public forum
home forum magazine gallery links about faq courtesy
It is currently Sat Oct 25, 2014 3:30 pm

All times are UTC - 7 hours [ DST ]




Post new topic Reply to topic  [ 11 posts ] 
Author Message
 Post subject: Joe Goode Performance Group
PostPosted: Tue Oct 09, 2001 5:24 am 
Offline

Joined: Mon Oct 02, 2000 11:01 pm
Posts: 13071
Location: San Diego, California, USA
From the Los Angeles Times:<P> Image <P><font size=1>Marc Morozumi of the<BR>Joe Goode Performance Group in<BR>"What The Body Knows."</font> <P><B>Joe Goode Performance Group</B><P>Irvine Barclay Theatre <BR>4242 Campus Drive, Irvine<P> <BR> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Joe Goode is recognized internationally as an innovator in the development of contemporary dance theater. Early in his career he began synthesizing a genre of dance theater that combined text, gestures and humor with his high-velocity dancing.<HR></BLOCKQUOTE><P><A HREF="http://www.calendarlive.com/top/1,1419,L-LATimes-Theater-X!EventDetail-28937,00.html" TARGET=_blank><B>A Bit More....</B></A><P>


Top
 Profile E-mail  
 
 Post subject: Re: Joe Goode Performance Group
PostPosted: Wed Oct 10, 2001 12:37 pm 
Offline

Joined: Tue Oct 24, 2000 11:01 pm
Posts: 269
Gee, there are a lot of things I like about Joe Goode, but I wouldn't call his dance "high velocity."


Top
 Profile  
 
 Post subject: Re: Joe Goode Performance Group
PostPosted: Sun Oct 14, 2001 8:31 am 
Offline

Joined: Mon Oct 02, 2000 11:01 pm
Posts: 13071
Location: San Diego, California, USA
From the Los Angeles Times:<P><B>One 'Body' Is Better Than the Other</B><P>By LEWIS SEGAL, Times Dance Critic<P><BR> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Tears and sneers alternate and clash in "The Transparent Body," Joe Goode's latest one-act essay in confessional, dance-based performance art. <BR> Mocking his own familiar role of truth teller, performer-choreographer Goode wants to manipulate the audience shamelessly yet also boldly satirize shameless audience manipulation. He wants to wistfully invoke a time before he was (in his words) "tainted by experience," yet parody the idea by camping it up as Heidi in a dirndl and blond pigtails.<HR></BLOCKQUOTE> <P><BR><A HREF="http://www.calendarlive.com/top/1,1419,L-LATimes-Search-X!ArticleDetail-45181,00.html?search_area=Blended&channel=Search&search_text=%22Dance+Review%22" TARGET=_blank><B>MORE...</B></A><BR>


Top
 Profile E-mail  
 
 Post subject: Re: Joe Goode Performance Group
PostPosted: Tue Jan 29, 2002 8:57 pm 
Offline

