Portland

August DanceWatch: Streaming right along

Dance doesn't hibernate: It dances. Even during a pandemic.

Welcome back to DanceWatch. The dancers are still here and they are dancing!

I know, I know, watching virtual dance performances isn’t the same as watching live performances, but who cares? This is where we happen to be. So let’s celebrate and enjoy it as it is, in all of its uniqueness. Someday we may even look back on this moment nostalgically, though I’m not taking any bets.

There are some benefits to these new viewing conditions. You don’t have to get dressed up and put on those uncomfortable shoes you only wear to performances. You don’t have to fight traffic and time and look for parking. And if you don’t like what you are watching, you can turn it off or switch the channel and no one will be the wiser, and no one will be offended. Sometimes you can even watch it again, if you want.

So get comfy, invite your friends (virtually), order or make some great food, grab a cold drink, ‘cause it’s really hot out there, and enjoy the virtual dance world brought to you by a whole lot of dancers who just want to keep dancing, no matter what!

Dance performances in August!

Rejoice: Diaspora Dance Theater. Photo courtesy of Rejoice: Diaspora Dance Theater.

Virtual Last Thursday Online
Hosted by Last Thursdays On Alberta and Alberta Main Street
7-9pm July 30
Live streamed from the Blind Insect Gallery
To view go to YouTube #SummerofAlberta

Take a virtual art walk down Alberta Main Street and experience live streamed performances by African drummer Alex Addy; singer, songwriter and performer Justin Leon Johnson; and dance company Rejoice! Diaspora Dance Theater.

Continues…

‘Pole Disclosure’: Acrobatics meets #MeToo

The contemporary circus duo Kate Law and Amaya Alvarado join physical skill to moving disclosures

When I arrived at A-Wol Dance Collective’s warehouse space on Saturday night to see Pole Disclosure, the line to get in stretched down the block and around the corner. That’s a sight I am not used to seeing here in Portland. By the time I got to the door, the show— a brand-new work by contemporary circus duo Kate Law and Amaya Alvarado, accompanied live by cellist Yoko Silk—was sold out and they were turning people away. Lucky for me I already had a ticket. From what I learned later on, all three shows of the run were sold out! 

Inside, the welcoming reception area was festooned with twinkling lights and catered food and drink were available. The performance area was deeper into the space,  a wide-open area with a vaulted ceiling, black walls, a chair and a music stand set up to the far left. A single pole connected floor to ceiling in the middle of the room. The space was sparse, undecorated, and it exposed the vulnerable inner workings of the show.

Law and Alvarado hanging out on the Chinese pole. Photo by Beautiful Aberration.

Pole Disclosure, began with Law and Alvarado, dressed in Evel Knievel-inspired denim jumpsuits, standing across from each other with the pole in the middle. They were smiling. In between climbing up the pole, supporting each other in various death-defying, off-center feats of balance, hanging off of each other in mid-air, and sliding down the pole towards the floor at breakneck speeds and stopping just inches from catastrophe, they spoke happily and warmly about their working partnership. They reflected on its successes and its inner workings, all the while visually demonstrating and supporting the words with their movements and poses.

Law supporting Alvarado on the cyr wheel. Photo by Beautiful Aberration.

Then the story veered. Law revealed that she hadn’t always been a good partner and that nine years ago she was in another fantastic partnership that she “ruined” by getting pregnant. “She got to go to Cirque du Soleil,” Law mourned about her partner, “and all I got was a fucking baby.” The audience laughed. An uncomfortable truth. 

Then the story turned again, more severely this time, when Alvarado spoke of her own personal story of sexual assault. It turns out that this was Alvarado’s #MeToo reveal moment—as she had never told any of her friends —about the assault.

The guilt that Alvarado felt for not seeing and acting on the red flags in her relationship, is with her all the time and was represented by her duet with the cyr wheel, a heavy metal acrobatic apparatus that trapped and created an energy of chaos around her. It became a giant object hanging off of her shoulder with its obvious weight pressing against Alvarado’s small frame. 

