A Dance Adventure

May 2000

Commissioned by the Orange County
Performing Arts Center

CHOREOGRAPHY and CONCEPT: Loretta Livingston

MUSIC: Murielle Hamilton
COSTUME DESIGN: Martha Ferrara
SCENIC DESIGN: James P. Taylor
LIGHTING DESIGN: Stephen Bennett
TEXT: Loretta Livingston
DOLL DESIGN/ ASSISTANT TO THE COSTUME DESIGNER: Itsaso Petricorena

DANCERS
John Diaz, Alyson Little Jones, Kristi Keanuenuepiolaniku’uleialoha Kapahua, Michael Mizerany, Myshia Moten, Keena Smith, Johnny Tu, Sioux Wing, Erin Suzanne Carper (Understudy)

AUXILIARY CAST
Courtesy of Sylvia Turner, Dance Department Chair of Santa Ana College
Bobby Avalos, Rosa Garcia, Heather Gillette, Liz Lara, Carlos Rodriguez, Nikki Zialcita

Stage Manager for Loretta Livingston & Dancers:
Kristin Koop
Assistant to the Choreographer:
Michael Mizerany
Artistic Advisor: Diane Doyle (Courtesy of Orange County Performing Arts Center)

Two Thousand Steps was produced by
Loretta Livingston & Dancers
Executive Producer: David Plettner
Production Assistant: Dana Parker
Board of Directors: Marcia Gold, David Humiston, Loretta Livingston, Wilma Marshall, Jill Medlinsky, David Plettner, Arthur Rieman (President), Karen Schmidt

Choreographer Loretta Livingston was commissioned by The Orange County Performing Arts Center to create a new work specifically for the stage in Segerstrom Hall. The new work, titled “Two Thousand Steps” by Livingston, premiered Friday, May 12, 2000.

In addition to Livingston’s choreography, the work had an original musical score by composer Murielle Hamilton, scenic design by James Taylor, lighting design by Stephen Bennett and costumes by Martha Ferrara. Hamilton, Bennett and Ferrara have teamed with Livingston on past projects, and all have won awards for their collaborating designs and compositions.

Chosen as the first artist in OCPAC’s new commissioning program, Livingston created a work that looks lovingly and humorously at dance itself, inspired by the changes all the arts went through in the 20th Century. Fitting into the artist’s philosophy that art is for everyone, Two Thousand Steps” was designed to be an “age-inclusive” work-an evening of dance accessible for a wide spectrum of audience members, regardless of age and knowledge of contemporary concert dance.

How to “see modern” has been perplexing 20th Century audiences for almost 100 years now, and Livingston hoped to find ways to key the audience into seeing what they already know---that the world is not always a linear story that we can follow, but rather a serendipitous adventure with countless juxtapositions and perspectives. Livingston also supports the belief that historic world events have always shaped how humans view themselves, their world, and therefore their art, so images from 20th Century history also figured into the work.

Intended to be imaginative, captivating and inviting,
“Two Thousand Steps” traced building blocks and bridges between the centuries, resting-and testing-the possibilities of the future on the steps of the past.

Dancers for the project were John Diaz, Alyson Jones, Kea Kapahua, Michael Mizerany, Myshia Moten, Keena Smith, Johnny Tu and Sioux Wing, and Erin Carper, understudy. There was also a special “auxiliary cast” of six dancers from Santa Ana College, representing a community participation.

The Artists

With a well-filled house, a standing ovation and press quips like “whimsical leaps of imagination” (Los Angeles Times), “another Orange County dance coup” (Orange County Metro), “Livingston steps lively into joyful audience appeal” (Orange County Register) and “a sound and immediate success” (Spanish language publication Tu Mundo), Two Thousand Steps was premiered on
May 12, 2000 in Segerstrom Hall at the Orange County Performing Arts Center. With the honor of having been chosen as the first artist commissioned by OCPAC, Livingston and her dancers and collaborators were happy to offer a work that was so well received.

1996 “Tales From The Plate, Moving North”

An evening-length dance/theatre work inspired by the
history and character of Los Angeles-the City of the
Angels-commissioned by the Japan America Community
Center in Little Tokyo, downtown Los Angeles.
(Another work in Livingston’s ongoing series inspired by California and the West.)

“The Plate” refers to the Pacific Plate, the tectonic landmass that is moving
north by a few inches a year, grinding past the North American Plate, which carries
the rest of the USA. Images include earthquakes, landmasses, wheeled transportation,
urban life, Pleistocene predators, border conflicts, the Mexican past, speaking in tongues,
and a street tough guardian angel named Angelita Luz.

