‘Ballet, Brass & Song’
Chamber Dance Project
Sidney Harman Hall
610 F St., N.W.
In an airy white rehearsal studio in Northwest Washington, Luis R. Torres smiles through the sweat. He laughs as he easily switches from Spanish to English teaching two young male dancers their parts for a piece in Chamber Dance Project’s upcoming fourth-season program “Ballet, Brass & Songs.”
“It’s work but there’s a lot of joy in the process,” says Torres, 42. He first danced with the company and now is its ballet master. His duties include restaging choreography, rehearsing the dancers and ensuring pieces have the right count, musicality and style. Today he’s restaging the New Orleans-inspired “Rue Noir” by New York choreographer Jennifer Archibald.
Founded by choreographer Diane Coburn Bruning, Chamber Dance Project is a company of professional artists dedicated to redefining contemporary ballet in partnership with live music played by visible musicians sharing the stage. Their upcoming performance takes place at Shakespeare Theatre Company’s vast Sidney Harman Hall, giving the ingenious and thrilling company the opportunity to perform for their largest audience to date.
Torres, who is gay, first connected with the company’s artistic director Bruning when he was completing a master’s degree at George Mason University. He restaged some of her choreography after having seen the piece on video. Bruning was mightily impressed. Soon after, she asked Torres to dance in her male duet “Exit Wounds,” a piece first performed early in Chamber Dance Project’s meteoric four-year tenure, and then hired him as the company’s ballet master.
“Luis is brilliant at what he does,” Bruning says. “He allows me to focus on the choreography while he takes care of the mechanics. He’s the master of all things related to dancers partnering. He’s the skeleton behind my ideas. It’s been a great collaboration.”
“Ballet Brass & Song” features the premiere of “Songs by Cole”, a ballet with a live jazz trio performing the beloved music of Cole Porter; sultry tangos of Sur by Argentinean choreographer Jorge Amarante; and the soaring athleticism of the poignant male duet “Exit Wounds” by Diane Coburn Bruning; and the aforementioned “Rue Noir.” The onstage music includes the company’s string quartet, Mosche Brass Band and a jazz trio led by acclaimed singer Lena Seikaly.
“The Cole Porter piece is a reaction to a contemporary driving work I did last season,” Bruning says. “It was time for me to do something on the lighter side. But I also wanted to include his wit and incisive intelligence.”
For Torres, Chamber Dance Project is a month of intense rehearsal leading up to its annual program, but the job also entails promotions and the various events throughout the year. Torres is also an adjunct professor at George Mason University and a guest teacher and choreographer in many locations around town, and he is a company member and ballet master at the Washington Ballet. Before the Washington Ballet, he was a soloist with Ballet Theatre of Maryland in Annapolis, Md., and performed soloist and principal roles with Ballet Arizona.
He says restaging other choreographers’ work never gets old.
“To keep it fresh I go to the music. I love music. It’s the main reason I dance and I want to translate that excitement. Chamber Dance Project is contemporary dance at its finest. We invite dancers with top-notch classical training who are interested in exploring space and movement to the next dimension with live music. Our dancers may be on point or wearing sneakers or cowboy boots. It’s my time to think outside the box and to create a new image or feeling. I’m explaining to dancers how to approach the work and break through despite misgivings they have.”
Torres began ballet training in his native Puerto Rico under the direction of Elizabeth Calero when he 16. After a several years he was awarded a scholarship to Point Park University in Pittsburgh where he trained under Roberto Munoz who was to become Torres’ longtime mentor
“When I first dancing I was teased. Kids said I was gay. I’d say ,‘Tell me something I don’t know.’ My family was accepting of my sexuality so it wasn’t a big deal,” he says. “I think the stigma associated with boys dancing grows less and less.”
He says his identity informs his work.
“I create from my experience, my hurt, my judgments, and from who I love. Like all artists my work definitely reflects my life. I’m also influenced by the gay community’s struggles which are increasing under the Trump administration.”
Dance is hard on the body. Over the years Torres suffered myriad injuries including fractures and two hip surgeries.
“The body is like a car. It doesn’t go as fast as it used to. But this allows me to focus on other things like how you move and what you’re saying with your body. And while a dancer’s time is limited, I can be ballet master so long as I have memory and a voice.”
Queer actor on new role: ‘Playing villains is a blast’
Jaye Ayres-Brown returns as a contemptible Londoner in ‘Red Velvet’
Through July 17
Shakespeare Theatre Company
Michael R. Klein Theatre at the Lansburgh, 450 7th St., N.W.
After a five-year absence from the stage, actor Jaye Ayres-Brown (queer, gender fluid, non-binary, and trans-femme) returns to the boards as a contemptible cisgender Londoner in playwright Lolita Chakrabarti’s “Red Velvet” at Shakespeare Theatre Company’s Klein Theatre.
Possessed of presence and genuine warmth, Ayres-Brown, 27, is playing Charles Kean, the smug and dubiously talented son of legendary English actor Edmund Kean. Charles is also the essential antagonist in Chakrabarti’s exploration of the life and career of renowned early 19th century African-American Shakespearean actor, Ira Aldridge (Amari Cheatom).