Throughout the rest of the evening, in between flying through the air and playing teeter-totter on a suspended shell-shaped apparatus, Law and Alvarado continued to unravel their thoughts and feelings around birth, the unrelenting pressures of motherhood, gender roles, society’s pressure to stay quiet in the face of a sexual assault, guilt, how the concept of “having it all” is actually a lie, identity, “aging out” of a performance career, and the lack of free childcare. This wasn’t all dark I assure you. There were plenty of jokes and lots of laughter. 

All the while, the cello, played by the incredibly talented Silk, completely and seamlessly supported and followed the action and emotion of the performance, like a film score. If the moment was funny, the music reflected it. If the movement was big and sweeping, so was the music. The music’s presence was so masterfully harmonized with the performance that I wasn’t always aware of it, though I always felt it.  

In the middle of the Pole Disclosure, Silk moved her chair to the center of the stage where Alvarado joined her on the ukulele and sang the song Elastic Heart, by Sia. Law accompanied them in the air on elastic ropes, perfectly expressing the mood and the lyrics of the song with her movements.

The last stanza of the song goes like this:

“Well I’ve got thick skin and an elastic heart
But your blade it might be too sharp
I’m like a rubber band until you pull too hard
But I may snap when I move close
But you won’t see me fall apart
‘Cause I’ve got an elastic heart”

At the very end of the show, Alvarado told us that taped under each chair was a pen and note card. “It would mean so much to us if you would just write down anything that you want us to know,” she said, “or anything that you want the people around you to know. There’s no wrong answers here, you can even fold it up into a little paper airplane if you want.” 

Law and Alvarado gathered up all of our crumpled note cards, stuffed them in their shirts, climbed to the top of the pole, read a few, and tossed the rest down making it rain notecards. The note cards were made available for us to read after the performance. 

Alvarado hanging precariously off of Law’s neck on the Chinese pole in the final scene of Pole Disclosure. Photo by Beautiful Aberration.

Alvarado and Law have 20 years of circus arts experience between them. They have attended some of the most prestigious circus schools in the country, studied with many famous teachers, and have performed around the world. Their expertise was evident in this fantastic and very relatable show. It was exciting and inspiring to witness their feats of physical strength and flexibility, and to watch them effortlessly maneuver their way through and around all of the different apparatuses. Pole Disclosure was satisfying, and moving, and stayed with me long after the show, like a good book. 

In the end, the show seemed to say, “not only do women have to constantly fight for equality, and for their dreams, but they also have to do it while climbing up poles, swinging through hoops, hanging upside down by their feet, and supporting themselves, friends, and family, in dangerous, precarious ways.” Metaphorically speaking, of course—sort of. 

DanceWatch Weekly: The spaces we move through

What's happening in Oregon dance now

Lately, I’ve become obsessed with castles: their architecture; their scale; their permanence; their connections to history; their construction; their inhabitants. Castles are lasting, tangible creations, unlike dance pieces, which are fleeting. But they share some commonalities.

I recently had a conversation with someone about how being a dancemaker is similar to being an architect. I explained that when constructing a dance, a choreographer considers the same things that an architect might: style, time, space, design, scale, etc. Like architects, dancemakers create work in collaboration with other skilled artists and craftspeople, using the materials at their disposal. Architects and choreographers experiment as they work, and their creations often reflect their surroundings and culture. (I’m even more aware of the dance-architecture relationship now that I’m studying Odissi, a classical Indian dance form partially derived from relief sculptures, found on temple walls, that depicted movement.)

Ultimately, architects and choreographers both create structures that organize bodies in space. This week’s dance events do that too, removing barriers and bridging divides in the process.

The Oregon Dance Education Organization, for example, is creating an infrastructure of sorts with its conference Building Bridges, Connecting the Field. Dance can be divisive and competitive, so the conference is a welcome attempt to unite its different factions under one roof. The conference, staged in partnership with Portland Community College’s Dance Department, features BrainDance creative movement founder Anne Green Gilbert as keynote speaker. She will guide participants through a five-part dance class focused on building community through relationships and emphasizing skill development, choreography, and reflection. Additional presenters will include Terra Lyn Anderson, Sherrie Barr, Sarah Ebert, Laura Haney, Amy Werner, Sara Parker, and Mary L. Seereiter. Building Bridges will be held Saturday, January 19, at the PCC Sylvania campus. For more information, see oregondeo.org.

