Spring Dance Concert: Limitless

Name: Spring Dance Concert: Limitless
Start: 2024-04-28T14:00:00-04:00
End: 2024-04-28

Thursday / April 25, 2024 / 7:30 p.m.

Friday / April 26, 2024 / 7:30 p.m.

Saturday / April 27, 2024 / 2:00 p.m.

Saturday / April 27, 2024 / 7:30 p.m.

Sunday / April 28, 2024 / 2:00 p.m.

Boston Conservatory Theater

31 Hemenway Street, Floor 2

Boston

02115

United States

(View Map)

Admission

$25–30 advance / $30–35 day of show

Discounted admission with Berklee ID

Free–$5 advance / $5–10 day of show

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Watch

Three students dancers leaping into the air with a half blue and half black and white overlay.

Please note that latecomers will only be seated during the short pause after the first piece and during intermission.

Boston Conservatory at Berklee’s spring dance concert, Limitless, is an incredible showcase of works by some of the world’s leading choreographers. This year’s program includes five works: PLOD by Dan Wagoner, an exuberant piece set to Prokofiev’s Symphony No. 1 in D Major, which will be played live by the Boston Conservatory Orchestra; LiIFT by Aszure Barton, originally commissioned by the Alvin Ailey American Dance Theater; Snatched Back from the Edges by Dwight Rhoden, a tour-de-force contemporary ballet expressing the worry, loss, and loneliness of the COVID-19 lockdown; and The Unsung by José Limón, an undisputed masterpiece of modern dance, honoring Native Americans and performed—for the first time—by a cast of all women dancers; and a world premiere by faculty members Adriana Suarez and Gianni Di Marco.

This performance has been selected as part of Boston Conservatory at Berklee’s spring 2024 Center Stage collection.

Program Information

Welcome Note

Welcome to Limitless 2024! Our spring concert is designed to celebrate both the limitless potential of our students and the limitless possibilities of contemporary dance. This year’s program brings together works by four renowned guest artists and two faculty members, each known for their unique voice and aesthetic.

The program opens with PLOD, choreographed by Dan Wagoner in 1990. This piece is special to me, as I was a member of Dan’s company for many years and was in the original cast. It’s a joyous celebration of dance and music, which will be played live by the Conservatory orchestra.

Next is Snatched Back from the Edges, a tour-de-force work choreographed by Dwight Rhoden that was created remotely during the pandemic and then reworked once his company was back in-person. Joining us for the third time, Dwight’s piece is a showcase for our students, challenging them to reach new levels of technical proficiency and performance.

After the first intermission is The Unsung, an undisputed masterpiece of American modern dance choreographed by José Limón in 1970. Originally performed by an all male cast, this will be the first time—with the blessing of the Limón Foundation—that the piece has been performed by women. It’s a perfect blend of movement, passion, physicality, and empowerment.

Following the second intermission is Eclipse, a world premiere choreographed by faculty members Gianni Di Marco and Adriana Suarez. This piece was created over the spring semester as part of our ballet repertory curriculum, which gives our ballet emphasis students the opportunity to perform a variety of different contemporary ballets.

And finally, I am honored to present LIFT by internationally acclaimed choreographer Aszure Barton, one of the most sought-after contemporary choreographers working today. LIFT was originally commissioned by the Alvin Ailey American Dance Theater in 2013 and has never been performed by any other group until now. And, this marks the beginning of our four-year creative partnership with Aszure Barton, where she will either create a world premiere or re-stage one of her masterworks for us each year through 2027.

I am thrilled to share the work of these artists with you and to showcase the virtuosity, versatility, and artistry of our students. It’s a one-of-a-kind program that truly has something for everyone. Enjoy!

