The history of the leading figures of American modern dance can sound like lines from the Book of Genesis. Senior choreographers nurtured company dancers who in due course became choreographers in their own right. To adapt the King James Version, Ruth St. Denis and Ted Shawn begat Doris Humphrey and Martha Graham; Humphrey begat José Limón while Graham begat Merce Cunningham and Paul Taylor; Mr. Taylor begat Twyla Tharp. ...
Usually, however, the next generation has substantially rejected its progenitors’ achievements. There have been exceptions: notably, Limón kept the Humphrey repertory going. The new Paul Taylor’s American Modern Dance project is an effort, as yet half-baked, to include choreographers older and younger than Mr. Taylor; so far it exhibits vague ideas of taste rather than any actual lineage. Lineage, however, is the overt subject of the project started at the Joyce Theater this week by the choreographer Stephen Petronio. Hence its name: “Bloodlines.” It’s as admirable as it is ambitious.
On Saturday, April 18, Prospect Avenue’s Kenilworth Building will open its doors to the public for its annual family friendly, interactive show-and-tell event, Kenilworth Open Studios (KOS). From 11 a.m.-2 p.m., all six floors will be teeming with 100-plus of UW-Milwaukee’s best and brightest eager to share the ways they are changing the world with art and technology.
Built by the Ford Motor Company in 1914, the Kenilworth Building passed into Uncle Sam’s hands during World War II to function as a munitions factory. Later, after a stint as General Motors’ Spark Plug Division, the building was acquired by UWM and served primarily as a storage warehouse until being refurbished and repurposed in 2006: half to be used as dorms and half to house faculty and graduate students studying art and design, theater, dance, film and music.
MILWAUKEE (WITI) — The season finale of FOX’s hit drama “Empire” promises to have millions glued to their televisions Wednesday, March 18th. And for this, a Milwaukee native says he’s grateful, since he has more than a little something to do with the show’s success!
Eric Haywood is a former UW-Milwaukee film student, and he’s now a writer for “Empire.”
“We started writing the show over the summer — back in June,” Haywood said.
University of Wisconsin-Milwaukee student Kathryn Henry did not win the national Metropolitan Opera audition competition Sunday, but the 22-year-old vocalist achieved every other possible goal in the competition, including singing on the Met's stage with the Met orchestra.
Nine vocalists, out of more than 1,500 singers who competed at local district levels, sang two arias each in the finals concert Sunday in New York. The judges named five winners.
"I'm just so lucky to have (had) the opportunity to be a finalist," Henry said in a phone interview.
But that was just a quick look-see for Henry and other semifinalists in the national Met Auditions competition. When she returned later that day to sing, the University of Wisconsin-Milwaukee senior, who recently turned 22, nailed her two arias. The Met judges named her one of nine finalists, winnowed down from more than 1,500 singers who began competing months ago at district levels.
When she walked back on the Met stage, Henry said in a phone interview Monday, she no longer felt nervous. "Thankfully, my body recognized" she had a job to do, and she did it, Henry said.
University of Wisconsin-Milwaukee senior Kathryn Henry on Sunday advanced to the finals of the Metropolitan Opera auditions.
The soprano from Sheboygan, who sang "The Jewel Song" from Charles Gounod's opera "Faust" and the aria "O mio babbino caro" from Puccini's "Gianni Schicchi" accompanied by piano, will compete against eight others on Sunday. A major steppingstone to a career as an opera singer, the grand final auditions will be performed on the Metropolitan Opera stage with the full opera orchestra. She will spend this week preparing for the finals with the help of Met musical and dramatic coaches.
Henry, 21, advanced from the Wisconsin District competition to the Upper Midwest regional, which she won in January in St. Paul, Minn. She was one of 20 semifinalists out of around 1,500 singers competing throughout the country.
UW-Milwaukee Peck School of the Arts’ theater, music and dance departments joined forces March 4-8 to bring audiences a captivating performance of Little Women: The Musical. The intimate Five-0-Eight Theatre was a perfect location for the show, which delves into the close bond between sisters, the journey of falling in love and societal expectations during the 1860s.
Bernard Perley is a professor of anthropology at UW-Milwaukee with a degree from Harvard. But he is also an artist who has been creating art since he was a child. His mother could tell stories about how much he loved art as a young boy, about his favorite blue truck and how he would make illustrations of it in his sketchbook. She supported his art whole heartedly, making sure he always had a sketchbook and saving all his drawings.
Don't look for Danceworks Performance Company this weekend in the ensemble's usual performance space. DPC opened a weekend of performances Thursday evening in the Next Act Theatre space on S. Water St.
The program, a multimedia feast entitled "Breathe," featured members of the company and a hefty roster of guest artists.
"Breathe," which ranged from solo and small ensemble pieces to a stage-filling finale, featured the work of DPC members Alberto Cambra, Kim Johnson, artistic director Dani Kuepper, Gina Laurenzi, Liz Tesch, Christal Wagner, Jöelle Worm, Andrew Zanoni and Liz Zastrow. They were joined by guest dancers Joe Fransee, Elizabeth Johnson, Kym McDaniel, Joseph Pikalek, Natasha Posey, Madeleine Schoch and Dan Schuchart.
The dancers moved to, and at times created, a sonic backdrop of prerecorded and live music, prerecorded and live spoken word and some well-placed videography. Original music by Neil Davis, Emma Koi and Alicia Storin was featured, with Storin playing cello and Koi playing flute on the program.