DanceAbility in performance. Photo courtesy of DanceAbility.

Eugene’s DanceAbility International, a program that Alito Alessi and Karen Nelson created in the 1980s to connect people with and without disabilities through movement classes, events, and teacher trainings, is one of 10 international programs selected to participate in the 2019 Zero Project Impact Transfer Program in Austria. The Zero Project Impact Transfer Program, which promotes solutions to the problems that people with disabilities face, prepares organizations to develop their programs into business models for worldwide application. Connie Vandarakis, vice president of DanceAbility’s board of directors, issued a statement on what selection means for the organization: “This opportunity has helped us shift our organization from an arts initiative program to a social entrepreneur program. One cannot overestimate the potential of being selected for the Zero Project and the Impact Transfer Program. The impact will magnify the DanceAbility methodology all over the world.”

Northern California Ballet, which lost its dance studio and costumes in the Camp Fire in Paradise, California this fall, is rebuilding with help from Eugene Ballet. The two companies have had a longstanding relationship ever since 2001, when Eugene Ballet principal dancer Jennifer Martin began guest teaching and dancing for NCB; since then, many Eugene Ballet dancers have participated in NCB programs as instructors and guest artists. This year, Eugene Ballet director Toni Pimble packed up and sent her company’s Nutcracker sets and costumes to NCB, which will perform the ballet January 18-20 in Oroville, California.

A window onto the choreographic process opens during a low-key work-in-progress show from dance artists Joanna Furnans (Chicago), Hope Goldman (Seattle), Allie Hankins (Portland), and Linda Austin (Portland). The show is held 3-5pm Saturday, January 19 at Flock Dance Center. Donations are welcome at the door and no one will be turned away for lack of funds.

A still from the film “sweetgrass” by Portland artists Amy Leona Havin/The Holding Project and Tomas Alfredo Valladares.

How does dance translate to a one-dimensional format? You have two opportunities to find out: the nine international dance films that won awards at the 2018 Portland Dance Film Fest will screen January 19 at the Clinton Street Theater. And the Bolshoi Ballet in Cinema Live from Moscow is back with La Bayadère on January 20. Presented by Fathom Events, La Bayadère, choreographed by Yuri Grigorovich to music by Leon Minkus, tells the tragic tale of temple dancer Nikiya and her doomed love affair with the warrior Solor.

Finally, two dance-centric productions created largely by female artists and artists of color continue this week. These productions embrace global culture, mark the intersection of art forms, explore universal themes, and feature both inspirational and aspirational qualities.

The first production is Indian Music Now, a collaboration among Bharatanatyam dancer Subashini Ganesan and composers Reena Esmail, Asha Srinivasan, Shirish Korde, and Nina Shekhar. Produced by Third Angle New Music, the show plays January 19 at The Vault, in Hillsboro. Indian Music Now reflects the contributors’ experiences growing up within Indian and American cultures. The show features a dance performance by Ganesan and musical performances by Louis DeMartino on clarinet, Branic Howard on electronics, and Sarah Tiedemann on flute.

Bradley Gibson as Simba in “The Lion King”. Photo by Deen van Meer.

The second production is the Broadway tour of The Lion King, running at Eugene’s Hult Center January 9-20. The musical, which premiered in New York in 1997, is Broadway’s third-longest-running show and its highest grossing. It has received 70 major awards, including a Tony for its Jamaican-born choreographer, Garth Fagan.

The musical, based on the Walt Disney animated film of the same name, tells the story of the young lion Simba, who is to succeed his father, Mufasa, as king. But Simba’s uncle, Scar, kills Mufasa and takes over as king: Simba is then manipulated into thinking he was responsible for his father’s murder and goes into hiding. When Simba grows up, he returns to challenge Scar and reclaim his birthright.

