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FLYING SOLO


VIRTUAL PERFORMANCE
NOW PLAYING

Tickets available for purchase until December 31, 2020.

Tickets $30 $15**

 

By purchasing a ticket, you will receive a personalized link that you can watch on your own time. You will have a limited number of views and the link will expire in one week. Check out our VIRTUAL CONCERT GUIDE below.

COMMUNITY WATCH PARTY- Wednesday, December 30 at 7:30 pm MST | Join the RDT dancers and your fellow patrons to watch the show together.

You will be sent a personalized link for the performance. The performance will start playing at 7:30 pm MST and there will be a chat box available that you can engage with others watching in real time, including RDT dancers. You can purchase a ticket at anytime, but if you want to join the watch party, just log-in at the start time! :)

 

 

**Thanks to partners like the State of Utah and the Governor's Shop In Utah grant program, RDT is proud to offer all tickets for our Emerald season at 50% off so that ANYONE—regardless of circumstance—can enjoy world-class art and dance in Utah. Outstanding partners like these are committed to helping Utah recover from COVID-19 and agree that art, dance, and movement are essential to helping us heal, recover, and discover what our new normal will look like. Take advantage of this amazing discount - good for in-person attendance OR enjoying a digital performance from the comfort of your own home! Art IS Essential - DANCE WE MUST!

 

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    Ursula Perry in choreography by Sharee Lane, photo by Sharon Kain

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    Daniel Do in choreography by Molly Heller, photo by Sharon Kain

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    Mazurkas by Jose Limon, dancer Dan Higgins, photo by Sharon Kain

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    Jaclyn Brown in choreography by Molly Heller, photo by Sharon Kain

The art of solo performance has been with us for generations. Individuals have told stories in front of other members of their tribe or society for thousands of years...Greek Monologist, strolling Minstrels of Medieval England, French Troubadours and performing artists in vaudeville, cabaret, theatre and dance celebrate the singular voice.

FLYING SOLO features unforgettable solos from RDT's prestigious dance library including choreography by Ted Shawn, José Limón, Daniel Nagrin, Douglas Dunn, Molly Heller, Sharee Lane, Nicholas Cendese, Zvi Gotheiner and Remote, a premiere work by choreographer, Marina Harris who has mastered the art of “Zoom” technology to create poetic movement monologues for each RDT dancer from her home in Nova Scotia.

 

Artist Bios

Ted Shawn

Ted Shawn was born as Edwin Myers Shawn on October 21, 1891, in Kansas City, Missouri, but grew up in Denver. While studying to become a minister, Shawn suffered a bout of diphtheria which left him paralyzed when he was 19. His physician advised him to take up dance as a form of physical therapy. Dancing cured Shawn's paralysis and spurred him on to leave divinity school and pursue the art of dance as a life-long profession.

While Shawn did not have the ideal body type of a male dancer—he was over six feet tall and weighed 175 lbs.—he achieved some success starting out. His first professional dance experience was with a Metropolitan Opera ballerina as his partner, and he garnered a few fans as part of an exhibition ballroom team. In 1912, he moved to Los Angeles and opened a dance studio. There, he would be instrumental in making one of the first dance motion pictures Dances of the Ages. Soon after, his dancing partner, Norma Gould, embarked with their company of interpretive dancers upon a cross-country tour and reached New York City after 19 performances.

In New York, he met Ruth St. Denis (1878-1968) and married her almost immediately, on August 13, 1914. Their union would set his artistic life in even greater motion as the pair formed the Denishawn studios and dancers. Shawn also served in a stint in the United States Army, first as an enlisted man, then as an officer during World War I, before devoting himself completely to dance.

During the next 15 years, the activities of the couple's Denishawn company and school changed the course of dance history. It was the first American institution to combine performance and touring with dance curriculum. It was also considered the only dance school to which parents could safely send daughters. Most of today's modern dancers trace their ancestry to Denishawn. It was Shawn who first recognized Martha Graham's potential. He was also instrumental in shaping the early careers of Charles Weidman, Doris Humphrey, and Jack Cole. While St. Denis provided most of the creative sparks, Shawn had the business sense to make Denishawn a coast-to-coast success.

Denishawn aimed to demonstrate that modern dance could be a serious art, while maintaining the interest of mass audiences through the use of costume, spectacle and entertainment. Its varied repertory incorporated spiritual exotica in solo, duet and group form, as well as large-scale presentations such as the Dance Pageant of India, Greece, and Egypt (1916). Premiering at this event was the couple’s signature duet, Tillers of the Soil, a stylized rendition of an ancient Egyptian couple harvesting the earth. Shawn contributed to these spectacles but also choreographed nearly 200 of his own works, ranging from the comedic Betty’s Music Box (1922) to the ethnic Japanese Spear Dance (1919). His infatuation with ancient Greek philosophy and physical ideals led him to create such dances as Death of Adonis (1924), in which Shawn, nude and painted white, embodied a moving classical sculpture.