When Aldridge is tapped to play Othello on the London stage, Charles, who’s slated to act opposite the star as evil Iago, quits the show. It’s 1833 and Charles is deeply opposed to a Black actor playing a Black lead character, and he’s even less pleased that his real-life fiancée Ellen Tree (Emily DeForest) is assaying Othello’s romantic obsession Desdemona in the production.
Offstage, Ayres-Brown is Aldridge’s biggest fan: “He was way ahead of his time. A hundred years before Stanislavsky, Aldridge was introducing a proto naturalist approach to acting. In retrospect, it’s hard to disentangle the public’s reaction to him. He was something so different. But were white audiences reacting to his innovative acting style or were they showing their racial bias?”
“In the play, I’m that bias,” says the New York-based actor.
WASHINGTON BLADE: Joan Crawford famously said, “I love playing bitches. There’s a lot of bitch in every woman — a lot in every man.”
JAYE AYRES-BROWN: Oh yeah, playing villains is a blast. Ira Aldridge was such a spectacularly heroic person, an amazingly gifted and resourceful artist, he deserves a good villain to push against, a meaningful villain who makes us admire the hero even more. And Amari [Cheatom], the actor who plays Aldridge, is a great artist who deserves a strong antagonist too.
BLADE: Are you enjoying your stay in London 1833?
AYRES-BROWN: No, I hate it! But my character loves it. Charles enjoys tremendous privilege – racial and professionally. He’s a cisgender white supremacist committed to the patriarchal power structure of the time. But me, Jaye as a person, is less than charmed by it.
BLADE: But aesthetically, it’s quite fine?
AYRES-BROWN: Yes, You-Shin Chen’s sets are impeccable, and the period costumes are beautifully rendered by Rodrigo Muñoz. Sometimes, I do feel a little bit like a drag king in Charles’ attire. It’s a performance of masculinity.
I have an expansive experience of gender in which I include masculinity and I think I have something interesting to say and a unique perspective. Language about gender nonconforming identity didn’t exist in 1833, but the people existed, getting by the best way they could. Everyone was either a man or a woman. Who knows today how any of these characters would identify?
My objective is to cram as much humanity in the character as I can. The play is deeply considered with questions about who gets to play what roles. And I try to bring as much of myself to each role regardless of their gender.
BLADE: Charles is very far from who you are?
AYRES-BROWN: For me, the work of playing a character like this is derived largely from the racist lessons all Americans learn. The stereotypes are things that I’ve been exposed to as someone who grew up white in America. There’s the initial desire to distance and highlight contrasts, but ultimately you must mine your own experience even if it’s uncomfortable.
BLADE: How is it to be working in live theater again?
AYRES-BROWN: Like Christmas morning! It’s my first play in five years, and still my training kicks in. I re-balance on my bike and it’s like I’ve never stopped riding. But mostly, I’m trying to have as much fun as I can.
BLADE: And how was working with young director Jade King Carroll?
AYRES-BROWN: Wonderful! The play deals with some difficult moments, harmful language and ideas. Jade created a space in our rehearsal room where people could be playful while engaging with that. Dealing with concepts of history requires the seriousness it demands, but there’s also a need for humor and lightness, and Jade made that possible.
BLADE: Any thoughts on “Red Velvet” being stuck in time?
AYRES-BORWN: No, I think this play is a shockingly contemporary telling of a lost history that feels overwhelmingly resonant as it’s related to identity politics and the push for representation. I hope the audience sees a period but appreciates the present-day dynamics, discussions, and language. It’s also surprisingly human and very entertaining. To me it’s a very funny show. Anyone interested in laughing at posh British folks being stupid might agree.
Be prepared to clap for ‘Nollywood Dreams’ at Round House
Theatergoers asked to play audience of Nigerian chat show
Through July 3
Round House Theatre
4545 East-West Highway, Bethesda, MD 20814
If you see “Nollywood Dreams” at Round House Theatre, be prepared to clap a lot, whether you like it or not. For almost a third of Jocelyn Bioh’s 100-minute-long comedy, theatergoers are asked to play the audience of an Oprahesque Nigerian chat show with a big personality host and large projected words (cheer, applause) prompting the house to make lots of noise. It’s tough not to comply.
Set in ‘90s Nigeria, it’s all about Nollywood, the nickname for the Lagos-based film industry that ranks above Hollywood and second only to India’s Bollywood in the number of films produced annually.
Decked out in fabulous traditional attire, the spirited finger-snapping TV host Adenikeh (Jacqueline Youm) leads with niceties before going in for the kill. Her big-name guests prove central to the story: director Gbenga Ezie (Yao Dogbe) recently returned home from America and looking to make a Nollywood hit; gorgeous veteran star Fayola (Yetunde Felix-Ukwu), who’s counting on a comeback to revive a slipping career; and Wale Owusu, Nigeria’s “Sexiest Man Born,” played by the faultlessly cast Joel Ashur.
