The Company is creating a full-length dance work that absorbs the iconic masterpiece in all its aspects (editing, camera angles, music, etc.) without re-enacting any of its dramatic narrative. For Somewhere, Varone dissected Thomas Stanford’s radical editing choices, as well as Jerome Robbin’s camera movements and angles—translating them into dances that are dynamically skewed and off-kilter in form and vocabulary. Somewhere is performed to Leonard Bernstein’s masterful orchestral score for West Side Story. Its symphonic complexity and arresting melodies have been mined purely for their choreographic energy.
Somewhere’s dancesexplore a strikingly unique physical and visual environment. Key collaborators include award-winning lighting designer Ben Stanton, whose intricate lighting designs change the stage picture in swift increments, much like fast paced film editing. Wendall Harrington’s moving projections envelop the stage, working seamlessly with the choreography and giving the score new visual context.
Somewhere will be available for touring in the 2019-20 season and be part of a mixed repertory evening. The Company works closely with presenters to create a balanced evening that works best for their venue and constituents.
Somewhere
8 dancers | 30 minutes in length
ChoreographybyDoug Varone
Music by Leonard Bernstein
Lighting Design by Ben Stanton
Visual Design by Wendall Harrington
Costume Design by Reid and Harriet
“The first time I ever heard the Westside Story score, I think I must have been 5 yrs old and I remember it as being one of the first records that my folks ever bought and it was the Mantovani and his orchestra recording, so it was only an orchestral version of these. I had no idea what they were, didn’t know they were from Westside Story, but I would build dances to them.”
Doug Varone
Award-winning choreographer and director, Doug Varone works in dance, theater, opera, film, and fashion. He is a passionate educator and articulate advocate for dance. By any measure, his work is extraordinary for its emotional range, kinetic breadth and the many arenas in which he works. His New York City-based Doug Varone and Dancers has been commissioned and presented to critical acclaim by leading international venues for close to three decades.
Inspired by Varone’s life-long obsession with the 1961 movie version of West Side Story, the Company will create a purely abstract dance work by absorbing the iconic masterpiece in all its aspects (music, camera angles, editing, etc.) without re-enacting any of its dramatic narrative.
Leonard Bernstein’s musical score, with its symphonic complexity and arresting melodies, is a timeless masterwork. Varone will strip the Bernstein orchestral score of its narrative connotations and reimagine the score purely on the choreographic energy generated by its sounds and musical structure.
Varone has spent endless hours viewing the film and examining Thomas Stanford’s visceral film editing. For Somewherehe will dissect those, as well as Jerome Robbin’s camera movements and angles, using them as inspiration to craft new dances, askew and off-kilter in form and vocabulary. Against the Bernstein score, a strikingly unique physical and visual environment will be explored.
Key collaborators will include award-winning lighting designer Ben Stanton, creating complex lighting designs that will “change the stage picture” in swift increments, much like fast paced film editing; and Wendall Harrington who will provide moving projections that will envelop the stage, working seamlessly with the choreography and giving the score new visual context.
Somewherewill be available for touring in the 2019-20 season and be part of a mixed repertory evening. The Company works closely with presenters to create an balanced evening that works best for their venue and constituents.
8 dancers | 30 minutes in length
Artistic Team & Credit
ChoreographybyDoug Varone
Music by Leonard Bernstein
Lighting Design byBen Stanton
Visual Design byWendall Harrington
Costume Design byReid and Harriet
Support
Doug Varone and Dancers’ programs are supported in part by the Alphawood Foundation, Barbara Bell Cumming Charitable Trust, Bulova Gala Foundation, Doris Duke Performing Artist Awards, Dubose and Dorothy Heyward Memorial Fund, Exploring the Metropolis Foundation, Fan Fox and Leslie R. Samuels Foundation, Gladys Kreible Delmas Foundation, Harkness Foundation for Dance, Howard Gilman Foundation, Jerome Robbins Foundation, O’Donnell-Green Music and Dance Foundation, and Shubert Foundation, as well as public funds from the National Endowment for the Arts, the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and New York State Legislature, and public funds from the New York City Department of Cultural Affairs in partnership with the City Council. We also gratefully acknowledge our many individual supporters.