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José Limón

 

Modern dance pioneer José Limón was born on January 12, 1908, in Culiacán, Mexico. His family immigrated to the United States when he was a boy, and he grew up in Los Angeles, California. A move to New York in 1928 brought Limón into contact with the modern dance world. He trained as a dancer and became a major performer and choreographer, eventually founding his own dance company in 1947. Internationally celebrated for his powerful and influential style, Limón died in New Jersey in 1972.


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Daniel Nagrin

 

Born New York City, May 22, 1917. Died December 9, 2008, Tempe AZ.
Daniel Nagrin has achieved prominence in every area of dance, as a dancer, choreographer, teacher and writer. In a professional career beginning in 1940, he was a mayor dance soloist in Broadway musical comedies for fifteen years, during which time he was voted Best Male Dancer. He was associated with one of the founders of modern dance in America, Helen Tamiris, with whom he co-directed the Tamiris-Nagrin Dance Company. From 1957 to 1984 he toured his own choreography on the university circuit with solo programs that are now part of American dance heritage and performed today by leading dance soloists. Mr. Nagrin has been the recipient of numerous grants and awards from The National Endowment for the Arts, The New York State Council for the Arts, and Arizona State University where he was appointed full professor in 1982. In 1991, he became the first dancer to receive an Honorary Doctorate of Fine Arts from the University of New York. Retiring as Professor Emeritus the following year, he published his second book on dance, Dance and the Specific Image: Improvisation. His first book was How to Dance Forever and he is currently at work on two additional books. Remarkably Mr. Nagrin danced professionally from 1940 to 1984; he was sixty-seven at the time of his last solo concert. Nagrin is often called “The Lone Dancer” because his fame emanates from a career as a solo artist. Nagrin’s focus on creating the “Other” throughout his works correlates with the viewpoint of an anthropologist who searches to understand the meaning of the dance he is studying through understanding the “Other’s” culture.


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Douglas Dunn

 

Douglas Dunn (born October 19, 1942) is an American postmodernist dancer and choreographer. He is considered a highly eclectic and minimalist postmodern choreographer, who uses humor, props, and text in his dances.

Douglas Dunn started dancing in college in 1962, studying under Audree Estey, Maggie Sinclair, and Roland Guerard at the Princeton Ballet Society. In 1963 he attended the Jacob's Pillow Dance Festival where he studied under Margaret Jenkins, Ted Shawn, Matteo, Margaret Craske, La Meri, and Gus Solomons, Jr. Dunn received his B.A in 1964 in Art History from Princeton University in New Jersey. After college he continued his studies at the Martha Graham summer program in 1963 and 1964, the Joffrey Ballet School from 1964-1965 and the Margaret Jenkins Studio. Dunn moved to New York in 1968 where he started training at the American Ballet Center with Francoise Martinez and at the Merce Cunningham School.

In New York, Dunn began working with Yvonne Rainer and was a dancer with her company from 1968-1970. After completion of his studies with the Merce Cunningham studio, he was accepted into their professional company as a dancer from 1969-1973. In 1970 he became a member of the avant-garde improvisational group the The Grand Union until 1976.

Dunn premiered his professional company, Douglas Dunn and Dancers, in 1976, where he served as artistic director. He was commissioned by various companies to choreograph works including the Paris Opera Ballet, Groupe de Recherche Choreographique de l'Opera de Paris, Grande Ballet de Bordeaux, New Dance Ensemble of Minneapolis, Walker Art Center (Minneapolis), Repertory Dance Theater (Salt Lake City), Ballet Theatre Francais de Nancy, Institute for Contemporary Art (Boston), Perth Institute of Contemporary Art (Australia), and Portland State University (Oregon).


Marina Harris

 

Marina Harris has an extensive background in the theater and is known as a consummate choreographer, costume designer and author. Marina has been associated with RDT since 1976 when she became the company’s costume designer and went on to design for numerous professional companies and university departments. She was then invited to choreograph for RDT and RDT TOO and was recognized by the National Endowment for the Arts and awarded grants to create over a dozen works including Petrouchka, How We Die, Scenes from the Live of a Vampire, O Ghastly Glories of Saints, Green Jell-O, and Animal Skin Waltzes. She has been a guest artist at the Sundance Choreographic and Playwright’s Laboratory and has choreographed for San Francisco Ballet, Santa Barbara Ballet Theatre, 1-2-3 Dance, Dance Theater Coalition, Salt Lake Acting Company, Utah Ballet, and the Sundance Children’s Theatre.


Her varied background began in Guatemala followed by a move to Kalamazoo, Michigan where she had her first dance lesson at age four. Ms Harris studied ballet with Marina Olereiva in San Paulo, Brazil and later spent a year at the Royal Ballet School in London before attending the University of Utah where she received a BFA in Ballet. Marina now resides in Nova Scotia with her husband, architect and photographer,  Kip Harris.


