservations are highly recommended. Tickets will only be held until twenty minutes before the show.
Thanks to Kelli Wicke Davis for providing this information.
Department of Dance and Performance Studies, Roger Williams University, Bristol Rhode Island 02809
The Roger Williams University Dance Program (in collaboration with Brown, Providence College, and RIC) was awarded a grant from the National College Choreography Initiative to work with Danny Buraczeski's JAZZDANCE for a period covering three months. Dancers learned two works: the legendary jazz master, Jack Cole's Happy Endings Every Time and Danny Buraczeski's Repertory Etudes. The first is a reconstruction and translation from the film On the Riviera to the stage. During Thursday's evening performance, the Four College Dance Company (the original cast to learn the Cole piece) will perform. The RWU cast will complete the other performances of Happy Endings Every Time. Repertory Etudes is a synthesized representation of Mr. Buraczeski's Blues, Swing, and Cool Jazz style. It is structured in duet form with three sections and restaged for eight dancers by company director, Kelli Wicke Davis.

Danny Buraczeski, choreographer and director of JAZZDANCE in Minneapolis, is considered one of America's leading jazz choreographers who has a deep appreciation for the country's jazz music heritage. After a career on Broadway, he formed his original company in NYC and toured the US, Europe, and Caribbean. He relocated his company to Minneapolis where he continues to teach, tour, and perform.

Sean Curran of Sean Curran Company, returned to the campus in March for a crash course in choreographic creation. As part of the experiment, the thirty-three dancers involved had less than twenty-four hours to learn Mr. Curran's quirky and demanding thirteen minute Visceral Games. There are six sections entitled: Pedestrians, Mountain, Swarm, Abstract, Unison, and Signatures. Beginning as a tight structured improvisation that depends on the watchful intention of each performer, the work progresses to tighter space designs.

Mr. Curran is a frequent guest artist in the RWU dance program. He is one of the original members of the NYC Stomp cast and choreographed the Broadway hit, James Joyce's The Dead. He and this company tour extensively throughout the US and the world with recent performances in March at The Duke on 42nd Street.

Christine Bennett of Bennett Dance Company in Boston set A Brand New Form on the Dance Theatre. The work is a theatrical and mechanical piece for twelve performers. A variety of appliances and cell phones are used to manipulate the bodies creating an edgy, disjointed quality. Music is by PJ Harvey and Brian Eno. In Chicago, Christine Bennett performed with Urban Dance Urban Music, Kast & Co., and Hegwig Dances. She has also performed throughout the Northeast and Russia with Paula Josa-Jones Performance Works.

Corrida de Toros suggests the tension that builds in the ring of a bullfight. Boston choreographer and RWU dance program graduate, DeAnna Pellecchia, has the dancers moving and fighting within the prescribed circle. Using elements of karate, capoiera, and ta'i chi, she creates opponents for the performers which are both real and imaginary. Ms. Pellecchia is a performer with the Bennett Dance Company and tours nationally with Paula Josa-Jones Performance Works.

Faculty member, Gary Shore has created the humorous We Don't Like You: A Lecture Demonstration. A parody about the pretentiousness of modern dance and dancers, Mr. Shore reconstructed the work from an original piece set on Providence's Groundwerx Dance Theater called Convoluted Appeal. With text and a multitude of boom boxes, the performers present their demonstration with "arrogance and elitism" and a funny disdain for the audience.

Kelli Wicke Davis, company and program director, presents 848, a trio set to a Philip Glass score. Though abstract in nature, Davis created the work after the events of 9/11 and her memory of volumes of paper and dust and images of people choosing to leap from the windows. In the dance, three women, in dresses and heels, move together in common daily actions. The movements build to a frenetic pace with each of the women falling and leaping trying to find a direction. At the end of 13 minutes, they are forced to make a choice, which will effect their future. Ms. Davis uses the concept of rituals, gesture, and explosive movements to create a heightened tension for the viewer.

Deborah Nash at
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