Tag Archive: opulence


Update 5/27/12: For some great insight on the artistic work behind Las Vegas Contemporary Dance Theater’s Smith Center debut, click here for a preview from the Las Vegas Review-Journal.

5/23/12: Las Vegas Contemporary Dance Theater will be stepping onstage at the Smith Center on May 29, backed by a program featuring work by Ulysses Dove, Milton Meyers, Rennie Harris and LVCDT artistic director Bernard Gaddis. The concert will mark the beginning of the company’s spring 2012 concert season and will celebrate its five-year tenure in Las Vegas.

If you’d like to see Dove’s legendary “Vespers,” “Variations” by Meyers, Harris’ “Lifted” or the Vegas classic “Opulence” by Gaddis (as well as a new work, “Metamorphosis II,” by the same), hit up the Smith Center at 7:30 p.m. on May 29. The star-studded program and appropriately elegant venue will likely underscore the artistic quality of the company nicely.

Tickets are $27-$65 and can be purchased by clicking here or by calling the Smith Center box office at 702-749-2000.

Las Vegas Contemporary Dance Theater puckered up just in time for Valentine’s Day and sold out the West Las Vegas Library Theatre on Feb. 11. “Love with LVCDT” featured 22 works performed by the company and guest artists and was an ideal show for the heart-centric holiday.

A program with a running time of more than two hours might seem daunting, but the energy of the performers and the variety of the choreography ensured that the time went quickly. “Mood Indigo,” a softly shifting contemporary ballet, introduced the show splendidly and two pieces from “Opulence” concluded the second act. Both were expressive and dynamic numbers but for entirely separate reasons, effectively demonstrating the depth and breadth of the contemporary ballet genre.

From there, the program touched on Chicago-style jazz, country-themed character pieces and Ailey-esque duets. For audience accessibility, the cowboy-style “Give One Reason” and “Why Haven’t I Heard from You,” were as good as it gets. “Ain’t No Sunshine,” a solo featuring Eddie Otero, and “L.O.V.E.,” with Otero, Roman Pantoja, Antoine Banks-Sullivan and Emanuelle Mirbal-Torres, were both comfortably masculine. “Bang Bang,” with Marie-Joe Tabet, was angst-filled and lovely.

The partnering in the show was excellent. None of the numbers were overly long and the pacing of the concert was well-balanced, with a mix of easy crowd-pleasers and more abstract pieces.

An interesting detail in the concert was that every piece was choreographed by Bernard Gaddis, the founding artistic director of LVCDT. Gaddis gracefully acknowledged this with chagrin and a laugh. The sheer volume of work makes this feat impressive and, while the flavors were distinctly modern, jazz and contemporary ballet, the variety wasn’t lacking.

LVCDT classics hit the stage backed by evidence of considerable rehearsals. In addition to “Opulence,” repertory pieces like “Bata” and “Rhythm 101″ were hard-hitting numbers that contributed to the dynamism of the concert. “Papa’s Got a Brand New Bag” was lively and swinging and brought a New Orleans flourish that was a delight to watch.

“Sacrifus,” with music by Kevin Keller, transcended cute character roles and commanded attention from the beginning. Trembling strings, coupled with dramatic lighting changes, seemed to dictate the movement of the three dancers and the effect was at once stark and emotionally affecting. This could be a signature piece in the making, and rightfully so.

Agnes Roux, a founding member of the company that now dances with Cirque du Soleil’s “Zumanity,” was a guest artist in the show and her vibrant personality was impossible to overlook. “Don’t Explain” and “Come On Strong” suited the leggy dancer well, each with flying attitudes and nuanced transitions that made good use of the space.

Numbers like “Baby You Got What it Takes,” with Gaddis and Heather Farrell and “All of You,” performed by Ian Dodge and Lacy Simpson, were heart-warming and easy on the eyes. “Love in Stillness,” with Erin Christiansen and Mirbal-Torres, and Tabet in “Ms. Marie-Joe’s Blues” kept drama in good supply. “What a Little Moonlight Can Do,” featuring Danielle Howard, was a straightforward and jubilant piece with sweeping lines and plucky port de bras.

Ultimately, the annual concert again established itself  as a warm-fuzzy staple in the city’s spring lineup. Gaddis has found a good niche for his company and, with performances like this, exploits this effectively. The result is intriguing and very enjoyable. Advice for the next year’s show: come early. Seats fill fast.

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