CPT BBX2
Medcalf & Lock Split the Bill

Lisa K. Lock and Michael Medcalf, two Cleveland dancer/choreographers, split the bill at Cleveland Public Theater's Big Box this weekend. Earlier last month we met with Lock and Medcalf for interviews and preview showings. Both were immersed in works in progress.

Though she emphasized that CONCENTRIC CYCLES was unfinished, Lock showed substantial portions of her new piece, which is concerned with passing time, memories, mistakes, and second chances. What we saw in January drew sparingly from Lock's formidable ballet technique. We gather that, like Lock's earlier work, CONCENTRIC CYCLES creates atmosphere with the artist's physical presence, with stillness rather than steps.

Collaborators have made impressive contributions to CONCENTRIC CYCLES. Russ Borski, ubiquitous locally based designer, has designed and executed the voluminous red dress Lock performs in. In her program notes, Lock says the dress stands for "memories made visible." With its detachable train, the dress limits or embellishes Lock's movement as she chooses, and even unlit in the limited space of the preview showing, the color and fabric were visually stunning.

Lock has gathered classical, electronic, rock and pop recordings for the score. In one section of CONCENTRIC CYCLES (which we did not see) she dances to a Marlene Dietrich recording, aspiring to evoke the 1930's with the help of Project Advisor Paul Gurgo.

Lock's partner, Larry Coleman, http://www.ColemanPhotography.org, provides video images for CONCENTRIC CYCLES.

Performing with Lock in CONCENTRIC CYCLES is local dancer /teacher/choreographer Amy Compton. Over the years, we've seen only a little of Compton's modern dancing but in the preview showing of CONCENTRIC CYCLES we got a glimpse of her eclectic skills in tap, tango, and flamenco. Looking over her resume, we see that she's done a lot in the last few years and the experience shows in her dancing. Compton looked very fit, even for a dancer, and provided a worthy foil for the hyper-statuesque Lock.

Medcalf opted for an interview rather than a preview showing, and it gave us a chance to catch up on his current projects.

Cool Cleveland: We hear you're putting out a monthly dance calendar.

Michael Medcalf: Correct. Since November I've been compiling all the concert dance activities in Northeast Ohio with a focus on the Cleveland area. Maybe later when I get a better handle on this I'll be able to include things like master classes and workshops.

CC: We've felt the need for a concert listing for some time. This is a website?
MM: Ultimately I'd like to create a website, but right now I send it as an email. People can contact me at Medcalf216@aol.com. In the footer there's a subscribe/unsubscribe button.

CC: We've only seen one new piece of your choreography since you returned to Cleveland. Are you using new compositional methods?
MM: Not new compositional methods so much, but now I'm afforded the time and opportunity to explore creating work.

CC: Time and opportunity in contrast to your years as Artistic Director of Cleveland Contemporary Dance Company when you were mentoring dancers, teaching classes, running the company - a lot of work besides creative work.
MM: Correct. So, when I saw the proposal for CPT's Big Box 10, I went back and forth debating whether or not I wanted to do it. Although I did dance with Verb last season and created ONE with Brian (Murphy), I'm still kind of torn as to whether or not I'd like to continue to aggressively pursue performing as opposed to choreography. But I am interested in being able to explore different ways of creating movement - but not just choreography. I think I'm more interested in exploring ways of generating movement and seeing what the outcome is as opposed to actual choreography. Finding the tools that work for me as well as for the work that I'm creating.

CC: You're looking for method?
MM: Exactly.

CC: So, tell us about your piece for Big Box, DIRT.
MM: DIRT is inspired by the poetry of Kahlil Gibran. It's an ethereal journey through life and death guided by memories of love, loss and the quest for purpose. I intend it to be the first part of a multimedia dance trilogy. I'm building repertory for a solo concert that I can tour. Music is by Nichole Bailey...

CC: We learned from a google search that percussionist Nichole Bailey graduated from SUNY Fredonia with a B.A. in Music and, in 2003, spent 5 months in Ghana, West Africa studying traditional percussion and dance styles. She plays locally with Battu and tours nationally performing with Bernard Woma Trio.
MM: Video imagery for DIRT is by Creative House Studio. They do green screen, like in SIN CITY.


Later we found the CHS web site [http://www.CreativeHouseStudios.com] and spoke with CHS President, Cynthia Graham. Dance audiences past a certain age will remember her performances with Cleveland Ballet.

CC: We hear you're doing the green screen for Michael.

Cynthia Graham: Yes, we're really looking forward to seeing the results of that collaboration on stage next week.

CC: As we understand it, CHS has the same green screen technology as SIN CITY.
CG: Yes. SIN CITY is the greatest example of a movie shot entirely on green screen. Director Robert Rodriguez is so dedicated to the art of film making that on all of his DVD collections he does a film school where he shows how we put things together, how to be creative with the green screen technology. When people come to us, we remind them to get that DVD because it's wonderful inspiration.

CC: You have the same size green screen studio as the one used to make SIN CITY?
CG: Yes, about the same size. We're the largest permanent green screen studio in Ohio. We have a great big door; you can drive a truck in. We have 2 big cycs - cycloramas - with curved corners on the wall and the floor. It looks kind of like a skateboard park but when you paint it green and light it correctly the camera sees it as one level and infinite space.

CC: What are your production credits so far?
CG: The studio is not officially open yet but we've been working with some incredibly talented local people and we've done 20 productions so far...several independent films, corporate work, web posting, and music videos. Virginia Marti College of Art and Design came over and taught their green screen production class in our studio. Last summer 10-year-olds in a film camp came in - they immediately got the green screen concept and it was fantastic watching their imaginations flow. It's not out yet but we've been working with Verb Ballets' Maggie Carlson and Pam Probisco if you remember them from the good old days at Cleveland Ballet. Pam has a program she's devised, WIGGLE WORDS, a wonderful program for school kids to learn rhyming games and the letters of the alphabet. Of course, I can't wait until Michael's piece comes out at CPT. It was really inspiring having him in the studio, watching his imagination work.

CC: Can you give away a little of what Michael does for DIRT?
CG: He'll be in butoh makeup, which is extraordinary on him. (pause) It's kind of like having someone's mind and soul speak to the person himself, at least that's how I would interpret it. I'm really looking forward to seeing it on stage.

CC: So are we.


CONCENTRIC CYCLES and DIRT AT 7:30PM on Fri2/19 and Sat 2/20 and 3PM on Sun2/21 at Cleveland Public Theater, 6415 Detroit Ave, Cleveland 44102. Tickets $15, with discounts for Students and Seniors. For more information or to purchase, go to http://www.CPTonline.org or phone 216-631-2727 X501.


All photos by Larry Coleman http://www.ColemanPhotography.org

From Cool Cleveland contributors Elsa Johnson and Victor Lucas. Elsa and Vic are both longtime Clevelanders. Elsa is a landscape designer. She studied ballet as an avocation for 2 decades. Vic has been a dancer and dance teacher for most of his working life, performing in a number of dance companies in NYC and Cleveland. They write about dance as a way to learn more and keep in touch with the dance community. E-mail them at vicnelsaATearthlink.net.