Joined: Thu Mar 15, 2001 12:01 am
Posts: 1451
Location: San Francisco, CA
Joe Goode Performance Group, Cowell Theatre, Fort Mason, San Francisco, CA<BR>Shut Up and Dance: "Mythic, Montana", "Gender Heroes", "Deeply There", "Transparent Body"<BR>January 26, 2002<P>Saturday’s performance of the Joe Goode Performance Group’s program, "Shut Up and Dance," offered an evening of eclectic works, old and new, some still rough at the edges, and others carefully finished, but all of them thought-provoking and engaging. Goode set the stage before anyone entered the door with the subtitle query: "Can Language and Movement Coexist?", which was a little disingenuous, since most of us in the audience knew that we were going to see them coexist. Nevertheless, there would be many more questions posed before the end of the evening: all of them good ones, few of them answered.<P>The performance began with the company in the lobby of the Cowell Theater at Fort Mason: there was a faintly mournful song ("Crack This Open") and a preening, self-aware monologue from a young sailor at a giddy and frightening height above the audience. As a way of transitioning from the quotidian into the fantastical, this type of lead-in can be productive. It alerts you that you will not be attending a garden-variety show here and was a promising beginning (although what it had to do with the complex relationship between language and movement, I’m not sure). Unfortunately the effectiveness was undercut by the twenty-minute process of loading the audience into their seats. Nevertheless, experiment and the spirit of adventure were the agenda for the evening, and it was an entrance worth trying.<P>Like ODC’s Unplugged shows, the Side Effects series, as Goode notes in the program, is designed to be the testing ground for new material: to show work that would normally only find itself in theatres after long rehearsal. Commendably, Goode likes to take risks and offer up works-in-progress that may or may not look anything like the finished product. But he’s savvy enough to also present a few of his older and most effective pieces to sweeten the pot a little. <P>From the moment the lights went down in the house, Goode took us through the company’s process of development in an articulate, sometimes pedagogical fashion and discussed the internal motivations that other choreographers often leave the audience to guess at. Even as he explicated his philosophy, though, he couldn’t resist a bit of choreographed showmanship: his introduction to entire show overlapped a brief rumination on the difficulty of balancing the use of a spoken text and dance, with the visual of his dancers carefully inserting themselves into his space with interruptive choreography and text of their own. One couldn’t help but wonder if he was trying to demonstrate how text can be overshadowed by movement. While the dancers swooped about the stage in angular patterns, he, as the mouthpiece, remained meekly huddled in the center almost apologetically retrieving sheets of paper that he allowed to flutter into the dancers’ space. And when dance and language occupy a stage concurrently, it can cause more confusion than elucidation. Indeed at one point it became a mental puzzle to try to listen to the words as they were juxtaposed against compelling movement. Then Goode fell silent and the choreography continued as if it were picking up his train of thought. The dancers exited, Goode continued his unobtrusive shuffle and then stood up to leave with "And that’s all I have to say about that."<P>It was a better opening than the snippets in the lobby, and set the tone for the question he proposed. This introduction was its own short essay that could have been an individual work called "Shut Up and Dance".<P>Goode informed us that the first piece, "Mythic, Montana", is about destiny and the desire to shape destiny, with some nods to the Greek mythic tradition. We see the character of Psyche being "built" before us, metaphorically and literally, with Goode as our "chorus" and guide. The monologues which become a dialogue between Psyche and Goode are hilarious, but although the character has been clearly thought through, it still has yet to develop the relationship between movement and character that is the hallmark of other works. The internal workings revealed through language make it a promising start, but one longs for the final integration with the subtext provided by dance.<P>"The Boys" excerpt from "Gender Heroes" followed, featuring Marc Morozumi and Felipe Barrueto-Cabello. More overtly choreographic, this narrative piece tells of the escape of two young men from a juvenile detention center. The intricate partnering and effortless moving in and out of phrases left no doubt that these are accomplished dancers. Barrueto-Cabello’s lines and lunging thrusts into space had a full and weighty look that perfectly complemented Morozumi’s energetic monologue. <P>Scenes from "Deeply There", one of Goode’s most affecting and powerful works, were next on the program. Rooted in the grief-stricken circumstances caused by the AIDS crisis, this piece interweaves among seven characters who make up the "alternative" family of Ben, the unseen protagonist who is dying of AIDS, and Frank, his lover, played by Goode. In the excerpts we got only the thumbnail characterizations of Barrueto-Cabello as Ben's son, Jennifer Wright Cook, as their lesbian friend, and Vong Phrommala, as the transvestite Imelda, but Morozumi, playing the fastidiously well-meaning friend Terri, the ever-intriguing Liz Burritt as Ben’s sister and Marit Brook-Kothlow as the family dog struck just the right notes. "Deeply There" is obviously the most finely-tuned of the four works presented that evening, and the most poignant. The company members have been performing these characters for so long now that they inhabit them with ease, having found the balance between edginess and silliness, and how best to bring the viewer across the border of the proscenium. Then too, the interplay and reconfiguring of movement phrases and language phrases was seamless and natural. The scenes from "Deeply There" also make it apparent how necessary these mid-season "showings" of work are. One can work with material for months in a studio, but it is a completely different game when played before an audience.<P>The evening closed with "Transparent Body", a cabaret-style theatrical piece about truth and the body, which seems apropos as a subject of discourse for dancers. By this time, Goode as the kindly professor had disappeared to be replaced by Goode, the performer: as a beer-swilling alter-ego, a pop-rock star, a reluctant truck driver, a camp version of the Alpine heroine Heidi and so on. More episodic than some of his longer works, "Transparent Body" is still very much character-driven, and evokes pop imagery from Madonna to Suzanne Vega to Edith Piaf. Although it didn’t really address the language/movement question, it did open an engaging investigation of "what is truth?" <P>As always after a JGPG show, I left the theatre tantalized with the question: how can they be so intensely eloquent with almost no visible effort? How do they get at the core of complex relationships with only a minimum of dialogue and imaginative use of everyday as well as virtuousic movement? In "Deeply There", the performers seem to show only the barest essentials of the story, but even so, one can’t help feeling that there must be secret, magical mechanisms hidden somewhere, because this sort of musical dance-dramedy has been done countless times before and too often seemed merely pretentious. Despite, or perhaps because of, all the insouciant theatricality, the drawling, modulated speeches and superlative dancing, JGPG manages to mostly disarm the preciousness and get back to reality. The world we see on this stage, Goode explicitly reminds us, is a hyper-reality, but like a good simulacrum, it ends up being more real than the real thing. As Goode remarks in "Transparent Body", "The banal truth is never as touching as we would like it to be." Still no answers.<p>[This message has been edited by mehunt (edited January 29, 2002).]