“Doug Varone and Dancers command attention as soon as the curtain goes up. Rarely do you find a choreographer so dedicated to the full and generous complexity of the human spirit. Many choreographers can create interesting movement; few can make it mean so much.” - CHICAGO TRIBUNE
For more than 30 years, Doug Varone and Dancers has devoted itself to the humanity and virtuosity of dance, reaching out to our audiences well beyond the proscenium arch. We believe this philosophy has allowed us to endure, earning the reputation as one of the most respected dance companies working today. Over time, we’ve created an expansive legacy encompassing dance, theatre, opera and film – establishing an impressive body of work.
The recipient of 11 Bessie Awards, the Company has toured to more than 100 cities in 45 states across the U.S. and in Europe, Asia, Canada, and South America. Stages include The Kennedy Center, Lincoln Center, Brooklyn Academy of Music, New York City Center, San Francisco Performances, London's Queen Elizabeth Hall, Toronto's Harbourfront, Moscow's Stanislavsky Theatre, Buenos Aires’ Teatro San Martin, the Venice Biennale, and the Tokyo, Bates, Jacob's Pillow and American Dance Festivals. In opera and theatre, the Company regularly collaborates on the many Varone-directed or choreographed productions that have been produced around the country.
Doug Varone and Dancers continues to be among the most sought-after ambassadors and educators in the field. The Company's multidisciplinary residency programs take audiences deeper into the work, with a hands-on approach that moves beyond of the studio to speak directly to people of all ages and backgrounds, both dancers and non-dancers alike. Our annual intensive workshops at leading universities have attracted students and professionals from around the country, and through our innovative DEVICES choreographic mentorship program, we are training the next generation of artists and dance-makers.
Whether on the concert stage, in opera or theatre or on the screen, choreographer Doug Varone creates kinetically thrilling dances with rich musicality and emotional depth. From the smallest gesture to full-throttle bursts of movement, Varone's work can take your breath away with both its athleticism and its passion.
DOUG VARONE, ARTISTIC DIRECTOR
Award-winning choreographer and director, Doug Varone works in dance, theater, opera, film, and fashion. He is a passionate educator and articulate advocate for dance. By any measure, his work is extraordinary for its emotional range, kinetic breadth and the many arenas in which he works. His New York City-based Doug Varone and Dancers has been commissioned and presented to critical acclaim by leading international venues for close to three decades.
In the concert dance world, Varone has created a body of works globally. Commissions include the Paul Taylor American Modern Dance Company, Limón Company, Hubbard Street Dance Chicago, Rambert Dance Company (London), Martha Graham Dance Company, Dancemakers (Canada), Batsheva Dance Company (Israel), Bern Ballet (Switzerland) and An Creative (Japan), among others. In addition, his dances have been staged on more than 75 college and university programs around the country.
In opera, Doug Varone is in demand as both a director and choreographer. Among his four productions at The Metropolitan Opera are Salomewith its Dance of the Seven Veils, the world premiere of Tobias Picker’s An American Tragedy, Stravinsky’s Le Sacre du Printemps, designed by David Hockney, and Hector Berloiz’s Les Troyens. He has staged multiple premieres and new productions for Minnesota Opera, Opera Colorado, Washington Opera, New York City Opera, and Boston Lyric Opera, among others. His numerous theater credits include choreography for Broadway, Off-Broadway and regional theaters across the country. His choreography for the musical Murder Balladat Manhattan Theater Club earned him a Lortel Award nomination. Film credits include choreography for the Patrick Swayze film, One Last Dance. In 2008, Varone’s The Bottomland, set in the Mammoth Caves of Kentucky, was the subject of the PBS Dance in America: Wolf Trap’s Face of America. Last season he directed and choreographed MASTERVOICES production ofDido and Aeneasat NY’s City Center, starring Tony Award winners Kelli O’Hara and Victoria Clark, alongside the Company. Most recently, he staged Julia Wolfe’s Pulitzer Prize winning oratorio, Anthracite Fieldsfeaturing the Bang on a Can All-Stars and the Westminster Choir.
Varone received his BFA from Purchase College where he was awarded the President’s Distinguished Alumni Award in 2007. Numerous honors and awards include a John Simon Guggenheim Fellowship, an OBIE Award (Lincoln Center’s Orpheus and Euridice), the Jerome Robbins Fellowship at the Bogliasco Institute in Italy, and two individual Bessie Awards. In 2015, he was awarded both a Doris Duke Artist Award and the Lifetime Achievement Award from the American Dance Guild. Varone teaches workshops and master classes around the world for dancers, musicians and actors. He is currently on the faculty at Purchase College, teaching composition.
