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back to Flash Reviews 12-19-99: Who's been naughty and who's been nice By Paul Ben-Itzak "I'd prefer that you'd have not come at all." —Laurie Uprichard, executive director, Danspace Project at St. Mark's, on December 18, to this flasher First, the good news: Linda Caceres, seen Saturday afternoon with Ailey in John Butler's "After Eden," is a Ballerina. This girl can do anything. She is a dancer to build a company around. And Linda-Denise Evans, seen in the central sort of shamanistic role in Judith Jamison's 1984 "Divining"--as staged by Sarita Allen and Elizabeth Roxas--is, well, the best way to say it is, Don't fuck with her. (That's a compliment.) Now, the bad news: Some of you may remember my Flash Review of 9-19, "The Embittered Dance Critic," in which I reported on Zelda, a critic who was grumbling because there was so much to see already. While I chastised Zelda, I also explained, sympathetically, that Zelda's motives were good. As the dance editor of a major newspaper, she feels an obligation to see everything. Lest you think the following screeve is just a personal gripe, let me elaborate a little on Zelda and her colleagues, who include me. Compared to the people they write about, sure, dance writers make a living. But compared to other journalists, well--let's just say, without revealing Zelda's salary, that she probably makes about half of what the general journalists on this list do, and she's been doing it for twice as long. Generally, I don't think it's appropriate to discuss what we pay people, but in view of the attitude I encountered from a presenter tonight, such revelation is called for. We none of us, including myself, get paid for Flashes. We also don't charge readers for them--and, don't get me wrong, I don't begrudge any of you that! We're thankful for the readership, and that people are listening to us. I love writing them, and I think it's a safe bet to say they other flashers share this joy. (And, it should be added, the artists are appreciative of the coverage!) Most of our higher paid colleagues in general journalism do not work on a Saturday night. I had not planned to work Saturday night. As anyone who reads the Flashes may have noticed, I'd been up until 2 a.m. the previous three nights, Flashing. One of the nights, I hadn't even intended to Flash, but that's how Flashes are: When the performers and the work inspire us so much that the spirit moves us, we HAVE to get the word out. My preference would have been to spend the entire evening at a holiday party thrown by a couple of DI colleagues, chatting with their fascinating guests--some dancers, some just fascinating--and drinking the fine wine provided by their sommelier-friend, MW. Much as I may seem like a workaholic, if I don't fully appreciate the value of sleep, I do appreciate the value of...what's that word...Fun. In fact, just Friday, experiencing one of my Flash Crashes--a day-long headache resulting from consecutive night Flashes and the accompanying sleep deprivation(this one is going somewhere besides the pity party, just bear with me), I sobbed to myself, "I need to get a personal life." However, like Zelda, I feel a responsibility to the field--as a dance journalist and, specifically with the Flash Reviews. Part of the point of the Flashes is to get reviews out while they can make a difference, so I try to review things on opening night, or send someone who can. Last week, Albert reviewed the opening night of David Gordon's show at the Danspace Project at St. Mark's Church. This week, he checked out New Stuff at P.S. 122. One of the artists on the program at P.S. was Trajal Harrell, who I have long been trying to see. I 'd been hearing good reports on Trajal for a couple of years on the dance grapevine. Even tho Albert took care of the review, and I support Albert's work, I still wanted to check Trajal out for myself. I figured I could go to the party early, skip over to P.S., stay through Trajal's show, and then return to the party. Saturday morning, Wendy P. invited me to accompany her to see Gordon at Danspace Saturday night. I told her I already had plans to see Trajal and New Stuff at P.S. She said she'd wanted to see Trajal too, but pointed out that he will be around for a while, and there will be another chance to see him, and that I should really see Gordon, as I'd never seen him. I still would have rather just taken the night off. But because Gordon is historically important in dance and particularly dance-theater, I felt a responsibility to go. I am a relatively latecomer at this dance thing, so whenever I get a chance to get exposed to the history, I try to take advantage of it. It helps me be able to give credit where credit is due, to understand and respect the roots. I warned Wendy P. that I would probably leave at the intermission, because I really wanted to fully enjoy this party, and my night off. (Get the point!?) Right before the show started, we were informed that it was a two-hour