Tag Archives: Kevin Parry


The Windy City is in the house this week at The Wallis with the collaborative performance of Hubbard Street Dance Chicago and the music ensemble Third Coast Percussion, here for a three-night engagement in Beverly Hills.

The West Coast premiere of Emma Portner’s FOR ALL ITS FURY will open the show, prefaced by the composition “Perfectly Voiceless.” The solo work by Rena Butler is outstanding in this piece, and the energetic male pairings between Craig D. Black, Jr., Elliot Hammans, Florian Lochner, and Andrew Murdock are distinctive.

A second local premiere—Teddy Forance’s EVERYTHING MUST GO—will close out the first half of the evening. The works in Act One run in continuum, and the music for all three was written by Devonté Hynes.

After the break, the groups will perform Ohad Naharin’s IGNOREAlejandro Cerrudo’s PACOPEPEPLUTO, and Crystal Pite’s SOLO ECHO.



Thursday through Saturday, January 10, 11, and 12.

All shows at 7:30 pm.

Wallis Annenberg Center for the Performing Arts

Bram Goldsmith Theater

9390 Santa Monica Boulevard, Beverly Hills.

From top:

Hubbard Street Dance Chicago performs choreographer Teddy Forance’s Everything Must Go with David Skidmore of Third Coast Percussion.

Hubbard Street dancers (from left) Kellie Epperheimer, Jacqueline Burnett, Adrienne Lipson, Alicia Delgadillo, and Rena Butler in Ignore from Decadance/Chicago by Ohad Naharin.

Hubbard Street dancer Craig D. Black Jr. in PACOPEPEPLUTO by Alejandro Cerrudo.

Hubbard Street Dance Chicago in Solo Echo by Crystal Pite.

Hubbard Street dancer Rena Butler in For All Its Fury by Emma Portner.

All photographs by Kevin Parry, January 10, 2019, at the Wallis Annenberg Center for the Performing Arts.


Last summer at the Dorothy Chandler Pavilion, Michelle Dorrance and her electrifying piece 1-2-3-4-5-6 opened Tiler Peck’s Ballet Now program with a bang, and Dorrance is back in  town with a three-dance, three-night (plus matinee) stand at The Wallis.

Dorrance’s pieces from 2011–2012, Jungle Blues and Three to One, will open the shows, followed by her highly anticipated new work Myelination., a collaboration with Ephrat Asherie and Matthew West.


DORRANCE DANCE, Thursday through Saturday, October 12 through 14, at 7:30 pm.

Additional matinee on Saturday, October 14, at 2 pm.

THE WALLIS, 9390 Santa Monica Boulevard, Beverly Hills.


(Dancers for this engagement include Chris Broughton, Elizabeth Burke, Warren Craft, Claudia Rahardjanoto, Byron Tittle, Gabriel Winns Ortiz, Nicholas Van Young, Asherie, Dorrance, and West. Music for Myelination is composed and performed by Prawn til Dante (Donovan Dorrance and Gregory Richardson, joined by Young on percussion), with onstage vocals and keyboards by Aaron Marcellus.)

Upper two: Byron Tittle and Michelle Dorrance in Myelination. Photographs by Kevin Parry.

Bottom: Michelle Dorrance, Dorrance Dance. Photograph by Ian Douglas.

3 - Dorrance Dance_ Myelination_Pictured (l-r) Byron Tittle and Michelle Dorrance_Photo Credit Kevin Parry for The Wallis_preview

2 - Dorrance Dance_ Myelination_Pictured (l-r) Byron Tittle and Michelle Dorrance_Photo Credit Kevin Parry for The Wallis_preview

org_img_1493872613_L-WEB_Michelle Dorrance_Credit Ian Douglas


Inside its Lovelace Theater space, The Wallis has constructed an ingenious crystal boîte, an infinity mirror of a stage surrounded by witnesses in close proximity. “Theater in the round” is the usual term, but in the case of director and designer Michael Arden’s brilliant new production of THE PRIDE—a Los Angeles premiere at the Wallis—“drama cubed” are the operative words for all involved.

Although playwright Alexi Kaye Campbell doesn’t belabor the point, THE PRIDE falls very much within the tradition of the British ghost story. Surfacing in literature, if not in life, at the most opportune moments, these conjured phantoms—exponents of damage and dread—serve a different purpose in THE PRIDE: as a prod toward self-revelation. A skeletal finger points the way, and if we’re brave enough to follow its indicated course, we may, eventually, learn enough to “get it right.”

The play opens with cocktails in a London drawing room in the late 1950s, but the only thing the three main characters are getting right is the Coward-esque repartee they employ to disguise everything they might actually be thinking or feeling. Whether these are desperate apparitions projecting a bourgeois illusion, or middle-class shells protecting their own ghosts, something is rotten in Pimlico.

Sylvia (Jessica Collins, riveting) is a book illustrator entertaining the author she’s currently working for, Oliver (Augustus Prew, a dignified, heart-wrenching clown). They’re joined by Sylvia’s realtor husband Philip (Neal Bledsoe), and it is telegraphed that Oliver and Philip recognize an immediate attraction for one another—which, for Philip, means repulsion.

When a figure of transition and transgression (Matthew Wilkas) enters the scene, the action shifts to the present day (the play was written in 2008). The new Oliver and Philip (the same age as their antecedents from 50 years earlier) are boyfriends on the verge of divorce, and Sylvia is their best friend and, in particular, Oliver’s sounding board. Contemporary Oliver is a sex addict with a dangerous need to debase himself with rough trade (or hustlers hired to portray the type). He’s not sure why he can’t break this destructive pattern, or even how it started in the first place. It may be connected to a voice he often hears in his head. Nevertheless, he invariably finds himself on his knees in front of strange men, and Philip has had enough.

The subsequent scenes alternate between 1958 and 2008, the past informing the present, the future a premonition of honesty too fantastic to contemplate—although Sylvia (who, after all, wasted a life with a closeted husband) does seem to grasp the effort, the sheer consciousness it will take to rid herself and her friends of their delusions.

Whether we are seeking liberation, or a quiet corner to hide in, we are often encouraged to ignore the opinions of those who would seem to stifle the expression of our individuality. One of the many questions this very intelligent play raises is: What happens when “I don’t care what they think” goes too far? When identity shades into alienation? As the three protagonists of THE PRIDE amply demonstrate, a voice without an echo is lost.


Through July 9.

Nightly Tuesdays through Saturdays; matinees on Saturday and Sunday.

Dark July 1–4.

Wallis Annenberg Center for the Performing Arts

9390 Santa Monica Boulevard, Beverly Hills.

From top:

Augustus Prew and Neal Bledsoe.

Jessica Collins.

Matthew Wilkas and Prew.

Bledsoe and Collins.

Prew and Wilkas.

All photographs by Kevin Parry, Wallis Annenberg Center for the Performing Arts.