Teresa Chapman & Leslie Scates: The Convenient Woman

After premiering an excerpt of her work, Lost and Found, at Big Range Festival in 2006, Teresa Chapman was proclaimed “a choreographer to watch” by Houston dance writer, Nancy Wozny. Chapman, an Assistant Professor of Dance at the University of Houston, has enjoyed a varied career as a performer, choreographer, and instructor. She is an adjunct artist with the Liz Lerman Dance Exchange and a member of Travesty Dance Group-Houston.

Along with choreographer and performing artist Leslie Scates and designer Frederique deMontblanc, Chapman will premiere a new work April 3 in the DiverseWorks Theater. The Convenient Woman is a dance-theatre performance that provides a personal and satirical look at our culture’s obsession with conveniences, afflictions of dissatisfaction and discontent, and pursuit of the feminine ideal. Chapman takes a moment from her busy schedule to talk with me about this collaborative project.

Can you describe the circumstances that planted this seed of collaboration with Leslie Scates?

I danced with Leslie in Karen [Stokes]‘ company (Travesty Dance Group) some time ago and I’ve always appreciated her energy and performance abilities. In addition, I am fascinated by her approach to choreography and use of improvisation to create unpredictable patterns. I knew this would be a very small cast, just 2 women and I thought she would be the perfect dance artist to ask to collaborate with. I was right.

Leslie is known, in particular, for her spontaneous dance creations. What is the ratio of choreographed vs. improvisational score in this work?

I think it’s an interesting mix. Some sections begin with set material, then slide into a structured score. We used improvisation to develop a few of the sections, then set the material. We have a number of set movement phrases that can be used in a improvisational score, then other sections are completely set. I really appreciate the freedom to use both. I think people should see the show twice, then tell me what the ratio is!

Were there any challenges in meshing your processes with Leslie’s or did the blending come naturally?

It came naturally I think. We’re pretty open with each other and any discomforts were discussed immediately. We developed it together and let the work be what it wanted to be. We followed our instincts throughout and and think it worked for us.

You have a continued association with Liz Lerman Dance Exchange. How have your experiences with them informed your own creative process?

We worked with text throughout the process to develop movement material using an LLDX “tool” called “equivalents.” We would free write on a given topic, then create movement (and accompanying text) based on words and phrases that spoke to us. In many ways we’ve combined thoughts and responses. Sometimes I’m telling her story, sometimes she’s telling mine. Maybe they’re the same story, maybe they’re every woman’s story.

You are also working with video and set designer Frederique deMontblanc on this project. How did her involvement come about?

I was sitting next to her at a Fresh Arts meeting and mentioned that I was looking for someone to design some video for the piece. She said that was something she was interested in. She sent me her portfolio and I was floored! Her work is multi-layered, colorful and fresh, yet slightly disturbing. She was exactly what I was looking for!

We will see you and Leslie on stage. Will there be anyone else out there with you?

Frederique will be on stage creating collages and drawings that are projected onto the back wall. She is the third collaborator/performer and a major contributor to the look of the piece. It’s only natural that we all share the space.

I understand you’ve also collaborated with folks from the University of Houston’s Women’s Studies department. Can you give us a hint about how they have contributed?

Yes, we will also have a small cast of “extras” (non-dancers and dancers) who participate in selected scenes. A friend of mine teaches a Woman’s Studies course at UH and this happens to be a class project for them. Each night we will have a different cast performing tasks, supporting background action, delivering boxes…I’m sure it will add another layer of unpredictability!

You’ve utilized some interesting texts on womanhood and the feminine ideal as inspiration for parts of this work. Without giving too much away, tell me a bit about these books and how you’ve used them as a springboard.

Ideas for this piece started with a book written in 1969 called “The Way to Become the Sensuous Woman” written by “J.” The author, “J” could be a woman or a man! I think the book itself is hysterical, offering tips on where to meet men and ways to please your partner. It got me thinking about all the things we do to make ourselves more convenient for our lovers. That lead to conversations of how we make ourselves more convenient for other people and how easy it is to sacrifice personal needs in the process. While some sections of Convenient Woman are more serious, text from the book have added a bit of comic relief.