—Tommy Neblett, dean of dance

PLOD (1990)

Choreography: Dan Wagoner
Reconstruction: Randy James and Gwyneth Jones
Rehearsal Direction: Danny McCusker
Student Assistance: Hannah Morris and Kimberly Vasileva
Music: Sergei Prokofiev (Symphony No. 1 in D Major, op. 25)
Original Costume Design: Ginger Blake and Robin Klingen Smith
Costume Reconstruction: Penney Pinette
Original Lighting Design: Jennifer Tipton
Lighting Reconstruction: Paul Marr

Thursday/Saturday Evening and Friday Matinee Cast: Hannah Bilodeau, Michael Braun, Cara Breeding, Chloe Bland, Hannah Laski, Demi Mutz, Justine Schmaltz, Kylah Walker

Friday Evening and Saturday/Sunday Matinee Cast: Kevin Higgins, Gabrielle Honoré, Ryan McCann, Solana McGonagle, Mia Muntu, Electra Nearey, Alexis Tsiramanes, Madison Wagaman

Orchestra:

CONDUCTOR
Aleksandr Polyakov

FLUTE
Mia Mravle, B.M. '27
Maggie Stuteville, B.M. '27

OBOE
Coleton Morgan, B.M. '24
[RINGER]

CLARINET
Hsuan-Hsun Hsu, M.M. '25
Julia Spretty, B.M. '27

BASSOON
Carson Saponaro, B.M. '26
Alexander Weber, B.M. '27

HORN
Holly Fullerton, B.M. '26
Cameron McCarty, B.M. '25

TRUMPET
Charlotte Berube-Gray, B.M. '26
CJ Waldrop, M.M. '25

TIMPANI
Yun-Chen Chou, M.M. '24

VIOLIN I
Leon Baker, B.M. '25
Rowan Gemma, B.M. '24
Hsiang-Chieh Lin, M.M. '24
Anne McKee, M.M. '24
Selena Noelia Vega Campana, G.P.D. '24

VIOLIN II
Pippin Forrest, B.M. '27
Xueqi Hu, M.M. '24
Yen-Yu Kuo, B.M. '26
Joshua Rosenthal, B.M. '26

VIOLA
Jayna Leach, M.M. '24
Victoria Skinner, M.M. '25
Lauren Wilson, B.M. '25

CELLO
Tristan Hernandez, B.M. '24
Ethan Lee, B.M. '27
Davis Man, B.M. '27

BASS
David Amouretti, B.M. '25
Gabriel de los Reyes, B.M. '27

Snatched Back from the Edges (Excerpt) (2021)

Choreography: Dwight Rhoden
Reconstruction: Clifford Williams
Rehearsal Direction: Marissa Parmenter
Student Assistance: Yazmine Akamine and Mar Rivero
Music: Martin Gore (“Pimf”); Shirley Caesar (“Satan, We’re Gonna Tear Your Kingdom Down”); Tyrell Lewis (“Fear”); Tye Tribbett (“Work It Out”); Aloe Blacc (“The Future”)
Original Costume Design: Christine Darch
Costume Reconstruction: Penney Pinette
Original Lighting Design: Michael Korsch
Lighting Reconstruction: Paul Marr

Cast: Suriya Allain, Sabril Amin, Amanda Bacallao, Kanella Benavides, Jackson Bradford, Halley Campo, Matthew Crittenden, Emma Daniels (Friday/Saturday Matinee), Demetrius Lee, Joelis Martinez-Santiago, Mia Nolte, Tess O’Riordan, Ana Perez Yudin, Megan Prout, Punch Purichat, Brianna Sullivan (Friday/Saturday Evening/Sunday Matinee), Makayla Williams

Program Note: Snatched Back from the Edges is meant to be a chronicle of the indelible human spirit, in the eye of a storm. Much of this work was conceived and created at the height of the pandemic, with the additional challenges of gun violence, racial inequity, and social struggles at the forefront of our daily lives. It is inspired by the pain, tenacity, and advocacy for change—that inner strength that continues to propel the world forward—through it all.

