Laurie Anderson: All Things I Lost in the Flood – The Wallis Annenberg Center for the Performing Arts

April 20

Performance artist Laurie Anderson brings his one-woman show to the Wallis Annenberg Center as part of the Library Foundation of Los Angeles’ ALOUD Present Program. During the course of the evening Anderson will take the audience through the trials, tribulations and successes and failures behind many of her creative endeavors through the years.

In addition to this appearance, Anderson has just released a new CD entitled Landfall. On the recording she collaborates with the Kronos Quartet.

Complexions Contemporary Ballet – Dorothy Chandler Pavilion

April 20-22

This two part program begins with a brand new work called Bach 25. It not only features the work of Johann Sebastian Bach, but in these performances in Los Angeles, the company will be joined by Complexions co-founder Desmond Richardson.  The second part of the program is Stardust a 43-minute “Ballet Tribute to David Bowie.” Both works were choreographed by Dwight Rhoden. We spoke to Rhoden about Bowie, Richardson and the work of Complexions. You can read that interview here.

Alvin Ailey American Dance Theatre – Segerstrom Hall

April 20-22

Nine different works will be performed by the Alvin Ailey American Dance Theatre during their shows at the Segerstrom Hall in Costa Mesa. Amongst them are Stack-Up, Mass, Ella and In/Side. The choreographers represented include Alvin Ailey, Robert Battle, Talley Beatty, Twyla Tharp and Billy Wilson. The music includes works by David Byrne, Ella Fitzgerald, Earth Wind and Fire and Nina Simone.  We spoke with dancer Yannick Lebrun about his work with the company. You can read the interview here.

Belleville – Pasadena Playhouse

April 22 (official opening) – May 13

In Amy Herzog’s taut 90-minute play, an American couple living in Paris, newly married, finds their relationship is already starting to crack. Can the newlyweds withstand the pressures they are facing? Do they really know each other well? And what do they make of their neighbors who are also their landlords? Thomas Sadoski (Life in Pictures and the Broadway production of Other Desert Cities ) and Anna Camp (the Pitch Perfect movies ) star as the couple. Moe Jeudy-Lamour and  Sharon Pierre-Louis are the neighbors. Jenna Worsham directs.

Our Name Is Barbra – Catalina Bar & Grill

April 22nd

This annual fundraiser for Project Angel Food is celebrating its 20th year of singing the songs of Barbra Streisand. With 35 studio albums, 9 compilations, 7 live records and 15 soundtracks, it’s no wonder an event like this can last 20 years. Amongst the performers this year are Andrea Marcovicci, Ilene Graff & Ben Lanzarone, Artie Butler, Melanie Taylor & Terry Wollman and Kiki Ebsen. And if you think maintaining a fundraiser for 20 years is a big deal, just check out this little note they received last year:

Colburn Gala Concert – Walt Disney Concert Hall

April 22nd

When conductor Michael Tilson Thomas recently performed with the San Francisco Symphony at Walt Disney Concert Hall, it was his last performance with the orchestra in Los Angeles before the end of his time with that organization. What wasn’t mentioned is that it wouldn’t be his last performance this year. Though he isn’t conducting his own orchestra, he will be leading the Colburn Orchestra in a performance of Mahler’s Symphony Number 1 in D Major, “Titan” at their Gala Concert on Sunday night.

In addition to stepping on the podium for this concert, Tilson Thomas will be receiving the 2018 Richard D. Colburn Award. Also being honored this year is architect Frank Gehry.

Colburn Orchestra Photo by Matthew Imaging

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There are nearly 3,000 miles between French Guiana and New York City. And there’s a lifetime of difference between the two. Just ask Alvin Ailey dancer Yannick Lebrun. The 31-year-old grew up in the former and now lives in the latter. He’s traveled the world as one of the premiere dancers in the world today. When the Alvin Ailey American Dance Theatre settles in for a series of shows at Segerstrom Hall on Thursday, Lebrun will be featured in two major pieces.