“We have the negative forces in our lives, but if you are good and strong, you overcome them to beauty, and harmony, and peace,” Fagan told UK radio host Alex Belfield in 2009 in a discussion of the show’s theme.

Adrienne Walker as Nala and the cast of “The Lion King.” Photo by Deen van Meer.

Fagan, whose Rochester, New York-based company Garth Fagan Dance has appeared in Portland through White Bird, created The Lion King choreography with a unique mix of Caribbean and African dance, modern, jazz, hip-hop, ballet, and stilt work. Fagan has said he intended to expand viewers’ consciousness and reflect the varied experiences of children who came to see the show.

Director Julie Taymor, the first woman to receive a Tony Award for Best Direction of a Musical, also co-designed the masks and puppets, wrote additional lyrics for the show, and designed its costumes, for which she received a second Tony. Elton John composed the music, which earned him an Oscar.

The production features elaborate sets that rise up from the floor; magnificent, heartfelt songs sung in six indigenous African languages; actors and dancers dressed in colorful, ornate animal costumes; puppets; and a luminous orange sun made of silk that shimmers as it rises over this theatrical African desert.

The Lion King is full of theater magic. I hope its universal message of hope, perseverance, and goodness will inspire you and renew your spirit as you move forward into the new year. Surround yourself with beauty and people who inspire you, and go see lots of art–and dance, of course.

Upcoming Performances

January 2019
January 24-February 3, Fertile Ground Festival of New Work/Groovin Greenhouse
January 24-February 2, The Cutting Room, BodyVox
January 26, Nrityotsava 2019 , Indian Classical & Folk Dance Event, Hosted by Kalakendra
January 27, The Art of Seeing: The Masculine Dancing, The Tiny Theater PDX
January 31-February 2, Shay Kuebler/Radical System Art, presented by White Bird

February

February 5-19, Chinese New Year at Lan Su Chinese Garden
February 6, Ballet Outsider: Gender Politics and Power, a panel discussion hosted by Eugene Ballet Music Director Brian McWhorter
February 8-10, The Gift, PDX Dance Collective, choreography by April MacKay, Zahra Garrett, and Rachael Singer
February 9-10, Romeo and Juliet, Eugene Ballet, Eugene
February 13, Les Ballets Trockadero de Monte Carlo, presented by White Bird
February 14, Fall In Love With Flamenco, Espacio Flamenco Portland
February 15-16, Two of a Kind: A Shared Evening of Dance, Beth Whelan and Trevor Wilde
February 16-23, Cinderella, Oregon Ballet Theatre
February 20, Beijing Dance Theater, presented by White Bird
February 21-24, Anicca/Impermanence, Minh Tran & Company
February 22-24, Alembic Resident Artists Performance, Performance Works NW
February 23-24, Left of Center, AWOL Dance Collective
February 24, Bharanatayam Margam by Mugdha Vichare and Mayurika Bhaskar, students of Sweta Ravisankar
February 28-March 2, Compagnie Hervé Koubi, presented by White Bird
February 28-March 2, Trip The Light Fantastic, NW Dance Project

March
March 1-3, The Odyssey, Ballet Fantastique, Eugene
March 1-3, Materialize, PDX Contemporary Ballet
March 7-9, Compagnie Marie Chouinard, presented by White Bird
March 8-10, Interplay, Eugene Ballet, Eugene
March 9, Painted Sky Northstar Dance Company, Walters Cultural Arts Center
March 10, The Sleeping Beauty, Bolshoi Ballet in Cinema-Live from Moscow, presented by Fathom Events, BY Experience, and Pathe Live
March 14-17, Corteo, Cirque du Soleil
March 14-21, Ordinary Devotions, Linda Austin
March 16, A Midsummer Night at the Savoy, Rejoice! Diaspora Dance Theater
March 29-31, New Expressive Works Residency Performance

