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gloria
(World Premiere: October 20, 2012)
Robert Garland, Choreography
Francis Poulenc, Music
Pamela Allen-Cummings, Costume Design and Execution
Roma Flowers, Lighting
“Gloria in excelsis Deo”
The Company
“Laudamus te”
Michaela Deprince, Samuel Wilson,
Jenelle Figgins, Taurean Green
“Domine Deus, Rex caelestis”
DA’ VON DOANE
ASHLEY MURPHY
Chyrstyn Fentroy, Lindsey Pitts, Ingrid Silva,
Stephanie Williams, Frederick Davis,
Dustin James, Francis Lawrence, Anthony Savoy
“Domine Fili unigenite”
Chyrstyn Fentroy, Lindsey Pitts, Ingrid Silva, Stephanie Williams
Frederick Davis, Dustin James, Francis Lawrence, Anthony Savoy
“Domine Deus, Agnus Dei”
ASHLEY MURPHY
DA’ VON DOANE
Michaela Deprince, Samuel Wilson,
Jenelle Figgins, Taurean Green
“Qui sedes”
The Company
Harlem has rich cultural legacy that includes music, (jazz, hip-hop),
and literature (the Harlem Renaissances’ Zora Neale Hurston and
Langston Hughes to name a few). Not as well known, but equally
vibrant, is its spiritual legacy. Gloria stands as a tribute to that history
and legacy that still abides in the community of Harlem.
The choreographer dedicates this work to the Abyssinian Baptist
Church in Harlem, and its current Pastor, the Reverend Calvin Otis
Butts III.
Gloria was developed in part at Vineyard Arts Project: Ashley Melone,
Founder and Artistic Director.
The children performing in this piece are appearing courtesy of Sacramento
Ballet.
Pause
when love
(World Premiere: October 2, 2012)
Helen Pickett, Choreography
Philip Glass, Music
Charles Heightchew, Costumes
Gary Kleinschmidt, Original Artwork for Fabric
Mark Stanley, Lighting
Kellye A. Sanders, Assistant to the Choreographer
EMIKO FLANAGAN, DUSTIN JAMES
Insistent time maps our days. But when we are in love we surrender
to unbridled time. What we share together during this span seems
“out of time.” And then, too suddenly, time shifts into focus again.
An imprint of what we shared lingers, and traces of remembrances
float into view. Yes, we crawl, walk, run and love in time. But in
these brief, wondrous periods we experience timeless love, and we
dance our being.
—Helen Pickett
Music: Knee 5 from Einstein on the Beach
The choreographer wishes to thank Thomas F. DeFrantz.
When Love was created as part of Harlem Dance Works 2.0, and was funded
by the Rockefeller Foundation.
Intermission
the lark ascending
(World premiere: 1972)
(Dance Theatre of Harlem Premiere: October 2012)
Alvin Ailey, Choreography
Elizabeth Roxas Dobrish, Staging
Ralph Vaughan Williams, Music
Bea Feitler, Costumes
Chenault Spence, Lighting
GABRIELLE SALVATTO, FREDRICK DAVIS
Jenelle Figgins, Taurean Green
Emiko Flanagen, Stephanie Williams, Alexandra Jacob, Lindsey Pitts
Anthony Savoy, Dustin James, Jehbreal Jackson, Francis Lawrence
To Vaughan Williams, with his intense love of the English countryside
that he knew in his youth, the lark represented the heart’s rapture
and the soul’s aspiration. A miniature violin concerto in all but
name, the composer called it a “Romance” when he completed it in
1920, after beginning it before war broke out in 1914. The violin rises
and soars aloft above a delicate orchestral accompaniment, followed by
a short folk song-like middle section, and then the soloist again takes
wing. Some lines from a poem by George Meredith are inscribed on
the score and aptly define the music’s rhapsodic character:
Singing till his heaven fills
Tis love of earth that he instils
And ever winging up and up
Our valley is his golden cup
And he the wine which overflows
To lift us with him as he goes.
(Poems and Lyrics of the Joys of Earth by Noel Goodwin)
The restaging and performance of The Lark Ascending has been made possible
by the National Endowment for the Arts as part of American Masterpieces: Three
Centuries of Artistic Genius.
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