You can catch The Convenient Woman Friday & Saturday, April 3 & 4, April 10 & 11, 2009 at 8pm in the DiverseWorks Theater. Tickets can be purchased online at www.diverseworks.org, at DiverseWorks Art Space, (1117 East Freeway), or by calling 713.335.3445. For most shows, General Admission tickets are $15, DiverseWorks Member Tickets are $10 and Student and Senior Tickets are $8. Groups of 10 or more can purchase tickets at a discounted rate by calling 713.223.8346.

Flash Response: “Marie” Houston Ballet

Houston Ballet's Marie; Ian Casady and Melody Herrera; Photo by Amitava Sarkar

Sunday was probably the only day this week that I might have had a “day off” from dance. I’m currently preparing to perform in the latest Suchu Dance work which opens this Thursday so, for me, the next seven days will be intensely movement and production oriented. I didn’t take the day off, however. I couldn’t resist the one chance I would have to see Houston Ballet premiere Stanton Welch’s new ballet, Marie.

Although I have long been a student and teacher of dance and ballet technique, my primary interest has been in the contemporary/modern dance realm from practically day one when my dance teacher encouraged me at a young age to investigate dance through improvisation. Therefore, I’ll admit, it is rare for me to put a narrative ballet at the top of my must-see list. So, why would I give up my one, dance-free day to see Marie? Three reasons…

One.

I enjoy a good story, and the life of Marie Antoinette certainly seemed like intriguing fodder for a ballet.  It is smart to mount a ballet in which the historic central figure has recently shown up on the pop-culture radar. It has been only a few years since the release of Sophia Coppola’s stylish interpretation, therefore calculated or not, the choice of subject is timely.

And, although monarchial tales are nothing new for classical ballet, certainly Marie’s beheading alone sets her apart from the ethereal heroines found in most storybook ballets. In watching, I found it refreshing to encounter a strong female character as she faces obstacles, ridicule, and ultimately death with dignity. Though she begins as a child bride thrust under a spotlight of scrutiny, by Act II a more grown-up Marie makes no apologies for living her life to the fullest while remaining firmly devoted to being a good mother to her children. As a mother, myself, I can relate to these complexities of womanhood. It is one of many aspects of this period ballet that will resonate with a 21st century audience.

Two.

I enjoy good dancing and Houston Ballet typically delivers. There were a few somewhat ungainly partnering moments and a couple of times that costumes seemed to hinder the movement (although, kudos to all the ladies accomplishing pirouettes in long, heavy skirts) but, I was truly not disappointed. In fact, in addition to excellent dancing, the performers produce fine acting performances. From my vantage point, I had the pleasure of seeing clearly the dancers’ faces and the skill with which they convincingly pulled-off complicated emotions, relationships, and (the often more difficult) situational comedy. However, given the rousing standing “O,” I am pretty positive that these played to the back row, as well.

Three.

As Stanton Welch himself states in his program notes, “In today’s financially challenging environment, few ballet companies are devoting the time and resources to the creation of new narrative ballets with original scenarios.” So, frankly, I just didn’t want to miss the opportunity to see this rare breed for myself!

As for resources, it is obvious that quite a bit was directed at this production. The costumes are beautifully crafted with a variety of fabrics and textures. Great attention was paid to an overall design that was cohesive from start to finish. I was particularly enamored with the muted silvers and lavenders in Act I, among which were carefully placed accents of white, red, and black. These made the colorful couture of Act II all the more eye-popping.

Consisting of three acts, Marie is over two hours long. Therefore, from the music, to the large cast of characters, to the emotional sucker-punch of an ending, there is much I could write about this ballet. Rather than bore you or spoil things with more detail, however, I’m going to just suggest you follow my lead and not miss this one. Don’t worry, you can still catch Suchu, too!  But, as for Marie, there are three remaining performances this weekend at Wortham Center.