Dancers Improvise in Blue Box #5.

27 Blue Boxes are painted on sidewalks in Downtown Orlando. These boxes were put in place for panhandlers and buskers. Busking is possible only during day light hours. Although set up for panhandlers, police often insist street performers must use the blue boxes. Performing outside the boxes can result in 60 days in jail and a $500 fine.

These Boxes represent the only places downtown where theoretically there is freedom of expression.

On February 22nd, Corinne Mele from Red Right Return Dance Company encouraged a group of dancers to utilize Blue Box # 5 as their stage. They had just rolled off of a performance of Guard Down at the Orange Studio on February 20th. They had also rehearsed the night before, but that didn’t dampen their enthusiasm to perform on the streets of Orlando.

I was the first to arrive and anxiously searched for the box with map in hand. The last one had been spray washed away but this one was pristine, looking like it had been painted yesterday. I got a text from Corinne. Construction had blocked access to this street from the East. I redirected her to let her know that the street was still approachable from the West from Parramore. Soon dancers started to arrive. Corinne drove a cute little car that was covered in an ad for hint which I believe makes flavored waters. The dancers came prepared, with water and sunscreen.

They were concerned that this was a rather small stage. All movement had to be linear and having two dancers abreast, limited what they could do. Corinne walked the blue dotted line like a circus high wire performer. She did a pirouette and when she spun out of the box, she abruptly stopped and walked like a pedestrian to re-enter the box from a new location. Dancers soon realized that their extensions would most certainly cut outside the plane established by the blue box stage but with one foot planted inside the box they decided they were within the letter of the law. The dancers had two collection bowls set out. There was however no foot traffic on the sidewalk. We were one block away from the UCF Center of Emerging Media and the Bob Carr Theater. Construction effectively cut off all vehicular traffic. The only hope for a tip might come from a student. Towards the end of the dance company’s improve session, a single pedestrian approached on our side of the sidewalk, Corinne bet the he would cross over to the other side of the street to avoid coming to close to the art. Sure enough twenty yards from us, he crossed over to steer clear. In a town where art is seldom experienced in public, it can be intimidating for the uninitiated. There is no fourth wall to protect the audience. Art in public is a rare beast that must be caged in blue boxes.

Heidi Busher and Corinne were the first dancers to perform a duet on the tight painted stage. They supported can other and negotiated the tight squeeze past each other. Paige Maxwell bent over backwards like a sheet of paper folded in half. Her goal was to grab her own ankles. She grabbed one but the second eluded her. I was absolutely astonished by her flexibility. Kim Matovina displayed incredible feats of strength and balance usually reserved for gymnasts. She balanced on one hand and folded in her limbs balancing with her face inches from the pavement. She then did a headstand using her forearms for support. All five dancers got in the box and tried to duplicate the move for a photo. Not everyone had the strength, but for the flash of an instant they all held the pose.

After several hours of dancing, everyone was sweaty and tired. Paige was unexpectedly hit in the face when another dancer spun with her leg extended, effectively doing a back kick. I heard the smack as if it were a sound effect in a Japanese Kung Fu movie. Paige’s eyes watered and she held her nose. Luckily there was no blood. On a larger stage the dancers would not need to be so dangerously close.

Though no tips went into the tip jars, and not a single pedestrian walked by, it was a beautiful day and I’m so thankful that these beautiful dancers shared their talents to help point out that art should not be boxed in. Winter Park will never experience such a spontaneous outburst of creativity expressed on a sidewalk in public. These aren’t criminals, but highly educated and trained professionals who love their craft and share it openly. Such joyous outbursts of creativity might happen more often if Orlando City Commissioners didn’t create ordinances that effectively treat artists, dancers and performers as panhandlers that need to be boxed in.

iDentify

John DiDonna Productions in collaboration with choreographers McClaine Timmerman and Jill Lockhart presents
IDentify
An original dance experience. I went to a rehearsal at The Venue, (511 Virginia Drive, Orlando, Florida). There were just two dancers there when I arrived, Darcy Ricciardi and Elise Frost. Brittany Wine entered and began organizing the chairs. It became obvious that this was the first time the show was being performed at The Venue. Blue Star, who owns The Venue, came in and welcomed everyone. I decided I wanted a high vantage point, so I asked Helen, The Venue’s stage manager, if I could climb up into the Tech booth. She was fine with that and even found me a stool.