Choreography: Loretta Livingston
Commissioned Musical Score: Murielle Hamilton, piano with string orchestra
Lighting Design: Stephen Bennett
Stage Décor: Frank Romero, Visual Artist
Costumes: Loretta Livingston

Dancers: Monica Favand, Loretta Livingston, Michael Mizerany,
David Plettner Madeline Soglin

Premiere: June 14, 1996, Japan America Theater, Little Tokyo,
Los Angeles, CA

Program notes and content:

Dance Sections:

1. Prologue-dancers-Loretta Livingston as Angelita Luz, Michael Mizerany,
David Plettner, Madeline Soglin, Monica Favand

2. Badlands (solo for Loretta Livingston)

3. Whose Fault Is This?-dancers-Monica Favand, Loretta Livingston,
Michael Mizerany, David Plettner, Madeline Soglin

(Peat moss courtesy of Jungle Growth )

4. The Tar Pit Motel-dancers-Loretta Livingston, Michael Mizerany,
David Plettner, Madeline Soglin

5. Santa Anas, Sol Y Sueños-dancers-Monica Favand, Loretta Livingston,
Michael Mizerany, David Plettner, Madeline Soglin

6. Jesus de los Temblores (Jesus of the Earthquakes)-dancers, in order of
appearance-
Madeline Soglin as the Attendant, Loretta Livingston as Angelita Luz,
David Plettner as Jesus de los Temblores, Monica Favand and Michael Mizerany
as the Others

 

Awards: 1996 Lester Horton Dance Awards
Outstanding Musical Score(Murielle Hamilton)
Outstanding Light Design (Stephen Bennett)
Outstanding Stage Design (Frank Romero)

 

 

 

Notes from the choreographer about “Tales From The Plate, Moving North”
(reprinted from the Japanese American Cultural & Community Center newsletter,
“At the Center”,spring 1996)
“Los Angeles is not an easy lover. It’s a free-spirited, vulgar, fallen angel of
a paramour with a penchant for flaunting its good and bad sides. My affection
for this ‘lover’ of a city has developed steadily over the past twenty-five years,
since I moved here [in 1971] to finish the last part of my pre-professional
training before entering the field of dance.I was born and raised in another
part of California where most places have Spanish names and most people
think of Los Angeles as Hell. Somehow I was free of that opinion,
probably because I had the singular focus of becoming a dancer, and if that
meant moving to Los Angeles, it was fine with me. I counted on becoming
a professional dancer but Ididn’t count on falling for a city that the world loves
to hate. I’m still swooning.“Tales From The Plate, Moving North” gives me
a chance to talk about the Los Angeles that I experience. Dance provides
me with a kind of speech that moves through layers of gesture and captured
moments, beyond words and linear development. I can story tell with twists
and turns that suit the mysteries I find so captivating about this place. These
are fictitious ‘tall tales’ of a city I love, but love has a broad meaning here,
ranging from fascination to horror to pure happiness with the bizarreness
of it all….”

Notes about the collaborators (excerpted from “At The Center”, Spring 1996)
“Composer Murielle Hamilton once again teams up with Livingston to
create an original score for the full-length dance/theater work. She has
pursued a long process of blending the traditional with the cutting edge,
the arcane with the popular and the traditional techniques of composition
and orchestration with theinstruments, melodies and rhythms of many
different cultures.”

“Visual artist Frank Romero completes the team. For the past 30 years
Romero has been actively exploring the essence of Chicanismo through
visual imagery. His work is an exploration of ‘Chicano iconography’, images
from his upbringing which encapsulates the blending of urban, Mexican and
American cultures.”

 

1993 “The Grandma Moses Project”

An evening-length dance work based on the paintings of
American folkartist Anna Mary Robertson Moses-
“Grandma Moses” (Images used with permission and licensed
by the Grandma Moses Properties Company)


Choreography: Loretta Livingston
Commissioned Musical Score: Murielle Hamilton, acoustic score featuring American
folk instruments
Costume and Quilt Backdrop Design: Martha Ferrara
Lighting Design: Doc Ballard
Hand Props: Loretta Livingston/ Martha Ferrara
Yearling Cow designed and constructed by: Helga Tacreiter

Dancers: Lynne DeMarco, Loretta Livingston, Michael Mizerany, David Plettner,
Madeline Soglin, Emily Stansberry, Stacia Voytek (understudy and alternate)

Premiere: March 27, 1993, UCLA Wadsworth Theater, Los Angeles, CA

Program notes and content:
Cast of Characters, in order of appearance

The Hired Girl: Lynne DeMarco
The Two Daughters: Emily C. Stansberry and Madeline Soglin
The Hired Man: Michael Mizerany
The Mother: Loretta Livingston
The Father: David Plettner

Dance Sections:

1. Spring The dance starts with images of a day’s beginning. The hired girl does her
chores while dreaming of her life to come. The hired man feels at one with the land
and his work. The children have endless energy for play and mischief, while the mother
is confident as mistress of her family and domain. Spring is a time to feel alive and
energetic, at one with the earth as it wakes from thesleep of Winter.
It is the childhood of the year.