Top
 Profile E-mail  
 
 Post subject: Re: Joe Goode Performance Group
PostPosted: Mon May 20, 2002 11:50 am 
Offline

Joined: Thu Mar 15, 2001 12:01 am
Posts: 1451
Location: San Francisco, CA
Joe Goode Performance Group will be returning to the Yerba Buena Center for the Arts in San Francisco with the premiere of "Mythic, Montana" and also last year's "What the Body Knows" which was terrific!<P>The performances run May 31 - June 9. For more info: <A HREF="http://www.joegoode.org/" TARGET=_blank>http://www.joegoode.org/</A>


Top
 Profile E-mail  
 
 Post subject: Re: Joe Goode Performance Group
PostPosted: Thu May 30, 2002 7:17 am 
Offline

Joined: Fri Oct 22, 1999 11:01 pm
Posts: 17498
Location: SF Bay Area
And here's a preview:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Goode goes to 'Montana' via ancient Greece <BR>Mythology inspires an American story<P>Octavio Roca, SF Chronicle<P>He was bound to get around to it sometime. <P>For years, Joe Goode has been making dances that explore and often explode the primal, mythic values of the American heartland. A man who finds classical stature in the figure of a cowboy, Goode now turns to Greek and Roman myths to retell his own country's stories.<HR></BLOCKQUOTE><P><a href=http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2002/05/30/DD197629.DTL target=_blank>More</a>


Top
 Profile E-mail  
 
 Post subject: Re: Joe Goode Performance Group
PostPosted: Wed Jun 05, 2002 11:44 am 
Offline

