Tuesday, April 5, 2011
Stephen Brown Dance Company
Posted By Gavin Sheehan on April 5, 2011, 12:34 AM
In
the competitive world of dance, especially with the various companies
we have in town, staying ahead of the creative curve can be a
challenge. Not counting the companies who have just given up on
having one single original thought and continually produce “The
Nutcracker” and/or “Thriller” every year, the struggle to
create new material every year like clockwork to meet the demands of
the already built-in SLC audience has can be tiresome and
occasionally frustrating. But one look at the company we're talking
about today and you'd swear the whole process was a breeze.
--- Formed around the late-90's from an experience and well-traveled
professional, the Stephen Brown Dance Company took up task of
creating unique and often times daring performances. Over time
challenging the intellect of the audiences, the respect of the dance
community, and the drive of those who dared take on the roles. To
date it's still regarded as the most experimental of all the
localized companies and continues to serve as a influence on a
creative level, and a supportive force for others. I got a chance to
chat with the founder himself, over a number of bottles no less,
about his career and the company as well as thoughts on the dance
scene. (Photos by Derek Smith, Trish Empey, John Brandon & Kip Harris)
Stephen
Brown
http://sbdance.com/
Gavin:
Hey Stephen, first off, tell us a little bit about
yourself.
Stephen:
6’ 2”, brown fluffy hair, doe eyes, Scorpio, 44-35-32... okay,
34. Favorite food: avocado. If I was stranded on a deserted island
with anyone who would it be: Glen Beck, so I could make him my bitch.
Glen, you’ve confused correlation with causality again and you know
what that means... In truth, I’d choose my wife and daughters. And
I’d be their bitch just like I am now.
Gavin:
What first got you interested in dancing and choreography and what
were some early influences on you?
Stephen:
Initially, I was looking for a way to meet girls and avoid getting a
real job. I liked the combination of athleticism and expression.
Baryshnikov was huge at that time. He was the artistic director of
ABT and the ultimate paintbrush for choreographers like Twyla Tharp.
He re-invented the role of the classical male dancer. Pilobolus was
doing the same thing with modern dance. I wanted to be a little of
both. Would you like another glass of wine, Gavin?
Gavin:
Yes please, this is a good white. I read you started in high school,
but how did you officially break into it on a professional level
after?
Stephen:
I started “posing” at high school dances. Some people would
characterize it as “leaning against the wall” but they weren’t
there. I took my first bona fide dance class as a freshman in
college, loved it and dived in, taking modern and lots of ballet.
When Repertory Dance Theatre (RDT) hired me, I was nineteen and very
green. I was slow to pick up steps. I fell off boxes. I didn’t know
how to put on makeup and usually went onstage looking like an old
Parisian prostitute. But I worked hard and improved. Here, Gavin,
have another refill.
Gavin:
Absolutely. Over time you worked with a number of different dance
companies on both coasts. Which one would you say you learned the
most from while coming up?
Stephen:
I was lucky to be in companies with standout role models: Linda
Smith and Ford and Melinda Evans (RDT), Lisa Moulton (Ririe-Woodbury)
and Keith Sabato (Mark Morris Dance Group) to name a few. As a
budding choreographer, I learned the most from Marina Harris, who
created many dances on RDT and did lots of independent shows. Her
pieces are so precise, both in craft and concept. Marina showed me
what kind of subjects can expressed well through dance.
Gavin:
During all this you were studying at Columbia University. What was
it like for you balancing an education while trying to live out your
dream?
Stephen:
It was less of a balance than a swinging pendulum. Though still
involved in the New York downtown dance scene, I didn’t dance much
when I went to Columbia to study molecular biology. Then the pendulum
swung back and I returned to dancing full time. The pendulum is still
swinging—I’m co-authoring a book called The
Science and Art of Stretching right
now. Hey, Gavin, would you like me to open another bottle?
Gavin:
Sure thing, what is this, number... seven? Considering the different
companies you worked with, what made you decide to stick to
Utah?
