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 Post subject: Re: Doug Varone
PostPosted: Thu Dec 13, 2001 11:14 am 
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A review:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Assaulting the Senses and Doing the Opposite<P>ANNA KISSELGOFF, NY Times<P>Yesterday's scandal is not necessarily today's classic. The American composer George Antheil raised a ruckus with the cacophony of his famed machine-age score, "Ballet Mécanique," in 1926 in Paris.<HR></BLOCKQUOTE><P><a href=http://www.nytimes.com/2001/12/13/arts/dance/13VARO.html target=_blank>More</a>


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 Post subject: Re: Doug Varone
PostPosted: Fri Dec 14, 2001 1:00 am 
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<B>BALLET WITH ALL THE BELLS & WHISTLES</B> <BR>By CLIVE BARNES in The NY Post<P><BR>CHOREOGRAPHER Doug Varone, long a critics' favorite, is on the cusp of serious fame. <BR>Doug Varone and Dancers' "Ballet Mecanique," at the Joyce Theater, is the 45-year-old choreographer's most ambitious work to date. <P>It's set to one of the legendary scores of 20th-century music, American composer George Antheil's work of the same name, which caused musical riots in Paris in 1926 and at Carnegie Hall a year later. <P><A HREF="http://www.nypost.com/entertainment/36135.htm" TARGET=_blank><B>click for more</B></A>


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 Post subject: Re: Doug Varone
PostPosted: Fri Dec 14, 2001 1:29 am 
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Location: London, England; Tallinn, Estonia
Image <BR> Image <BR> Image <BR><small>stills from Leger's 'Ballet Mécanique'</small><P>By coincidence, I have just written a piece about Leger's silent film 'Ballet Mécanique' for the January issue of Dance Europe magazine. I interviewed the choreographer William Tuckett about his views on the film, which was shown continuously in Tate Modern for 4 months. I love this short movie and fortunately so did William, who has made a number of dance films with leading directors.<P>These images are from the film and as far as I can make out Varone does not use them in his dance work. Leger decided that the music didn't really fit with the film, so it was soon dropped from showings. The images give a slight impression of this deliciously whacky film and come from a website devoted to this 1920s wonder and here are links to articles about <A HREF="http://www.antheil.org/film.html" TARGET=_blank><B>the film</B></A> and <A HREF="http://www.antheil.org/balletmec.html" TARGET=_blank><B>the music</B></A>. <BR> <p>[This message has been edited by Stuart Sweeney (edited December 14, 2001).]


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 Post subject: Re: Doug Varone
PostPosted: Sat Dec 15, 2001 8:57 am 
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More from Anna Kisselgoff:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Wallflower Blooms in a Loving Crowd<P>ANNA KISSELGOFF, NY Times<P>"As Natural As Breathing," Doug Varone's bouncy, stylish new work, is set to pop songs and jazz recordings. Had it come at the end rather than the middle of Wednesday's program by Doug Varone and Dancers at the Joyce Theater, it would have been dessert after a full meal.<HR></BLOCKQUOTE><P><a href=http://www.nytimes.com/2001/12/15/arts/dance/15NATU.html target=_blank>More</a>


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 Post subject: Re: Doug Varone
PostPosted: Tue Dec 18, 2001 7:42 am 
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Paula Citron - Globe & Mail, 12.18.01:<BR> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR><B>Riding a tidal wave of movement</B><P>On a positive note, this is a company that moves. Varone's choreography is very physical and all three of the pieces on the program I saw required flat-out dancing. Another plus is the very "human-ness" of Varone's dancers representing various body types and interesting personalities -- from the quicksilver Eddie Taketa, to the lyrical Adriane Fang and the stately Daniel Charon, not to mention the astonishing presence of the fiftysomething Larry Hahn. The production values are also strong, particularly the lighting designs of long-time collaborator David Ferri.<P>That said, there was a retro feeling to the evening. <HR></BLOCKQUOTE><BR>To read more search <B>Paula Citron</B> on the <A HREF="http://www.globeandmail.com" TARGET=_blank>Globe & Mail's</A> 7 Day Search<BR>


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 Post subject: Re: Doug Varone
PostPosted: Tue Dec 18, 2001 11:25 am 
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Deborah Jowitt writes in the Village Voice:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>In Doug Varone's duet Care (1989, revised this year), one man (Larry Hahn) supports and soothes another (Varone) who is mired in autism or mental illness. They stand, sit, walk, run, and convey their feelings via a lexicon of small everyday gestures. Your heart breaks. Such motions underlie even Varone's lushest and most "dancey" works, like Approaching Something Higher, which premiered at the Joyce last week.<HR></BLOCKQUOTE><P><a href=http://www.villagevoice.com/issues/0151/jowitt.php target=_blank>More</a>, in the second item of the linked article.