April
April 5, Lecture Demonstration with Rosie Herrera and Company, Reed College
April 4-6, Parsons Dance, Presented by White Bird
April 4-13, The Pearl Dive Project, BodyVox
April 7, The Golden Age, Bolshoi Ballet in Cinema, presented by Fathom Events, BY Experience, and Pathe Live
April 9-10, Savion Glover, presented by White Bird
April 11-14, Director’s Choice, Oregon Ballet Theatre
April 12-14, Shen Yun, Presented by the Oregon Falun Dafa Association
April 13-14, The Firebird, Eugene Ballet, Eugene
April 24, Philadanco, presented by White Bird
April 25-27, Encores, NW Dance Project

May
May 9-11, Contact Dance Film Festival, BodyVox and NW Film Center
May 10-12, Shaun Keylock Company
May 10-12, Current/Classic, The Portland Ballet
May 10-12, Cleopatra (World Premiere), Ballet Fantastique, Eugene
May 17-19, Undone, PDX Contemporary Ballet
May 19, Carmen Suite / Petrushka, Bolshoi Ballet in Cinema-Live from Moscow, presented by Fathom Events, BY Experience, and Pathe Live
May 26, Derek Hough: Live! The Tour, Eugene

June
June 7-15, The Americans, Oregon Ballet Theatre
June 7-9, Up Close, The Portland Ballet
June 13-15, Summer Performances, NW Dance Project

Is Portland the newest dance destination?

Recent transplants tell us why they moved to Portland to choreograph and perform  

By BETH WHELAN

The other day, I stumbled across the Oregonian article  “13 reasons to leave Portland and go back to where you came from.” Quick flashback to 14 months ago: Me, squeezing everything I owned into my car and trekking across the country to Portland, where my only local connection was a rented Craigslist room. In 2017, Oregon was rated the second most popular state for relocation, and Portlanders have been experiencing the effects of that migration for the past decade, including skyrocketing real-estate costs and traffic congestion. As one of the transplants, I hear you, Portland! There are drawbacks to everyone realizing what a gem this city is and abruptly moving here.

But there are benefits, too, including the growth of Portland’s dance community. I moved here because I felt I could have it all: a full life within and outside of dance in a right-sized city surrounded by natural beauty. Once I arrived, I was surprised to find so many recent transplants like myself; people with a passion to leave their creative mark on the place. Why pursue a dance career in Portland, though? I asked some of these new artists what brought them here, the differences they’ve found between Portland and the dance communities in their cities of origin, and what their experiences have been like. Here’s what they told me.

Continues…

Welcome back, dance lovers, to a brand-new year of dance in Oregon.

DanceWatch 2019 opens with two dance-centric productions that promote the visibility of female artists and artists of color. These productions embrace global culture, mark the intersection of art forms, explore universal themes, and feature both inspirational and aspirational qualities.

Bharatanatyam dancer Subashini Ganesan performing at Ten Tiny Dances. Photo by Scott H. Forbes

The first production is Indian Music Now, a collaboration among Bharatanatyam dancer Subashini Ganesan and composers Reena Esmail, Asha Srinivasan, Shirish Korde, and Nina Shekhar. Produced by Third Angle New Music, the show opens January 10 at Portland’s New Expressive Works. Indian Music Now reflects the contributors’ experiences growing up within Indian and American cultures. The show features a dance performance by Ganesan and musical performances by Louis DeMartino on clarinet, Branic Howard on electronics, and Sarah Tiedemann on flute.

The second production is the Broadway tour of The Lion King, running at Eugene’s Hult Center January 9-20. The musical, which premiered in New York in 1997, is Broadway’s third-longest-running show and its highest grossing. It has received 70 major awards, including a Tony for its Jamaican-born choreographer, Garth Fagan.

Bradley Gibson as Simba in “The Lion King”. Photo by Deen van Meer.

The musical, based on the Walt Disney animated film of the same name, tells the story of the young lion Simba, who is to succeed his father, Mufasa, as king. But Simba’s uncle, Scar, kills Mufasa and takes over as king: Simba is then manipulated into thinking he was responsible for his father’s murder and goes into hiding. When Simba grows up, he returns to challenge Scar and reclaim his birthright.

