A certain magic exists when witnessing the moments when hours of rehearsal and behind-the-scenes preparation begin to coalesce into a performance ready for the stage.
It’s something I’ve missed and felt privileged to be in the room for during a recent show run of
“The Long Tide,”
Bellingham Repertory Dance’s (BRD) first live, in-person evening of dance since the start of the pandemic.
I watched as dancers joyfully tackled complex rhythms, moved in driving unison and engaged in the push/pull of weight sharing. The energy and sense of camaraderie was palpable as dancers cheered each other on and tested their endurance in preparation for their performance run April 12 and April 15-17 at the Firehouse Arts and Events Center.
What’s really special about this show coming together is that some of the pieces have been in the making for more than two years.
Adele Nickel’s “Flocks Are Flying Avalanches” was stage-ready in spring 2020 before the shutdown; the piece was reworked after the company’s long hiatus. “Parched Chalk // I See You” was selected by BRD years ago, then finally set with choreographer Rachel Barker over the summer.
During this prolonged process, longtime company member Juliette Machado said the group has learned to give each other grace.
Dancers Soleil Chappelle and Nolan Hoppe-Leonard in “Parched Chalk // I See You,” with choreography by Rachel Barker. (Photo by Bonnie Smerdon)
“We’ve been interrupted in various ways for the past two years now. Everyone is just really understanding of the reality that things aren’t going to be perfect. But we’re still here dancing and that’s what matters,” Machado said.
Bellingham Repertory Dance, a nonprofit organization, does not have an artistic director; rather, every dancer in the company has a hand in shaping the direction of the organization. It’s a culture in which adaptability, accountability and ethics are valued.
Dancer Cecelia Hanford shared that the volunteer structure of the organization “allows [BRD] to stop or change.” With 2022 being a year of re-emergence, the company deliberately chose two pieces of repertoire for their 16th season that they could reset internally.
Michele Miller’s “Threshold” (performed in 2014 and 2017) and Jessica Zoller’s “we go here, we go there” (performed in 2014) were set with the help of dancers who performed the work in previous shows.
“The Long Tide” includes a dynamic variety of voices and work that directly or indirectly address the theme of relationships. The hybrid format showcases a historical recreation of “The Big Apple” as choreographed by Frankie Manning in 1937.
Artist-in-Residence Damian Cade, who led a Vernacular Jazz Residency and taught the steps of “The Big Apple” to BRD, said that vernacular jazz (movement associated with real life) “is referenced in hip-hop, modern jazz and even contemporary dance.” Cade wants to connect it back to the originators of the form.
Marísa Fernandez is a member of Bellingham Repertory Dance. The ensemble does not have an artistic director. Every dancer in the company has a hand in shaping the direction of the organization. (Photo by Bonnie Smerdon)
“This art form [vernacular jazz swing dancing] is very siloed. The wider world, when they think of swing dancing, they don’t think of the African Americans who made it. They think of poodle skirts or ‘Grease.’ I thought it was really important to partner with BRD so that their platform could be used to introduce audiences to this art form,” Cade said.
Along with the residency work, Machado particularly enjoys performing “Parched Chalk // I See You.” The work begins with 10 dancers facing front and performing a unison groove that starts in the shoulders, gradually becomes bigger and eventually becomes a jump. Dancer Gabby Malagreca is the first to fall out of the group. Without missing a beat, the group slowly encroaches on their solo moment, closing the gap between them as they move en masse stage left.
I had the unique experience of seeing Michele Miller’s “Threshold” performed back-to-back by two different casts (Juliette Machado and Tatyana Stahler, then Elizabeth Belyea and Gabby Malagreca). I watched as Machado and Stahler practiced a lift coined the “Batman cape” — one dancer is tossed around the shoulders and back of another, their arms and legs completing a tasseling image.
Adding another layer to the evening are BRD premieres by company members Soleil Chappelle and Emma Harvey. Chappelle’s “Other Oceans” uses intriguing organic forms and precision and nuance can be found in Harvey’s duet with cellist Sara Jacobson.
Machado said the company is excited to share what they’ve been working on with audiences.
“I encourage people to come not concerned with trying to extract meaning and understand exactly what we’re saying through the dance but to embrace their individual interpretation, even if that means just letting the images wash over you,” Machado said.
“The Long Tide” will be performed at 8 p.m. April 12 and April 15, at 5 p.m. and 8 p.m. Saturday, April 16, and 2 p.m. Sunday, April 17 at the Firehouse Arts and Events Center, 1314 Harris Ave. Tickets are $15 to $38. Students are invited to attend an April 11 performance for a discounted price. Valid student ID required. COVID-19 policy: This performance requires audience masking and proof of COVID-19 vaccination (or negative COVID test within 72 hours) for entry. Find out more at bhamrep.org.