Joined: Thu Mar 15, 2001 12:01 am
Posts: 1451
Location: San Francisco, CA
Joe Goode Performance Group, Yerba Buena Center for the Arts<BR>“What the Body Knows”, “Mythic, Montana”<BR>June 1, 2002<P>Saturday’s performance of “Mythic Montana” at the Yerba Buena Center shows us that, as the Joe Goode Performance Group (JGPG) marks its sixteenth anniversary, their new works have only deepened the company’s ability to tell cogent and thoughtful stories by any means possible.<P>I’m always shocked when people say that they don’t think JGPG members are virtuousic movers. Sure, there’s a lot of talky fragmentary views into the lives of the characters, some mournful singing in minor intervals, occasional mugging, but there are also moments of choreography that are utterly dazzling, with fearless passionate dancing. It’s not all about the dancing, but in the JGPG world, nothing is about a single “art discipline”. Everything from video to cabaret to set design to sound design to dancing to acting, is part of the effort to tell stories and comment on the human condition. Isn’t this what real theater should be? <P>The program opened with last year’s archly comic “What the Body Knows”. As with many of Goode’s works, it is a convergence of many ideas, but two prominent ones: the idea that truth as it is expressed through the body and what feminization means in the modern world. There are three loosely intertwined stories here, but the focal point that draws them and the piece together is Liz Burritt. Her opening monologue, filled with saccharine, wildly predictive descriptions of herself as a baby, points up both a larger infantilizing attitude towards women (to be sweet, pretty, and quiet is to be a good baby, but also to be ladylike) and also the vast expectations that are laid upon us from birth, many of which have to do with gender identity.<P>Multimedia collages are a very tricky thing to pull off, but “What the Body Knows” offers a prime example of how it should be done. There’s often a lot going on onstage, and off, but Goode directs his productions with careful attention to detail and brings your focus to just the right place at all times. Small technical problems notwithstanding, the melding of video and sound with the live performers is seamless, nowhere more so than in Burritt’s extended monologues, which she performs seated interview-style before a camera on a table. <P>Her face is projected behind her on a screen and Goode seems to dare us, “Are you going to watch the real performer, or are you going to watch the ersatz projection?” Probably, the projection will win out: you can see Burritt’s every facial tic, and she runs through a wide array with a clarity and speed that is preternatural and therefore hilarious. The media personality fakeness to her posturing is underscored by the hilariously insincere avowal, “Know that I care.” She could be any postfeminist starlet being interviewed on Larry King.<P>Burritt is mesmerizing and turns what could be an exceptionally annoying character into a fascinating one. She can establish a character in less than one line, with a shrug of her shoulders.<P>Domestic strife, or lack thereof is the central issue of the next episode, in which a stoic Carlos (Felipe Barrueto-Cabello) stands frozen with a bowl of cereal for the consideration of his lover, Marit Brook-Kothlow, who halfheartedly runs through a list of things that she likes about him. A great deal of the appeal of the JGPG work is the specifics of text or music. Brook-Kothlow doesn’t just like Carlos because he stays in touch with friends, they are friends from junior college. She doesn’t just think he has good hands, he has good hands for basketball.<P>She breaks his stoicism, flinging his Cheerios across the floor, and they begin one of the duets that should leave little doubt of the dancing abilities of the performers. In a complex duet that begins with an effortless and yet thrilling leap off the table into his hands they engage in a sexually charged and edgy tussle with clouds of dust coming off of their moments of contact and blue paint smeared over both of them. After it’s all over, and the lights go out, they are “discovered” again, back at the table, looking bored and passionless. Was it all a fantasy? Or did they simply lose interest suddenly?<P>The following vignette begins with Burritt’s character asking solicitous questions of Marc Morozumi, prompting a recitative about his eczema. His panicked inner monologue contrasts with Burritt’s desperate sympathy and brings out the feeling of itch, his skin itch, and the itch in his relationship with Tai, (Vong Phrommala). Tai is a domestic god, it seems, and the tension this evokes in his relationship with Morozumi smacks of typical male-female relationships. Tai brings in a succession of tea kettles and wants to stay home and watch TV, while Morozumi’s character has the everlasting itch to cheat. “Isn’t this what being a gay man is about?” he asks. Their duet has a contentious feeling to it, with daring floating lifts, and yet more of a consonance in their movements than even the first couple. A new old question is raised: Is gender identity performative or descriptive? That is, does calling someone feminine or masculine propose a certain characteristic behaviour, or express an assertion of what they are?<P>Burritt returns with an introduction to her chest. In what is simultaneously an overt reference to her sexuality, gender, empathy, she reveals that suddenly that she “can’t be a domestic warrior.” The push and pull of being caught up in the vision of what it is to be a woman has taken its toll. We’re left to chew on this new twist while a parade of the characters executes a mesmerizing, trancelike choreographic episode sometimes wielding odd tokens -- a feather duster, a plunger, a spatula -- as if they were symbols of domesticity. <P>As her character’s inner motivations begin to fracture, Burritt moves the video camera to catch part of the projection on the screen behind and create a kind of video version of funhouse mirrors, repeating her image into the distance. She seems to descend into a psychosis as she brings on a shopping cart (also with video camera attached) and swings through an imaginary store to “Lara’s Theme” from “Dr. Zhivago,” dispensing helpful advice such as, “Don’t go near the lettuce! It’s already bad!”<P>The finale is both dynamic and utterly under control. As a whole, “What the Body Knows “ is one of JGPG’s most satisfying works. <P>Premiering on this program is “Mythic, Montana,” which Bay Area audiences had a chance to see previewed last January at the Cowell Theater. It’s evolved since then and become probably one of Goode’s biggest productions to date. In addition to the seven core company members, eight Chorus dancers join the JGPG in this evocation of themes and characters from ancient Greek mythology. <P>We are led aurally by sounds of sirens and voices over a bullhorn, into Mythic Montana, where, as Goode says in the program notes, “ordinary people have extraordinary lives,” and apparently disaster is around every corner. Goode himself emerges as the Sisyphus character with a classic plaid ear-flap hat and broom in hand. Like his Greek counterpart who rolls a stone endlessly up a hill only to have it roll back down, Goode’s eternal task is to clean up the messes left by disasters, natural and love-related, in Mythic, which, it seems, has some similarities to Malibu, CA.<P>He introduces us to Psyche Amarillo Carboni, Marit Brook-Kothlow as a disaffected Goth teenager who is out of place in the rural Montana landscape. She informs us over the formal intonations of the chorus that she has changed her name to Zeero to symbolize the nothingness of her life. <P>In a twist on the Cupid and Psyche myth, Zeero is shot accidentally by a trio of Montana boys during target practice. Just the kind of boys that she hates. As she rises to the strains of Gustav Mahler’s Adagietto from the Fifth Symphony, she has apparently been struck by the metaphorical “Cupid’s arrow”, and falls in love with “him” which seems to be one character played by three men. It is a little joke that she professes to have found that one special one, when there are in fact three of them.<P>The crusty, cynical Sisyphus returns to remind us that like natural disaster, love leaves its own messes and disappointments. This is by way of introduction to the next scene, in which Amy Lou (Liz Burritt) embarks on a monologue about her adored adopted brother, Narcissus (Marc Morozumi). He is the gifted, beautiful one with great skin and we see eventually that she, ever in his shadow, is Echo, who in Greek mythology could be heard repeating a speaker’s words, but, to her enduring frustration remained invisible. In a sly syntactical segue, her slow, drawling Southern manner of repeating herself merges easily into a repetition of whatever Narcissus says. <P>With each story, more twigs, branches, bits of paper and so one are left behind. The stage is littered with the detritus of messy stories and lives and Sisyphus return on the other side of the proscenium to address the audience in a closing declaration that we should clean this mess up. Then suddenly there is a flash to an absurd image of three nude bodies stacked on top of each other and Burritt at the top devouring a forkful of spaghetti. It seems non-sequitur but in an instant establishes the primal drive of hunger, and relates it to the primal drive toward love. <P>Perhaps love and disaster are part of universal entropy, and we are driven to make chaotic messes in life and love, as much as we might want order. The final sequence seems to underscore this idea. Bodies are pushed and pulled in a beautiful abstract piece of choreography set to Edward Elgar’s stately “Nimrod” from the “Enigma Variations”, and the overall effect is one of being buffeted by waves and swept by oceanic tides. Yes, anything is possible, even oceans of feeling in land-locked Montana.<P>Performances continue through June 8, 2002<BR>