—INTERMISSION—

The Unsung (1970)

Choreography: José Limón
Reconstruction and Direction: Kurt Douglas
Rehearsal Direction: Lonnie Stanton
Student Assistance: Emily Crone and Emma Jane Zaher
Music: performed in silence
Original Costume Design: Charles D. Tomlinson
Costume Reconstruction: Penney Pinette
Lighting Design: Paul Marr

Thursday/Saturday Evening and Friday Matinee Cast: Kayenne Charles-Pierre, Cammie Coleman, Lilly David, Anna G. Delgado Cruz, Tricia Dietrick, Jaqi Gendreau, Kiley Nomura, Uma Roberts

Friday Evening and Saturday/Sunday Matinee Cast: Penn Burrall, Ali Cederholm, Katie Corrao (Friday Evening/Saturday Matinee), Molly Jane Dunne, Hailey Flemming, Lilia Holladay (Sunday Matinee), Swathi Maddi, Aja Simms, Dawvyn Winters

Understudy: Madi McAlister

Program Note: The Unsung was first performed May 26, 1970 by the José Limón Dance Company at the Juilliard Theatre in New York City.

“Maybe the most respectful way we can honor the founders of our art
is not by mindlessly repeating their answers
but by continuously repeating and exploring their questions.
Otherwise, we risk creating static aging monuments
that will ultimately eclipse their spirit.”

—Dr. Ralf Dolfinger

This is a paean to the heroic defenders of the American patrimony.

The Pantheon: Metacomet, Pontiac, Tecumseh, Red Eagle, Black Hawk, Osceola, Sitting Bull, Geronimo

©1996, José Limón Dance Foundation. This performance of The Unsung, a Limón℠ Dance, is presented by arrangement with The José Limón Dance Foundation, Inc. and has been produced in accordance with the Limón Style℠ and Limón Technique℠ service standards established by The José Limón Dance Foundation, Inc. Limón℠, Limón Style℠ and Limón Technique℠ are trade and service marks of The José Limón Dance Foundation, Inc. (All rights reserved.)

—INTERMISSION—

Eclipse (world premiere)

Choreography: Gianni Di Marco
Choreography Assistance: Adriana Suarez
Music: Johann Sebastian Bach (“Sonata for Violin, No. 1 in G Minor; Sonata for Violin; Partita for Violin, No. 3 in E Major”)
Costume Design: Penney Pinette
Lighting Design: Paul Marr

Thursday/Friday/Saturday Evening and Saturday/Sunday Matinee Cast: Suriya Allain, Sabril Amin, Nora Augenstein, Jackson Bradford, Dafna Melamoud, Hannah Morris, Mia Nolte, Uma Roberts, Lucia Taylor, Emily Winkelbauer

LIFT (2013)

Choreography: Aszure Barton
Reconstruction: Jonathan Alsberry
Rehearsal Assistance: Tobin Del Cuore and Taylor LaBruzzo
Rehearsal Direction: Joshua Tuason
Music: Original composition by Curtis Macdonald (“LIFT”)
Original Costume Design: Fritz Masten
Costume Reconstruction: Updated concept by Aszure Barton, created by Penney Pinette
Original Lighting Design: Burke Brown
Lighting Reconstruction: Paul Marr

Cast: Drew Allen, Yuniel Betancourt, Tamia Blackwell, Bianca Brown, Nigel Clifford, Ava Grebe, Ekko Greenbaum, Sonrisa Hubbard, Raxel Kempenaar, Derek Lee, Amber Lew, Dimitris Michailidis, Daede Ott, Isabella Soo-Hoo, Emily Wang, Chloé Wasser, Emily Winkelbauer, Monica Zesch

Understudies: Sophia Cobo Ruiz, Logan Monaco

Program Note: LIFT was originally created together with the dancers of Alvin Ailey American Dance Theater and premiered at New York City Center in 2013.