“We have the negative forces in our lives, but if you are good and strong, you overcome them to beauty, and harmony, and peace,” Fagan told UK radio host Alex Belfield in 2009 in a discussion of the show’s theme.

Fagan, whose Rochester, New York-based company Garth Fagan Dance has appeared in Portland through White Bird, created The Lion King choreography with a unique mix of Caribbean and African dance, modern, jazz, hip-hop, ballet, and stilt work. Fagan has said he intended to expand viewers’ consciousness and reflect the varied experiences of children who came to see the show.

Adrienne Walker as Nala and the cast of “The Lion King.” Photo by Deen van Meer.

Director Julie Taymor, the first woman to receive a Tony Award for Best Direction of a Musical, also co-designed the masks and puppets, wrote additional lyrics for the show, and designed its costumes, for which she received a second Tony. Elton John composed the music, which earned him an Oscar.

The production features elaborate sets that rise up from the floor; magnificent, heartfelt songs sung in six indigenous African languages; actors and dancers dressed in colorful, ornate animal costumes; puppets; and a luminous orange sun made of silk that shimmers as it rises over this theatrical African desert.

The Lion King is full of theater magic. I hope its universal message of hope, perseverance, and goodness will inspire you and renew your spirit as you move forward into the new year. Surround yourself with beauty and people who inspire you, and go see lots of art–and dance, of course.

Upcoming Performances

January 2019
January 9-20, The Lion King, Eugene
January 10-19, Indian Music Now, Subashini Ganesan and Third Angle New Music
January 19, Building Bridges, Connecting the Field, Oregon Dance Education Organization
January 19, Award Winners Screening, Portland Dance Film Fest
January 20, La Bayadère, Bolshoi Ballet in Cinema-Live from Moscow, presented by Fathom Events, BY Experience, and Pathe Live
January 24-February 3, Fertile Ground Festival of New Work/Groovin Greenhouse
January 24-February 2, The Cutting Room, BodyVox
January 26, Nrityotsava 2019 , Indian Classical & Folk Dance Event, Hosted by Kalakendra
January 27, Oleaje Flamenco at Tablao Artichoke, Espacio Flamenco Portland
January 27, The Art of Seeing: The Masculine Dancing, The Tiny Theater PDX
January 31-February 2, Shay Kuebler/Radical System Art, presented by White Bird

February

February 5-19, Chinese New Year at Lan Su Chinese Garden
February 6, Ballet Outsider: Gender Politics and Power, a panel discussion hosted by Eugene Ballet Music Director Brian McWhorter
February 8-10, The Gift, PDX Dance Collective, choreography by April MacKay, Zahra Garrett and Rachael Singer
February 9-10, Romeo and Juliet, Eugene Ballet, Eugene
February 13, Les Ballets Trockadero de Monte Carlo, presented by White Bird
February 14, Fall In Love With Flamenco, Espacio Flamenco Portland
February 15-16, Two of a Kind: A Shared Evening of Dance, Beth Whelan and Trevor Wilde
February 16-23, Cinderella, Oregon Ballet Theatre
February 20, Beijing Dance Theater, presented by White Bird
February 21-24, Anicca/Impermanence, Minh Tran & Company
February 22-24, Alembic Resident Artists Performance, Performance Works NW
February 23, Left of Center, AWOL Dance Collective
February 24, Bharanatayam Margam by Mugdha Vichare and Mayurika Bhaskar, students of Sweta Ravisankar
February 28-March 2, Compagnie Hervé Koubi, presented by White Bird
February 28-March 2, Trip The Light Fantastic, NW Dance Project