The first piece is In/Side – a solo work choreographed by Robert Battle, the artistic director of Alvin Ailey. The second piece is an ensemble work entitled Stack-Up choreographed by Talley Beatty in which Lebrun has a main role.

I spoke with Lebrun by phone about his life, career and his work with Alvin Ailey.

You told TimeOut Magazine that dance wasn’t something people did in French Guiana. What was it like learning dance there under those circumstances?

I was being general. Of course we have some small schools. We didn’t have a big performing arts center. We don’t have huge theatres or schools. In that way, dance is not very developed. But I trained in a very small studio with a very passionate teacher. It was hard sometimes because not everybody understood the importance of dance and the art form in French Guiana. Now it’s better because more and more kids are involved in dance.

Did your success pave the way for a greater understanding and appreciation of dance there?

Mine, but also a couple of other students who have achieved a very high level of dance in France and also in New York or Los Angeles. We have local politicians and when I say the government, we belong to the French. Our government is the French government. The local institutions are now understanding that it is something that people can have a career in.

How did you first become aware of Alvin Ailey?

When I was younger I was doing a lot of dance competitions in all the French regions and in France or overseas in the Caribbean. The late Denise Jefferson came to Martinique and she noticed me at the age of 14. [Jefferson was the Director of the Ailey School. She passed away in 2010.]  This is when I was able to receive a scholarship for a summer intensive. I discovered the scale of Alvin Ailey, the Graham technique and others I was not familiar with. I was able to work with different choreographers and teachers that inspired me to become a professional dancer. I didn’t want to go to Paris and be in a ballet company. My goal was to be an Ailey dancer after those beautiful experiences I had as a young boy.

What excites you most about doing Stack Up? [This piece is set in the 1970s in Los Angeles, it depicts the collision between two lovers and a drug dealer.]

Wow…it’s theatre! I sometimes wish we did more of that. This is a huge accomplishment for me. I’m able to fully dance but also act on stage. I really have to get into the character and really tell the story. Telling the story is a big deal and it really excites me. To see the response from the audience that they enjoyed it, they get it, they loved it, it’s really a great feeling. And it’s a classic. 

You don’t have a lot of downtime in that piece. How do you maintain your energy level?

My part’s very constant. It’s a very taxing role. It’s a very emotional, physical role and it is challenging. I remind myself that first of all I have to breathe. I cannot start at 200%. I cannot even start at 100%. It is that crazy. To maintain a high level of dance and also be clear with my delivery, I cannot start that high. The intent will be high, the clarity, the shapes, the emotions will definitely be high.

In/Side is the flip side of that. It’s a solo number created in response to the AIDS epidemic. How do you find a personal connection with so intimate a piece?

I create my own story. I let myself go with the beauty of Nina Simone’s voice. [The piece is set to her recording of “Wild Is the Wind.”] Her voice has the ability to make you cry. It’s that deep for me and her tone for me, the depth. This is how I create my own connection. I also try to think about everything I’m going through and the things I grew up with or people I met that I’m close with.

Donald McKayle, one of the first black men to weave the African-American experience into dance and to choreograph a Broadway show just passed away. What influence did he have on you?

He was a huge figure in the world of dance. In the world of African-American dance and world dance. I wish I had performed some of his work. I hear stories about this ballet, Rainbow ‘Round My Shoulder, and how challenging it was. I never was in a studio with him. I wish I had the opportunity. 

We’ve heard a lot about #MeToo issues in dance. How prevalent are race issues?

I believe there is still progress to be made. We need this country to definitely make bigger steps so that racism doesn’t become a problem when it comes to the arts. There should never be any kind of discrimination in any art form. I believe this is why this company is beautiful because we are so able to embrace people from different cultures and backgrounds. We show the world how beautiful humankind can be and what we would love the world to be.

What do you think that young man just starting to take an interest in dance would think of the man you are today?

Wow. You trusted your instincts. You had the guts to go for something that was impossible. You followed your passion. I am really proud that I followed and I trusted my instincts and went with what I love and went with my passion and my art. The young man would also think you did the right thing.

Production Photo by Paul Kolnik.

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