Stephen:
In the mid-90s, I was working in Austin as a dancer and
choreographer. I had my first taste of success with grants and
support. But, like so many places, there wasn’t a good theater for
dance—the spaces were either way too big or way too small. Then,
the Rose Wagner was completed as a home for RDT. Zoo, Arts and Parks
funding also became available. And I was from SLC so I had
connections. It made sense to return. Gavin, you sure do enjoy
wine.
Gavin:
And you sure love serving it to me. Where did the idea come from to
start up your own company?
Stephen:
My very best experiences in dance happened in makeshift project-type
gigs. I’d join up with other dancers and we’d make work together.
With SB Dance, I wanted to replicate that start-up to blast-off
process. I didn’t want a traditional company where there are
ongoing operations that require constant feeding. SB Dance’s
business model supports a more cyclic process. Yes, Gavin, feel free
to investigate our liquor cabinet.
Gavin:
Hey, there's good stuff in here, except the Gin. Ohh, Vodka! Anyway,
at the time you started it, what made you decide to form under
non-profit organization?
Stephen:
There is really no choice in Salt Lake when it comes to funding. You
can work under an umbrella but that only takes you so far.
Gavin:
You officially started up SBDC in 1997. What was it like putting
together that first season and finding dancers and a crew to be a
part of the new company?
Stephen:
Easier than you’d expect. I had been actively performing all
around the country and knew tons of dancers. I was close with RDT,
Ririe-Woodbury and Ballet West. I had designers and costumers for
friends. What I couldn’t pay with cash, I could pay with my ass--
dancing for other folks, that is. Gavin, would you like a mixer with
that?
Gavin:
Yeah, you got any High West around here? Anyway, how did you end up
formally taking residence at The Rose Wagner, and how has it been
being one of the building's occupants?
Stephen:
That’s a long story but boils down to SB Dance being consistent,
professional and a fun date. I love the Rose. As a dance-maker, it’s
where I grew up. Everyone there has always been extremely supportive.
The production managers and I figured out how to push the space
technically. I used to always grab Joan (Woodbury) or Linda (Smith,
of RDT) to solicit their feedback. Staff would button me into my
dresses. Hey Gavin! That’s plant food! Don’t...oh, jeese.
Gavin:
You said it was pretzels, how dare you. Since the start you've put
on many "alternative" performances, or at least material
that isn't directly considered traditional. Was that by design or
something you fell into doing over time?
Stephen:
Alternative is a question of what kind of zoom lens you use. Zoom in
close enough and everyone is different, right? Zoom out and we look
the same. In my case, on a national level, I don’t think many
artists make a play one year and a dance the next. On the local
level, I’ve never been shy about non-mainstream characters or
subjects. I think a better word to describe my work is
“idiosyncratic”— literally, “with one’s own mixture.” It
doesn’t mean free form. It means you carefully choose and mix your
ingredients with a minimum of pre-processed components. After fifteen
years, idiosyncratic art is my area of expertise. Do want something
to eat, Gavin?
Gavin:
I'll take more of those pretzels. You also perform a large amount of
original productions and hardly ever branch into something familiar.
How is it for everyone creating new works on a yearly
basis?
Stephen:
It’s scary. You’ve got to be prepared to accept failure and I’ve
failed spectacularly. I’ve also had my successes and learned skills
that I wouldn’t have acquired any other way. The only thing that
really disappoints me is a failure of ambition. I think the folks I
work with feel the same way. A lighting designer and frequent
collaborator, Stefanie Slade once gave me a card with the Andre Gide
quote: “One doesn't discover new lands without consenting to lose
sight of the shore for a very long time.” That about says it all
though I think Mr. Gide should have mentioned seasickness. Oooh,
Gavin, you’re not looking so good.
Gavin:
Oh I'm fine, trust me, I'm Irish. When did you start incorporating
Yoga Confidential, and how has it been working with Carolyn Wood on
those productions?
Stephen:
I made Yoga Confidential last year over about ten months. Carolyn
(aka Winnie) was the producing director, which, for our working
relationship, means she directs me the writer as much as she directs
the show itself. Winnie is spectacular—gifted, multi-talented,
clear and dedicated to making art-- go-down-with-the-ship dedicated
to making art. In my dream world, where SB Dance was really really
funded, she’d be the artistic director and I’d be the creator.