Top
 Profile E-mail  
 
 Post subject: Re: Joe Goode Performance Group
PostPosted: Fri Jun 07, 2002 9:51 am 
Offline

Joined: Wed Apr 11, 2001 11:01 pm
Posts: 8612
Location: El Granada, CA, USA
A review from Rachel Howard. I really agree with her first two paragraphs.<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Not Goode enough<BR>By Rachel Howard<BR>Examiner Dance Critic<P> Love him or hate him, there's no getting around Joe Goode in these parts.<P>Hate him because the appeal of his work has convinced countless young Bay Area choreographers that they too can write and should make melodramatic professions while kicking up into a handstand, or because his penchant for characters who pour out their souls while performing unconsequential choreography is often unbearably cute in its artificiality, or because by working in a form that is not quite theater but also not dependent on great dancing, he unintentionally lowers the bar for both.<HR></BLOCKQUOTE><P><A HREF="http://63.78.169.150/ex_files/default.jsp?story=X0607GOODEw" TARGET=_blank><B>more...</B></A>


Top
 Profile E-mail  
 
 Post subject: Re: Joe Goode Performance Group
PostPosted: Fri Jun 07, 2002 10:00 am 
I totally agree with the title of one of his pieces... "shut up and dance". As theater, I don't find his works compelling. I personally think the American myths he explores are all shallow cliches. But I think he can be an excellent choreographer. I miss what he did in the mid-late '80's when he had more dancing. Have not yet seen "Mythic Montana".<P>------------------<BR>cheers,<BR>ralph


Top
  
 
 Post subject: Re: Joe Goode Performance Group
PostPosted: Fri Jun 07, 2002 11:40 am 
Offline

Joined: Wed Apr 11, 2001 11:01 pm
Posts: 8612
Location: El Granada, CA, USA
I like his fusion of theater and dance. It tends to be more seemless than other attempts I have seen, but the choreography itself has gotten a bit stale. It's unfortuneate, too, because he has some of the best dancers in the city working with him.


Top
 Profile E-mail  
 
 Post subject: Re: Joe Goode Performance Group
PostPosted: Sat Dec 28, 2002 12:45 pm 
Offline

Joined: Fri Oct 22, 1999 11:01 pm
Posts: 17498
Location: SF Bay Area
Joe Goode, playwright:

Quote:
Something for every body

Leba Hertz, SF Chronicle

... "Body Familiar" on Friday at the Magic Theatre just might exceed expectations.
<a href=http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2002/12/29/PK216967.DTL target=_blank>More</a>


Top
 Profile E-mail  
 
Display posts from previous:  Sort by  
Post new topic Reply to topic  [ 11 posts ] 

All times are UTC - 7 hours [ DST ]


Who is online

Users browsing this forum: No registered users and 4 guests


You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum
You cannot post attachments in this forum

Search for:
Jump to:  
The messages in this forum are posted by members of the general public and do not reflect the opinions or beliefs of CriticalDance or its staff.
Powered by phpBB © 2000, 2002, 2005, 2007 phpBB Group