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 Post subject: Re: Doug Varone
PostPosted: Thu Jan 31, 2002 6:01 am 
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From the Houston Chronicle:<P> Image <P><font size=1>Members of the Doug Varone & Dancers company leap into action as they head toward Houston.</font><P><B>Varone troup leaps to the next level</B> <BR>By MOLLY GLENTZER<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>It takes a lot to shock an audience these days, but in the early 20th century, avant-garde dancers, musicians and visual artists often sparked violent reactions.<P>It happened in Paris and New York in 1926 when American-born composer George Antheil unveiled his Ballet Mécanique.<P>Incorporating sirens, airplane propellers, synchronized player pianos and percussion, the notorious score was created to accompany a film by Fernand Léger, Man Ray and Dudley Murphy. But it was too long, so that didn't happen for a long time.<HR></BLOCKQUOTE><P><A HREF="http://www.chron.com/cs/CDA/story.hts/ae/dance/1230404" TARGET=_blank><B>MORE...</B></A><P>


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 Post subject: Re: Doug Varone
PostPosted: Tue Feb 05, 2002 5:57 am 
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From the Houston Chronicle:<P><B>Varone dance troupe is a force to be reckoned with</B> <BR>By MOLLY GLENTZER <P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>The 10-member modern dance company Doug Varone & Dancers appeared Saturday at the Cullen Theater -- the second time in as many weeks that Society for the Performing Arts presented the local debut of a well-regarded New York company. The program included three still-smoking 2001 works: Approaching Something Higher, Short Story and Ballet Mécanique. Each one stimulated a different part of the brain.<HR></BLOCKQUOTE><P><A HREF="http://www.chron.com/cs/CDA/story.hts/ae/dance/1240073" TARGET=_blank><B>MORE...</B></A> <BR>


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 Post subject: Re: Doug Varone
PostPosted: Sun Jul 07, 2002 11:19 am 
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In the Village Voice:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Doug Varone showed four of his solos—including a new version of The Drawing Lesson, made to be danced and sung by Ariane Reinhart—at the Fifth Floor Theater on June 6.<HR></BLOCKQUOTE><P><a href=http://www.villagevoice.com/issues/0225/zimmer.php target=_blank>More</a>, in the second item of the linked article


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 Post subject: Re: Doug Varone
PostPosted: Sun Sep 15, 2002 10:04 pm 
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Pamela Squires writes in the Washington Post:

Quote:
Doug Varone and Dancers are nothing short of extraordinary. The troupe's program Thursday night at the University of Maryland's Clarice Smith Performing Arts Center was unusual in that it presented the indoor-stage adaptation of "The Bottomland," a work mixing film and live dancers that had its first performance only two weeks ago at Wolf Trap's 7,000-seat outdoor pavilion. All the intensely satisfying hallmarks of Varone's distinct style were there -- the dramatic quality of the dancers, intricately structured dances, and the ability to move dancers through space the way an artist lays down blotches of color across a canvas.
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 Post subject: Re: Doug Varone
PostPosted: Thu Sep 26, 2002 1:21 pm 
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Quote:
Choreographing the dissonance of an era

Wilma Salisbury, Cleveland Plain Dealer

George Antheil's "Ballet Mecanique" was considered revolutionary in the 1920s. An homage to the machine age, the cacophonous composition made a statement relevant to its time. more


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 Post subject: Re: Doug Varone
PostPosted: Mon Sep 30, 2002 1:09 pm 
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In the Cleveland Plain Dealer:

Quote:
Approaching new heights of emotion

Wilma Salisbury
Plain Dealer Dance Critic

For Doug Varone, the making of a dance begins with the music. more


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 Post subject: Re: Doug Varone
PostPosted: Tue Dec 10, 2002 1:19 am 
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ANNA KISSELGOFF in The New York Times:

Quote:
<B>Down-Home Doin's, Through Mixed Media</B>
"The Bottomland," Doug Varone's highly imaginative new multimedia piece celebrates a national park in Kentucky with an oblique tale, the stuff of which country music is made.

Fragment by fragment, Mr. Varone creates a sense of place at the Ohio Theater, where the two-part work commissioned by Wolf Trap Park's Face of America series about national parks will be performed through Dec. 22.
<A HREF="http://www.nytimes.com/2002/12/09/arts/dance/09DOUG.html" TARGET=_blank><B>More...</B></A>


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 Post subject: Re: Doug Varone
PostPosted: Tue Dec 10, 2002 6:26 pm 
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Location: SF Bay Area
Deborah Jowitt in the Village Voice:

Quote:
In The Bottomland, Doug Varone's fascinating new work (at the Ohio Theater through December 22), the choreographer combines music, dance, video, and drama in a very different way.
<a href=http://www.villagevoice.com/issues/0250/jowitt.php target=_blank>More</a>, in the third item of the linked article.


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 Post subject: Re: Doug Varone
PostPosted: Sun Jan 12, 2003 5:30 pm 
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Location: London, England; Tallinn, Estonia
Varone Bursts Out in Triumph
by Robert Gottlieb for The New York Observer

Meanwhile, as Ailey was packing them in at the City Center (for five weeks), down in Soho, at the tiny Ohio Theater, Doug Varone brought us the most interesting and moving work of this endless fall season. It’s called The Bottomland, and it’s set in a backwoods Kentucky community. The first part, "Songs That Tell a Story," is set to country music sung by the talented Patty Loveless; the second part, "As Told at Night, When the Air is a Different Color," is to an original score by Gaétan Leboeuf.

In Part I, the dancers perform against a video background that shows them in and around the imposing landscape of Kentucky’s Mammoth Caves. The movement onstage echoes rather than mirrors what’s happening on screen; we’re observing this community both up close and far away. At times, the video distracts from the dancing, yet it also deepens it by emphasizing that we are watching "real people" we recognize in a "real place" we can identify. The costumes look appropriately real, too, particularly the cheap, washed-out dresses—the kind that farm women used to order from the Sears-Roebuck catalog.

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