Artist Bios

Jonathan Alsberry, reconstructor, is a dance educator, creator, and coach focused on inspiring excellence and joy in the study of ballet, jazz, and modern techniques, with a constant dedication to the exploration of artistry and the creative process. Currently the rehearsal director with Hubbard Street Dance Chicago, Jonathan began dancing with his mother, Lyndetta, and went on to graduate from the Chicago Academy for the Arts, where he has since been a guest faculty member. In 2006, he received his B.F.A. from the Juilliard School, where he met Aszure Barton. Jonathan, a.k.a. Jojo, is now dancer, rehearsal director, and creative collaborator with Aszure Barton & Artists and has assisted Barton in over a dozen creations, including Alvin Ailey American Dance Theater, Bayerische Staatsballett, and Hubbard Street Dance Chicago.

Aszure Barton, choreographer, has worked with celebrated artists and dance companies, including Alvin Ailey American Dance Theater, American Ballet Theatre, Limón Dance Company, Nederlands Dans Theatre, Martha Graham Dance Company, and Teatro alla Scala, among many others. She is a Bessie Award honoree and is the founder of Aszure Barton & Artists, an interdisciplinary platform for process-centered creation.

Gianni Di Marco, choreographer, joined the Conservatory in 2006 and is a professor of dance. Di Marco began his dance career with the Royal Winnipeg Ballet, and has also performed with Les Grands Ballets Canadiens de Montréal, Opera Leipzig Ballet, Boston Ballet, Festival Ballet Providence, and Tony Williams Dance Company. He has choreographed more than 50 original works for Boston Conservatory, Boston Lyric Opera, Boston Baroque, and Boston Ballet. Learn more about Di Marco.

Kurt Douglas, reconstructor, joined the Boston Conservatory faculty in 2015 and is an associate professor of dance, specializing in technique, repertory, and pedagogy for modern dance. Douglas also serves as artistic director for the Conservatory’s Summer Dance Intensive (SDI). A 2001 graduate of the Conservatory, he was a longtime member of the Limón Dance Company, where he performed many of Limón’s most influential works. Learn more about Douglas.

Randy James, reconstructor, is a staunch arts advocate with a multi-faceted career who has been defined as a “Distinguished Teaching Artist” (New Jersey State Council on the Arts/Department of State), and “the patron saint of New Jersey dance” (the Geraldine R. Dodge Foundation). James is founding artistic director of 10 Hairy Legs. He danced with Dan Wagoner and Dancers, and is professor emeritus at Rutgers University.

Gwyneth Jones, reconstructor, danced with Dan Wagoner and Dancers; Berg, Jones & Sarvis; Douglas Dunn + Dancers, and Ram Island Dance Company. She teaches at Bowdoin College and was the choreographic consultant with playwright/director Richard Nelson at the Public Theater in New York City for The Michaels (New York Times Critics Pick) and What Happened?: The Michaels Abroad (New York Times Best Theater of 2021).

José Limón (1908–1972), choreographer, is credited with creating one of the world’s most important and enduring dance legacies—an artform responsible for the creation, growth, and support of modern dance in this country. Numerous honors have been bestowed upon both Limón and the company he founded in 1946, including the White House’s 2008 National Medal of Arts for Lifetime Achievement. Limón’s story is a powerful vehicle for reaching young people today. Immigrating to the United States from Mexico in 1918, Limón is considered one of Mexico’s greatest artistic exports, and a role model for Latinx communities throughout the United States.

Dwight Rhoden, choreographer, has established a remarkably wide-ranging career, earning distinction from the New York Times as “one of the most sought out choreographers of the day.” A native of Dayton, Ohio who began dancing at age 17, Rhoden has performed with Dayton Contemporary Dance Company, Les Ballet Jazz De Montréal, and as a principal dancer with Alvin Ailey American Dance Theater. In 1994, Rhoden and legendary dancer Desmond Richardson founded Complexions Contemporary Ballet. Together they have brought their unique brand of contemporary dance to the world for nearly two decades. Over the years, Complexions has remained consistent in delivering a profound passion for diversity that has framed its vision and become its hallmark.