The show fused elements of hip hop and modern dance, It presented a multimedia exploration of how we as individuals and as a society find, lose, transform, and express our identities as we progress through life. The performance, offered a synthesis of dance, videography, music, spoken word, and photography. It was both a lighthearted and somber commentary on the human experience. It delved deep into the question we all seek to answer:
“Who am I?”

Before the full run through of the show, McClain addressed the cast, “You should give everything you got tonight. I’ll be the only one in the audience and I am your biggest fan. I love you all and support your every effort.”  That love, support and camaraderie was felt as the cast stretched and interacted together, and it flowed through the whole show. One of the dancers, Kim Matovina, looked exactly like McClain. I kept looking back and forth doing double takes. It made me wonder, what makes McClain unique? How is it I could misidentify her?

The show began with three females in tight black dresses putting on red high heeled shoes. They read fashion magazines and a narrator explained to them how dress to catch a man. Caffeine was out and they should drink eight cups of water a day.  When they held the magazines up over their faces, it was like a mask showing the fashion model’s face replacing their own. That would be the image I’d want to catch for the show’s poster. Elise gave a hilarious hyper monologue talking to the audience at 90 miles an hour. She would try and calm herself down with quick bouts of yoga breathing. She was laugh out loud funny!

Video presented scenes of the dancer’s everyday lives, jobs, friends warmth and angst. In one clip, McClain danced freely on a foot bridge and her dog padded up to her with curiosity. Lovers lay side by side watching as the other slept. It became clear that the dancers were sharing everything, their doubts and convictions. It was heart warming to watch, even as I battled with line and color upstairs. They drew me in and warmed me.

WHEN: Only three performances remain…
Tonight, Friday April 26th- 7:30pm,
Saturday April 27th- 7:30pm,
and Sunday April 28th- 2:30pm

WHERE: The Venue, Orlando
511 Virginia Drive, Orlando, FL 32803
Ivanhoe Village
www.thevenueorlando.com

TICKETS: $15.00 general / $12.00 student and senior
For reservations please call (407) 721-3617 beginning March 2013 – cash only at door
For credit card pre-orders please use www.redchairproject.com beginning in April 2013

Alice in Azalia Dickson Park

On performance day I went to Dickson Azalea Park (100 Rosegarden Dr) to see “Alice Takes Wonderland.” This production featured mostly middle school aged girls dancing and performing parts from Alice in Wonderland. Nao dance staged the production with Linda Eve Elchak the company’s founder and choreographer and Kim Matovina as the assistant director. When I left the rehearsal several days before, I was attracted to this view from a hill overlooking the action under the bridge.

Behind me to my right, the caterpillar was doing her contorted languid dance. I could just make her out through the trees. A crowd of mothers and children were being lead from one staging area to the next. They came to the Cheshire cat who was in a web entangled bridge. The white rabbit carrying her luggage crossed the creek quickly. She then waited near this larger bridge that I was drawing. Tweedledee and Tweedledum were up on wooden planks covered with pegs. They lounged inverted until Alice approached. Alice said good bye to the Cheshire Cat and all the children followed. There was quite a crowd, perhaps 20 to 30 people.

When they got to the large cement bridge, Alice asked all the children to stop at a line just short of the bridge because it would be dangerous to go any further. Alice coached the children to shout out, “Come on everybody!” to encourage stragglers to catch up. Tweedledee and Tweedledum got down off their pegboards and merrily sprayed the children with silly string. Alice shouted out, “Oh, I’m so sorry!” It was fun to see the children’s unrestrained reactions. Soon, Alice, the White Rabbit and Tweedledee an dum were doing an energetic chorus line dance under the bridge. Then everyone followed Alice and the White Rabbit further down the trail.

Later Linda walked back towards the start of the show. She shouted up to me, “One show down!” There were four more to go every hour. Tweedledee and Tweedledum collected all the silly string and made a bright line in the trail so the children knew where to stop for the next show. I finished the sketch as the second group made their way under the bridge. McClaine Timmerman and Daniel Joyce had just seen the show. McClaine is a choreographer and I had just sketched one of her Limit (ed/less) rehearsals. They walked up the hill and said hello. The dance community is a tight knit crowd, they all support each others productions.