Doug Varone and Dancers - in the shelter of the fold /epilogue
in the shelter of the fold /epilogue comprise an evening of inquiry into both public and personal acts of faith. Drawing on his own curiosity about traditional and secularly spontaneous uses of prayer, Varone questions what constitutes faith. To whom are we speaking – and what are we asking for? Is this a mystical or spiritual experience, or simply a dialogue we’re having with ourselves? in the shelter of the fold /epilogue questions our ways of coping, realization, choice; exploring a multitude of expectations inherent in faith and belief.
Created for an ensemble of 8 dancers and 12 guest artists, in the shelter of the fold /epilogue is an episodic work comprised of 6 dances that unfold like a woven tapestry, each revealing a new narrative. mass, the section for the guest dancers, incorporates university dance students and regional dance companies into the performance. “Having the opportunity to perform mass, to live inside the work with the company, physically and energetically, allowed them to rise up as young artists.” Heather Cooper, Associate Director, School of Music and Dance, San Jose State University.
Of its New York premiere at the BAM Fisher Center, Broadway World said, “in the shelter of the fold /epilogue is transcendent and transfixing.”
95 minutes in length (including one 15-minute intermission)
Choreography by Doug Varone
Music by Lesley Flanigan, Julia Wolfe, David Lang, Raz Mesinai, Kevin Keller
Lighting Design by David Grill and David Ferri
Costume Design by Liz Prince
horizon: Music by Lesley Flanigan, Sleepy
folded: Music by Julia Wolfe, Believing
shelter: Music by David Lang, Child
mass: Music by Raz Mesinai, La Cidadelle
hope: Music by David Keller, Hope
epilogue: Music by Lesley Flanigan, Hedera
TOURING IN 2019-20
in the shelter of the fold / epilogue
in the shelter of the fold /epiloguecomprise an evening of inquiry into both public and personal acts of faith. Drawing on his own curiosity about traditional and secularly spontaneous uses of prayer, Varone questions what constitutes faith. To whom are we speaking – and what are we asking for? Is this a mystical or spiritual experience, or simply a dialogue we’re having with ourselves? in the shelter of the fold /epiloguequestions our ways of coping, realization, choice; exploring a multitude of expectations inherent in faith and belief.
Created for an ensemble of 8 company dancers and up to 12 guest artists, in the shelter of the fold/epilogueis an episodic work comprised of six dances that unfold like a woven tapestry, each section revealing a new narrative.
Each dance can be shown as stand-alone works or as an interrelated episodic event, scored by five of the most innovative 21st century composers working today. mass, a dance for 12 within in the shelter of the fold, was created so that it could incorporate university dance programs or regional dance companies into the performance. This has proven to be an excellent community component to an engagement with the company, creating a unique residency with the Company.
in the shelter of the fold/epiloguewill have its New York premiere at BAM Brooklyn Academy of Music in the spring of 2019. epiloguewill have its premiere at Vassar College on October 6, 2018.
horizon| Sextet
folded| Duet
shelter| Trio
mass| 12 dancers
hope| Solo
epilogue| 8 dancers
8 dancers plus 12 guest artists | 95 minutes in length (including one 15-minute intermission)
In the shelter of the foldwas commissioned by the Performing Arts Center at Purchase College and premiered on November 5th, 2016. Additional support for foldedwas provided by the Brooklyn Academy of Music and had its New York City premiere at BAM on March 29, 2017.
Doug Varone and Dancers’ programs are supported in part by the Alphawood Foundation, Barbara Bell Cumming Charitable Trust, Bulova Gala Foundation, Doris Duke Performing Artist Awards, Dubose and Dorothy Heyward Memorial Fund, Exploring the Metropolis Foundation, Fan Fox and Leslie R. Samuels Foundation, Gladys Kreible Delmas Foundation, Harkness Foundation for Dance, Howard Gilman Foundation, Jerome Robbins Foundation, O’Donnell-Green Music and Dance Foundation, and Shubert Foundation, as well as public funds from the National Endowment for the Arts, the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and New York State Legislature, and public funds from the New York City Department of Cultural Affairs in partnership with the City Council. We also gratefully acknowledge our many individual supporters.