March
March 1-3, The Odyssey, Ballet Fantastique, Eugene
March 1-3, Materialize, PDX Contemporary Ballet
March 7-9, Compagnie Marie Chouinard, presented by White Bird
March 8-10, Interplay, Eugene Ballet, Eugene
March 9, Painted Sky Northstar Dance Company, Walters Cultural Arts Center
March 10, The Sleeping Beauty, Bolshoi Ballet in Cinema-Live from Moscow, presented by Fathom Events, BY Experience, and Pathe Live
March 14-17, Corteo, Cirque du Soleil
March 14-21, Ordinary Devotions, Linda Austin
March 16, A Midsummer Night at the Savoy, Rejoice! Diaspora Dance Theater
March 29-31, New Expressive Works Residency Performance

April
April 5, Lecture Demonstration with Rosie Herrera and Company, Reed College
April 4-6, Parsons Dance, Presented by White Bird
April 4-13, The Pearl Dive Project, BodyVox
April 7, The Golden Age, Bolshoi Ballet in Cinema, presented by Fathom Events, BY Experience, and Pathe Live
April 9-10, Savion Glover, presented by White Bird
April 11-14, Director’s Choice, Oregon Ballet Theatre
April 12-14, Shen Yun, Presented by the Oregon Falun Dafa Association
April 13-14, The Firebird, Eugene Ballet, Eugene
April 24, Philadanco, presented by White Bird
April 25-27, Encores, NW Dance Project

May
May 9-11, Contact Dance Film Festival, BodyVox and NW Film Center
May 10-12, Shaun Keylock Company
May 10-12, Current/Classic, The Portland Ballet
May 10-12, Cleopatra (World Premiere), Ballet Fantastique, Eugene
May 17-19, Undone, PDX Contemporary Ballet
May 19, Carmen Suite / Petrushka, Bolshoi Ballet in Cinema-Live from Moscow, presented by Fathom Events, BY Experience, and Pathe Live
May 26, Derek Hough: Live! The Tour, Eugene

June
June 7-15, The Americans, Oregon Ballet Theatre
June 7-9, Up Close, The Portland Ballet
June 13-15, Summer Performances, NW Dance Project

Aaron Katz on his new thriller “Gemini” and popcorn problematics

Katz's fifth feature stars Lola Kirke and Zoe Kravitz in a Hollywood-set mystery

“Gemini” is a sleek, entertaining new thriller set in the glamorous world of Hollywood and drenched in celebrity culture. It’s also directed by Portland-raised Aaron Katz, and for anyone familiar with Katz’s previous work, that synopsis might come as a shock. “Sleek,” “glamorous,” and “celebrity” are not words one would typically associate with Katz’s films, which include the “mumblecore” (more on that loaded term later) landmarks “Dance Party USA” (2005) and “Quiet City” (2006) and the quirky Iceland-set buddy film “Land Ho” (2014, co-directed with Martha Stephens).

Katz experimented with the thriller form, sort of, in 2010’s “Cold Weather,” a reserved, Sherlock Holmes-inspired mystery that was also the last film Katz shot in Portland. Relocated to Los Angeles, he’s made the city, as so many filmmakers do, a major character in “Gemini.” Without giving too much away, “Gemini” centers on Jill (Lola Kirke), the devoted personal assistant to movie star Heather Anderson (Zoe Kravitz). After Heather backs out of a big role at the last minute, she suddenly has plenty of enemies. It’s Jill, though, who becomes the prime suspect after stumbling upon a violent crime scene at Heather’s mansion. It’s up to the intrepid but somewhat hapless Jill to clear her own name and dodge the suspicions of a detective (John Cho) full of wry insinuation.

Lola Kirke in “Gemini”

I interviewed Katz at the 2014 Sundance Film Festival when “Land Ho” screened there, but I didn’t have to go nearly as far when he returned to his hometown for “Gemini”’s screenings during February’s Portland International Film Festival. We chatted at a Southeast Portland coffee shop about the evolution of his filmmaking, life in L.A., and the evils of movie snacks.

You’ve been in Los Angeles for five years now. Is it mandatory for a director to make an “L.A. movie” and address the city as a subject once they’ve lived there for a certain amount of time?

I felt that way, for sure. I didn’t know what I’d think of the city when I moved there. Once we’d been there for about three years, it began to feel like I was going to write something about Los Angeles.

Continues…