Glued to the TV in the office of the family travel business, sisters Dede and Ayamma Okafor (played by Renea S. Brown and Ernaisja Curry, respectively) faithfully watch Adenikeh’s eponymous program, breathlessly taking in every Nollywood scoop and subsequent development. While elder sister Dede is content to swoon over male pulchritude, Ayamma has aspirations to be more than a fan, she wants to act. When director Gbenga holds an open casting call to find a fresh face for his new love triangle romance, “The Comfort Zone,” she grasps at the chance.
A broad comedy broadly acted by an appealing cast, Bioh’s storyline is predictable, a Cinderella story without surprise. It’s a loud world seemingly inhabited by stock characters – the heartthrob, a shady film auteur, an aging film actress, squabbling sisters – but despite all, they aren’t without nuance. The characters prove dimensional and worthy of some investment.
Also, along with the over-the-top comedy, Bioh’s work refreshingly shows an Africa that isn’t always presented on stage. People’s dreams, desires, and relationships are set against a bustling urban sprawl culturally glued together by the cult of celebrity.
The action plays out on Jonathan Dahm Robertson’s terrific revolving (sometimes dizzyingly so) set made up of three locales — the travel office, daytime TV set, and Gbenga’s well-appointed Nollywood Dreams Studio (with the outsized signage to prove it). It’s an energizing and memorable design.
Brandee Mathies’s costumes are almost a show in themselves. Exuberantly colorful, they cleverly bring together traditional garb and western silhouettes with joyful flourishes of Nigerian flare. The showbiz folks are costumed, well, showier. It’s short skirts and glittery stilettos for fan favorite Fayola, long touted for her Tina Turner legs.
A Ghanian-American writer, playwright and actor, Bioh grew up on Nollywood flicks. In fact, “Beyonce: The President’s Daughter” (2006), one of her favorites, was an inspiration for “Nollywood Dreams.” Her debut work “School Girls; Or, the African Mean Girls Play,” an entertaining tale of teenage trials and tribulations set at a boarding school in provincial ‘80s Ghana was a great success for Round House in 2019.
And at the helm of Round House’s current offering is Theater Alliance’s producing artistic director Raymond O. Caldwell. As gay, Black, and Asian, Caldwell sometimes refers to himself as third culture. In this instance, the Helen Hayes-winning director has heartily plunged into Bioh’s vision and with relish and created a piece rife with fun and feeling.
‘Atemporal’ explores intersection of misdiagnosis, identity
Sianna Joslin to star in D.C.’s latest one-person show
At age 16, Sianna Joslin learned they had a disability. They were diagnosed with temporal lobe epilepsy, a disorder associated with seizures caused by the excessive release of electrical signals from some of the brain’s nerve cells. It would not be until a decade later they found out that, from the beginning, they had been misdiagnosed.
This unexpected discovery spurred a period of deep self-reflection, Joslin explained. When coming to terms with her initial diagnosis, she created a 20-minute standup show entitled “Temporal,” discussing disability and sexuality. This July, she plans to circle back to her first performance with a new, autobiographical one-person show: “Atemporal,” which explores misdiagnosis, disability, trans identity and grief.
“I just naturally gravitated towards the idea of having another show about it,” she explained. “It’s kind of a requiem for the version of myself that I had built out of this trellis of having a disability.”
The show delves into their experience navigating relationships with both disability and gender identity, following Joslin’s discovery that they were non-binary in the years following their diagnosis.
“When I got off my epilepsy meds, I realized that I was experiencing some form of gender dysphoria,” they said. With “my brain kind of resetting, I viewed myself in an entirely different way. There’s so many different intersections between disability, sexuality (and) gender identity.”
In the performance, Joslin also looks at the experience of losing her father, and the grief that came from the experience. She never came out to him before his death, which complicates her experiences with memory and identity. The show also opens and closes with musical performances, tapping into Joslin’s lifelong passion for music.
“Having done a similar show before, I know that it’s emotionally draining,” Joslin noted. “But it’s so worth it at the end to be able to share something that’s so personal.”
Joslin hopes that those who do not hold identities examined in the performance — be they cisgender, straight or able-bodied — will be able to learn about experiences that differ from their own. And, perhaps more personally, they want those who relate to experiences outlined in the show to know that they are seen.
“Having been diagnosed with epilepsy for a decade is not something that happens every day,” she said. “The individual experiences that I’ve had going to a club and not being able to look at the strobe lights or going to a concert and having to wear sunglasses, that impacts a lot of people with epilepsy.”
“This is something that a lot of people experience,” Joslin added, “and we can get through it together.”
“Atemporal” will be performed in 3 Stars at 3270 M St. NW, Washington, D.C., on July 15 at 9:30 p.m., July 16 at 2:15 p.m., July 17 at 7 p.m., July 23 at 5 p.m. and July 24 at 6:30 p.m.
The show takes part in the 2022 Capital Fringe Festival, a series of shows hosted by local arts nonprofit Capital Fringe. Tickets can be purchased for $15, and more information can be found at the Capital Fringe Festival website or the show’s webpage.
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