Molly Heller

 

Molly Heller holds an M.F.A. from the University of Utah and is currently an Assistant Professor within the School of Dance. She is the Director of Heartland, a multi-disciplinary collective centralized in Salt Lake City, with performances nationally and internationally. Her research investigates performance as a healing practice and the relationship between physical expression and emotion. Molly has also been on faculty at Westminster College (SLC), SUNY New Paltz (NY), and Dance New Amsterdam (NYC) and has taught for: ODC Dance Commons (San Francisco), Shawl Anderson Dance Center (Berkeley), Utah Valley University, Middlebury College (VT), University of Nebraska at Omaha, Creighton University (NE), Salt Dance Fest (University of Utah), Utah Ballet Summer Intensive (University of Utah), Ririe-Woodbury's Professional Intensive (SLC), Boise State University, and Balance Dance Company (Boise, ID). Molly's choreographic work is an extension of her interest in health and wellbeing, as well as an interweaving of theater practices and dance.


Sharee Lane

 

Sharee Lane was a soloist dancer with Ballet West from 1970-1979 under Artistic Directors Willam F. Christiansen and Bruce Marks, and was a member of the Ballet West Artistic Staff and Assistant Director of the Ballet West Conservatory under Artistic Directors, John Hart and Jonas Kage from 1989-1999. As an Associate Professor with the School of Dance (Modern Dance and Ballet Programs), Lane taught Upper and Lower Division Ballet Technique and Pointe, Freshman Seminar, Advanced Principles of Teaching, and Directed, as well as Choreographed for the Modern Dance Program's Performing Dance Company and the Ballet Program's Utah Ballet. Her works have been performed internationally at the Staatliche Ballettschule Berlin (Berlin, Germany), and at the Vaganova Dance Society's 20th Anniversary Gala in Edmonton, Canada, and nationally for the Snowy Range Summer Dance Festival at the University of Wyoming, and the University of Cincinnati's College Conservatory of Music. In July 2017, Lane retired after 28 years of teaching for the School of Dance, for both the Modern Dance and Ballet Programs, and was granted the prestigious honor of Professor Emerita from the University of Utah's School of Dance.


Nicholas Cendese

 

NICHOLAS CENDESE (Artistic Associate) is a Utah Native who grew a beard in 2012 and his life has never been the same. Before the birth of bearded Nick, he started dancing in 6th grade with Children's Dance Theatre. Years and years of dance training culminated with his graduation from the University of Utah with a BFA in modern dance in 2001 and a job with Repertory Dance Theatre. He performed with RDT for 11 years and is now an Artistic Associate and Development Director. For 8 years, Nick ran his own independent dance company, RawMoves, with Natosha Washington and has taught at Miss Margene's Creative Classroom for 14 years. Nick is also the owner and director of South Valley creative Dance. Thanks to SVCD & RDT Nick has learned more about running a business than any MBA program could teach and has discovered new talents and limitations. He is continually amazed and in awe of the dancers and students he gets to work with and is often just tired enough to get misty eyed and very emotional when watching them dance their hearts out - which reminds him how lucky and fortunate he really is.


Zvi Gotheiner

 

ZVI GOTHEINER was born and raised in a kibbutz in northern Israel. Zvi began his artistic career as a gifted violinist with the Young Kibbutzim Orchestra, where he attained the rank of soloist and Concertmaster at age 15. He began dancing at 17, and soon after, formed his first performance group. Zvi arrived in New York in 1978 on a dance scholarship from the America-Israel Cultural Foundation and danced with the Joyce Trisler Dance Company and Feld Ballets/NY in the US, and with Bat-Sheva Dance Company in Israel. After directing Tamar Ramle and the Jerusalem Tamar Dance Companies in Israel and the Israeli Chamber Dance Company in New York, he founded ZviDance. The Company's performances have received critical acclaim in New York City at the Joyce Theater, Dance Theater Workshop, the Kitchen, the Angel Orensanz Foundation, the Duke on 42nd Street, Joyce Soho, the Fiorello Festival, Lincoln Center Out-of-Doors, and Central Park's SummerStage, as well as a variety of experimental venues. Zvi is a recipient of two New York Foundation for the Arts Choreography fellowships and The National Arts Club Weiselberg Award. He has received commissions from Zurich Tanz Theater, Utah's Repertory Dance Theater, Colloquium Contemporary Dance Exchange, the American Dance Festival, and the Joyce Theater's Altogether Different series, Diversion The Dance Company of Wales and Groundworks in Cleveland.


VIRTUAL CONCERT GUIDE

We are looking forward to sharing this concert with you all virtually! We understand that it may be confusing, but we hope this guide is helpful. We are all entering this new world together!

How it will work

After purchasing a ticket using the link on this page, you will receive the following email:

  1. Performance Link- from "Repertory Dance Theatre-Box Office" or no-reply@overture.plus
    1. This is your ticket! It will include a personalized link for you.
    2. The link will take you to the performance page and you will be able to view the performance any time after 7:30 pm MDT on Saturday, November 28.
    3. You will be able to view it on your own time, up to two times total. The link will expire after one week. So make sure you watch it within that week and don't share it with anyone else, or your views will be used up.

Streaming Options

Your performance link is viewable using any internet browser. That could be on a computer, smartphone, or tablet or even a smart TV.

There are various ways to stream to your TV (Apple TV, Google Chromecast, and more). Check out this link to learn about various options.

While we may not be able to help with actually streaming to your TV, we are happy to help with any issues you encounter with the link itself. Please contact stephanie@rdtutah.org with questions.