Adriana Suarez, assistant choreographer, joined the Conservatory in 2005 and is an associate professor of dance, specializing in advanced ballet, pointe technique, Gyrokinesis®, and classical and contemporary repertoire. She became a principal ballerina for Boston Ballet in 1994 and has performed the lead role in classical ballets such as Swan Lake, Sleeping Beauty, Le Corsaire, and Giselle. Her contemporary repertoire includes the leading role in numerous works by George Balanchine, including Tchaikovsky Pas de Deux, Terpsichore in Apollo, and Serenade. Learn more about Suarez.

Dan Wagoner (1932–2024), choreographer, directed his own company, Dan Wagoner and Dancers, for more than 25 years, performing throughout the U.S., Canada, South America, Europe, and Asia. He also danced with the companies of Martha Graham, Merce Cunningham, and Paul Taylor. Wagoner served as the artistic director of London Contemporary Dance Company, taught at Harvard and Bates College summer dance programs, and was a distinguished visiting artist at Connecticut College and a faculty member at Florida State University.

Clifford Williams, reconstructor, trained at F.H. Laguardia High School, School of American Ballet, the Ailey School, and the Juilliard School. Williams joined Complexions Contemporary Ballet in 2003 after dancing with the Dance Theatre of Harlem from 2001 to 2003. Williams joined Compañía Nacional de Danza under Nacho Duato as a principal in 2007 before returning to Complexions as a principal dancer in 2009, after which he became an artist in residence and then eventually rehearsal director until 2022. Williams has set numerous Dwight Rhoden works on schools and has assisted the choreographer on many projects for professional companies. His television credits include Debbie Allen’s The Hot Chocolate Nutcracker (BET), Dance Dreams (Netflix), Flesh and Bone (Starz), and In the Heights (motion picture).

Production Credits

CREATIVE TEAM:
Artistic Director – Tommy Neblett
Costume Designer – Penney Pinette
Lighting Designer – Paul Marr

PRODUCTION STAFF:
Director of Performance Services – Hanna Oravec
Assistant Director of Production – Rebecca Donald
Stage Manager – Bethany Rachel
Assistant Stage Manager – Zachary Sayre
Technical Director – Taylor Kaufman
Assistant Technical Director – Caleb D. Harris
Costume Shop Manager – Alison Pugh
Assistant Costume Shop Manager – Leah Foley
Wardrobe Manager – Blue Barber
Wardrobe Assistant – Liv Curnen
Stock Manager/Draper/Stitcher – Rebecca Jewett
Drapers/Stitchers – Sam Martin, Caroline Seeley
Stitchers – Lindsay Weaver
Costume Shop Intern – Olivia Donnelly
Temporary Lighting Supervisor – Baz Kouba
Production Electrician – Gabe Goldman
Temporary Properties Manager – Emma Whiteside
A1/Sound Supervisor – Steve Deptula
A2/Sound Assistant – Maddy Poston
Stage Supervisor – Nick LaRosa

STUDENT PRODUCTION EMPLOYMENT:
Student Assistant Stage Manager – Kaylie Wood
TPP Crew – Tessa Brethowr, Max Guttman, Hunter Hurt, Olivia Reitz
Production Assistants – Olivia Monarch, Aidan Rufer, Bri Chang, Preston Milne
Costume Assistants – Samantha Fleeter, Amber Lew, Valeria Mateus, Mai Beisley, Sol Mundle
Light Programmers – Olivia Monarch, Brogan Nelson

CONCERT OPERATIONS STAFF:
Senior Manager for Concert Services – Luis Herrera
Performance Technology Technicians – Goran Daskalov, Sara Pagiaro
Production Manager – Kendall Floyd
Concert Operations Coordinator – Matthew Carey

Boston Conservatory thanks audience members for viewing this program information online. This paperless program saved 4,200 sheets of paper, 449 gallons of water, and 377 pounds of CO2-equivalent greenhouse gas emissions.