Gavin? Go ahead and take your time in the bathroom. Just yell out
your questions.
Gavin:
Kinda echo-y in here, I like the marble. Next year will mark the
company's fifteenth anniversary. What are your thoughts on coming so
far in an entertainment scene where most stuff dies off before its
fifth year?
Stephen:
I think I’m really stubborn. I’ve also been fortunate to work
with good people and to have generous board members, supporters,
audiences and family.
Gavin:
Going local, what's your take on the Utah dance scene, both good and
bad?
Stephen:
The local dance scene is incredibly rich. I bet we’ve got more
dance per capita than any other city in America. SB Dance bridges
both independent groups and established companies so I’ll talk
about both. In the independent world, the opening of the Sugar Space
by Brittany Reese is the single most important recent development.
It’s an inexpensive, 100-seater that’s dedicated to helping
artists. Brittany actually presents local emerging artists! Do you
know how often that happens? In many cities, places like Sugar Space
are the backbone of the performing arts scene. I’ve got a bit of a
soapbox here and I’ll climb on: The local independent art scene is
vibrant but scattered. It consists of a bunch of little, isolated
islands. It always has—I’ve watched it for years. What we need is
something to knit the community together. Sugar Space fits the bill.
I’ve done my best to support it and I hope other artists and groups
get on board. I’m excited that Raw Moves—an independent group
that’s doing more and more shows and getting lots of well-deserved
attention—has a show there in May. Yeah! Brilliant and articulate,
Ashley Anderson is a super addition to the scene. She has formed a
new nonprofit company, has an active blog site and organizes a
low-pressure forum for showing work called Mudson. Though I can
appreciate that the Masonic Temple and other spaces are both cool and
weird, the community would be stronger if Mudson happened at Sugar
Space. The Pickle Company was once a candidate for Independent Arts
Central Command. However, it opened years ago, continually sputtered
and now needs a new location. Why not partner with Sugar Space? Among
the established groups, RDT’s Green Map is a beautiful marriage of
art and environmental awareness and I hope it gets the national
attention it deserves. Ririe-Woodbury is doing double-duty by
continuing to resurrect the Nikolais repertory and staging new works
by Charlotte—their artistic director-- and others. They’re really
great to watch these days. Filling the youthful and exuberant niche,
Odyssey keeps getting better. And it looks like Ballet West has
finally scored a new building for the company, a major coup for
Johann, the Executive Director, and probably the best thing to happen
to that company in years.
Gavin:
Is there anything you believe could be done to make it more
prominent?
Stephen:
Yeah, give us all more money. Truthfully, the recession has been
merciless to arts funding and, despite the winds of recovery, it’s
still very hard. Most folks are still in survival mode. Hey, Gavin.
do you need some aspirin?
Gavin:
I'm good, the forehead usually goes numb after a while. What's your
take on other local dance companies and the work they're doing to
promote the art?
Stephen:
Everyone does a good job representing their own mission and, in
general, we treat each other generously. Here, why don’t you lie
down on the couch, Gavin.
Gavin:
Hey, thanks buddy. What advice do you have for anyone looking to get
into professional dancing for a career?
Stephen:
Develop another interest that can augment your income and form the
roots of a second career. Or marry rich. Avoid dying young.
Gavin:
What can we expect from both SBDC and yourself over the rest of the
year?
Stephen:
Running June 10-18, my next show is called The
VERY BeAST of SB Dance.
The only real retrospective I’ve ever done, it plucks solos and
duets from the company’s first ten years, starting at infancy and
reaching teenager-hood. It’s a pretty wild ride. Yes, Gavin, we
have a blanket and pillows.
Gavin:
I'd leave if this couch wasn't so soft. Last thing, is there
anything you'd like to promote or plug?
Stephen:
I’ve posted video to a YouTube channel. It gives the uninitiated a feel for the
kind of work I do. While you’re on YouTube, type: Mikhail
Baryshnikov - 'Don Quixote' solo. Check out the Basilio solo (green
tights and a vest). That little freak slays me when he drops the
chalices. Gavin? Gavin?
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