Full houses for L'acadco's 'SOULJAZZ'

Michael Reckord, Gleaner Writer

Long-time followers of L'Acadco have come to expect the unexpected, but those new to the dance company who attended SOULJAZZ at the Philip Sherlock Centre for the Performing Arts (PSCCA) on the weekend might have been in for a surprise.

Most dance companies only stage dance but SOULJAZZ, the company's latest major work, is "a continuous full length presentation as in a Broadway production".

The quotation comes from the message by L'Acadco's artistic director, Dr L'Antoinette Stines, in the printed programme. In the message, Stines discloses the show's many sources.

Referring to the ballet's multifaceted storyline, she notes that "Through the lives of Nina Simone's Four Women: Aunt Sarah, Saffronia, Peaches and Sweet Thing, we remember the joys, pains, loves and achievements of women and their necessary relationships with their men."

Stines also thanks fabian thomas for inviting her to dance in a dance item he included in his 2011 production of Vagina Monologues, pointing out that it was thomas' choreography that became the main thread for the SOULJAZZ story. In addition, Stines credits her daughter, Amanyea, with being "the talented mind behind this creative concept" who was also "very important in the artistic threading for a performance".

The human sources of SOULJAZZ are not the only ones whose help Stines acknowledges. She also thanks her co-choreographers, Renee McDonald (from The Company Dance Theatre), Amanyea Stines, Kareen Mclean and fabian thomas.

thomas was also responsible for dramaturgy and dramatic direction, artistic inputs which add to the idea of the ballet being like a Broadway production. Also enhancing that concept was the work of musical director Aaron Vereen, set designer Larry Watson, and lighting designer Nadia Roxborough. David Callum was responsible for the props and Judith Anderson for costumes.

Stines hints at the origin of the name SOULJAZZ when, in her message, she suggests to the audience that the dances "will touch your souls in many ways". And the PSCCA's capacity audiences on Saturday and Sunday nights would have agreed that the show had the unpredictable quality of jazz.

SOULJAZZ stories flow into each other, modern Jamaican dress is mixed with African and colonial costumes, the 'score' comprises many musical genres, dancers sing and talk, and an ensemble of drummers sometimes takes over the entire stage. The action of the ballet (or musical) supposedly takes place in a tenement yard, but the décor (or set) is abstract: four coloured drapes hang over the stage, antique chairs are on the periphery of the playing area, and a low platform with drums is upstage.

Hardship

The four central stories all have elements of hardship. They are summarised in the programme.

Sarah's story - A woman whose mistakes have shaped her life is helpless as her daughter follows in her footsteps. Sarah (Jeneille Greenland) is concerned about her daughter (danced by Sasha Christian), and just as she fears the girl gets involved with an uncommitted youth and gets pregnant.

Saffronia's story - Haunted by her past, Saffronia reveals her story and we journey with her into enlightment. Jessica Shaw dances the title role.

Sweet Thang's story - Caught up in the wilderness that is a strange and large new city, a young girl loses her way. Danced by Rushae Watson, Sweet Thang is dazzled by a city's night life and becomes a cocaine addict.

Peaches' story - Hardened by life and the struggles of her ancestors, Peaches (Melisha McField) faces her future with the strength and will of those who came before her. A Maya Angelou poem about the power of a woman assists Peaches to find herself.

There are other stories and dances in SOULJAZZ, nearly 20 in fact. All are characterised by high energy, assured dancing and movement, excellent control of limbs and body (thanks to Stines' L'Antech technique) and evident enjoyment of dancing. That enjoyment is strongly transmitted to the audience, which enthusiastically applauded throughout.

Dedicated to a special friend and choreographer to L'acadco, Howard Daly, who died in September last year, the show ended on Sunday night with L'Antoinette invoking the blessing of "the Divine Energy of the universe" on dancers, drummers and audience.