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American Dance Machine for the 21st Century
By Joel Benjamin The American Dance Machine for the 21st Century preserves the ephemeral work of great musical comedy choreographers. ADM21 is not, however, a museum, but more of a living, breathing showcase. Before ADM21 these ballets from shows such as George M, Promises, Promises, Street Scene and A Chorus Line rarely saw the light of day outside their original productions. The Company’s recent season at the Joyce Theater in Chelsea had its ups and downs, but by the end of the program they achieved a momentum, ending with Michael Bennett’s rousing “Turkey Lurkey Time” (Bacharach/David) from Promises, Promises. Margo Sappington, ADM21’s Artistic Director, was in the original cast and helped stage this lively, sexy period piece which was led by Rosie Lani Fiedelman, Jessica Lee Goldyn and Khori Petinaud. ADM21 has to contend with three major problems: context, star power and sets & costumes. As for the latter, several panels on wheels, chairs, moveable platforms and the bare stage of the Joyce Theater made do, if not extravagantly, then simply. Costumes rarely approached the work of Broadway productions where hundreds of thousands of dollars are invested in them. Instead, reasonable indications of period and character by Martha Bromelmeier also made do. Only in “Simply Irresistible” (Robert Allen Palmer) from Contact, Susan Stroman’s Tony-Award winning work, did the Woman in the Yellow Dress wear what looked like the original.
Some of these dances need the context of plotline which is why, for example, “Popularity” from George M! (Cohan), choreographed by Joe Layton and “Moon-Faced, Starry-Eyed” (Weil/Anderson) from Street Scene weren’t more effective. For other numbers, context wasn’t an issue, but star power was. Amra-Faye Wright is a wonderful singer/dancer, but Liza Minnelli, she ain’t. Although she was delightful in “City Lights” (Kander/Ebb) from The Act dancing the choreography of Albert Stephenson and Lars Rosager, the dance was entertaining, but not exciting. Dancing parts created by Noah Racey and Karen Ziemba, Deanna Doyle and Kevin Worley were charming, but not charismatic in “Pick Yourself Up” (Kern/Fields) from Never Gonna Dance choreographed by Jerry Mitchell.
“Music and the Mirror” (Hamlisch/Kleban) famously created for Donna McKechnie by Michael Bennett in A Chorus Line was more than credibly executed by Jessica Lee Goldyn whose dancing was voluptuous and her singing heartfelt. “Someone to Watch Over Me” from Three for the Show, choreographed by Jack Cole, had all the unique stylistic stamps of its originators, Marge and Gower Champion, but Ms. Doyle and Nick Palmquist didn’t quite capture the breathlessness of the quicksilver lifts, nor the romantic looks the Champions were famous for. “Charleston” (Morton Gould) from Billion Dollar Baby was completely charming. Jerome Robbins certainly knew how to make an ensemble tell a story and these dancers gave it their all. The most fully realized section was “The Club” from In the Heights choreographed by Andy Blankenbuehler which, despite a lack of a set or stars, managed to communicate the sense of community and the storyline of the show. “Mr. Monotony” from Jerome Robbins’ Broadway was created as a lone-standing work and was beautifully danced by Georgina Pazcoguin, Amar Ramasar and Daniel Ulbricht (all from the New York City Ballet). Ms. Wright sang this Irving Berlin song with nightclub perfection, setting the mood for the witty love-triangle ballet. Adding immensely to the evening was the live band conducted by Eugene Gwozdz. Artistic Director, Margo Sappington and Founder/Executive Artistic Director, Nikki Feirt Atkins have clearly labored hard and long to get this far. This Joyce season proves that theater dance can entertain outside the shows they were created for, even if there are issues that need to be resolved—loads of money will certainly help! These ballets will be better and better danced as this troupe works together. It’s pleasurable to think that when ADM21 tours, musical theater at its best will be spread around this country and, hopefully the world. American Dance for the 21st
Century 
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