show, and there would be no intermission; the show would end at 10:30. I looked at the program; there were 11 works. I decided to leave after the 6th, as quietly as possible. (Why couldn't I have stayed through the whole thing, you might ask? These few hours on this Saturday night would be the only hours off I'd had this week, and I wanted to milk them.) The evening was a nice one. I won't review it because Albert already has, except to say that I loved Gordon's performance in a solo, "Mannequin," in which he does Sophie Tucker/Fanny Brice singing "Second Hand Rose." After the sixth piece, I quietly made my way to the exit to the sanctuary. I opened the door, and on the other side, there was Danspace executive director Laurie Uprichard, giving me a look of "How dare you." Once outside, I ran into her again. I can't remember all of what she said--overt hostility usually upsets and disorients me--but the gist was that I should not have left. One quote: "As a critic, you need to make the investment of time." Excuse me. Excuse me. I explained to Laurie that I had gone to things every night this week, and that this was supposed to be my night off, and I already had an engagement. But that I knew that David Gordon was important, and figured that going for half of the concert was better than passing on this opportunity to see him. So I had made the effort to come to the show. I also reminded her that I had made sure to get someone to review the program on opening night. (And it was a good review.) I reiterated that it was either go for half, or not at all. "I'd prefer that you'd have not come at all." How dare she. How dare she. This is not a chattel-house, where critics are locked up and only let out to see performances at St. Mark's Church. There is no excuse for this kind of behavior by a presenter. She would have to be blind to make this kind of comment. Ms. Uprichard is on our Flash list, and is well aware that I have indeed been up until early in the morning the last three days, flashing things. If I drive myself to an early grave because of my loyalty to dance, and putting my need to have a healthy personal life second, will Ms. Uprichard give me a plot in the St. Mark's burial ground? Because based on what I make writing about her performances, I cannot even afford a pauper's grave. (Again, not a pity party: This is true of the field in general.) I could say more, but it would just be elaborating on how appalled I am at her behavior and attitude. I do not work for Ms. Uprichard. I work for the love of dance, for the dancers, and for my own joy of writing. Ms. Uprichard's attitude is counter-productive, and definitely doesn't serve the artists. I wish those who will be performing in her theater only the best; too bad, thanks to Ms. Uprichard, I will not be back to see them at Danspace Project, nor will I be sending another Flash Reviewer there. She prefers that I don't come at all. Thankfully, not everyone in this business is as ungrateful and inhumane as the director of Danspace Project. To end the millenium on a positive note, a shout out to this week's Dance Insider Flash Review heroes: Wendy P. and Sara H, for insisting I get some sleep. Robin H., Ben Z., Veronica D., and Mark W. for providing a few blessed hours of fun and escape, with the sangria and vin de pays to grease the wheels. Helena L. for interviewing me, appreciating Murray Louis with me, and providing some of the best conversation--non-dance and otherwise--I've had in a long time. Mark R. for sending Helena my way. Jennifer L. and Lauren D. for helping me see the Ailey in a different light. Cynthia M. for forgiving that I faltered in this. Martha U.W., "Between you and Me," Rosanna, Karen B., and Kricket for voicing their support for the personal approach of my Flashes. Eric D. for forwarding the Flashes to a larger circle. Rachel C. for, unlike Ms. Uprichard, encouraging me to come see the American Dance Guild show at Hunter College, even if it meant (because I was also seeing Peridance that night) missing the opening artist, who was her. And, again, Robin H. for entering these flashes every day on our web-site-in-progress. And finally, a word to emerging choreographers: Being disinvited from Danspace Project gives us that much more free time on our dance card to see your concerts. I can't promise we'll stay for the whole show of every concert. Even critics need and deserve to "invest the time" in having a personal life, and a healthy one. Otherwise, as I've said before, we'd become as embittered as the above multi-referenced presenter, in which case, trust me, you wouldn't want us there. On that note, we're going on holiday. Please subscribe to the magazine if you haven't already. If you have, consider gift subscriptions for your dancers, board, and/or friends. Shouts out to the Ailey alumni who will be returning Sunday night to to reprise the roles they originated in "Hymn," in tribute to its choroegrapher, Judith Jamison. Have a stable rest of the year, and we'll see you in 2000. |