2. Summer In a rare day of leisure, the family and hired help share a July Fourth
Independence Day picnic.Summer is a time for celebrating the long, sunny days of
full growth and abundant color, where all living things fill out and bloom. It is the
prime of the year’s life.

3. Autumn With a touch of chill in the air, the whole community works together to put
away for Winter. It is a time of ghosts, both the kind at Halloween and the kind that
haunt the memories of the adults as they age. Autumn is a time for growing things to
change and age, and a time to be busy preparing for the Winter to come.
It is the maturing time of the year.

4. Winter The landscape has a stillness to it, punctuated by the lively outdoor activities
of the family and hired help. Indoors, they celebrate a year well lived and the pleasure
of each other’s company. Winter is austere and bleak, but with a beauty all its own.
Outside, all life has on aged and gone to sleep,but inside the heart is warm and looks
to Spring.

Program note from the Artistic Director:

The artists involved in this project have worked collaboratively, researching the paintings
and life of Grandma Moses and the time period and geographical locations in which she
lived. They then worked to create a dance production that would convey the spirit of
the images found in the paintings as well as the seasons and times that they portray.
Not intended as a biography of Anna Mary Robertson Moses (1860-1961),
“The Grandma Moses Project” is a celebration through movement, music, visual design
and performance of a time in America’s rural past that linked the people who lived
on the land to the greater community of nature, growing cycles, animals, weather,
and-in a deep way-to each other. This is a production created for audience members
of all ages by contemporary artists who found inspiration in the lively, painted images
of a woman looking back on a life well lived.

Awards: 1993 Lester Horton Dance Award-Outstanding Company
Performance Citation of Recognition from the California Department of
Education/Delaine Eastin, State Superintendent of Public Instruction State
and National Touring, including Alaska

 

1992 “A History of Restlessness”

This is the first in a series of works that give a dance voice to Livingston’s fascination
with living in California and the American West. Sections in “A History of Restlessness”
are based on the overlay of geological images and the human condition. Images include
earthquakes, fault zones, the Ice Age, and Native American petroglyphs.

Choreography: Loretta Livingston
Commissioned Musical Score: Jeff Rona-electronic and sampled sound
Costume Design: Martha Ferrara
Lighting Design: Doc Ballard
Dancers: Lynne DeMarco, Loretta Livingston, Michael Mizerany, David Plettner,
Madeline Soglin

Premiere: Jan 31, 1992, Japan America Theater, Little Tokyo, Los Angeles, CA

Program notes and content:

Dance Sections:

1. Ice Age-a man physicalizes his need for a woman who remains cold and aloof.
Dancers: Lynne DeMarco and Michael Mizerany

2. Drift-a solo for Loretta Livingston, built on imagery of continual, complex motion and
underlying restlessness.

3. Fault Zone-a trio of shifting and dangerous relationships, with abrupt, earthquake-
like shifts and falls. Dancers: Michael Mizerany, David Plettner, Madeline Soglin

4. Relics-a relationship portrait of two women locked together, leaving small
fossilized remnants.
Dancers: Lynne DeMarco, Emily C. Stansberry

5. Unread Petroglyph-two cliff-drawing figures enact a mysterious and tender
relationship.
Dancers: David Plettner, Madeline Soglin

Awards: 1992 Lester Horton Dance Award-Outstanding Choreography State and
National Touring

1991 “A Window in the Passage”

Choreography: Loretta Livingston
Commissioned Musical Score: Jeff Rona-electronic, acoustic and voice---played
live at the premiere
Costume Design: Martha Ferrara
Lighting Design: Doc Ballard
Scenic Elements: Loretta Livingston/ Duncan Mahoney
Dancers: Lynne DeMarco, Grace Dent, Loretta Livingston, Michael Mizerany,
David Plettner, Madeline Soglin


Premiere: Jan. 26, 1991, Japan America Theater, Little Tokyo, Los Angeles, CA

Program notes and content:

A dance/theatre work in four segments---

I. The Arrival-newcomers emerge wet, blind and isolated, then progress to a tightly
bonded community.

II. Elements-uses movement derived from wind, gravity and magnetism to develop
imagery of interaction with the natural world.

III. The Archives-a solitary figure (Livingston) discovers a museum-like chamber of
archetypal figures who relate the history and downfall of their world.

IV. Light-reunites the solitary figure with the group in a transformational culmination.

Notes: This work marks the beginning of Livingston’s shift from smaller, shorter works
to works that span an entire evening, with extensive research from one main theme, a
full-length commissioned score and an enlarged, painterly sense of stage design.

Awards: 1991 Lester Horton Dance Awards-Outstanding Choreography and
Visual Design State and National Touring