Impromptus & Intrigues is the first work and the first evening length dance/theatre piece created by co-Artistic Directors Diane Arvanites and Tommy Neblett. Impromptus and Intrigues was created in collaboration with the Cambridge Arts Center, baritone Frank Haggard, pianist Lisa DeSiro, and the String Quartet of the Longwood Symphony Orchestra. In the ornate and elegantly decorated Bullfinch ballroom, exquisite lieder and string quartet movements are a vital component of the Schubertiade as the performance unfolds. Impromptus and Intrigues is venue specific. In the case of The Cambridge Arts Center collaborating artists utilize the dance floor, the balcony, the staircase, the window ledges, and the various alcoves throughout the building. As the evening progresses, unsettling and dangerous elements manifest as the forces of nature that are carefully but precariously concealed under refined exteriors become hauntingly evident. The choreography which is at first delicate and austere, slowly becomes increasingly physical, erotic and ominous as the dancers struggle to maintain civility while their passions and desires take hold. Ultimately the complexities of emotional and societal parameters dissolve into a peaceful acceptance of human frailties as desires and destiny arrive impromptu.
Apokalypsis is the second evening-length dance-theatre piece created by co-Artistic Directors Diane Arvanites and Tommy Neblett, and set to an original score by composer John Kusiak. Inspired by the displacement of refugees from their homelands worldwide, the piece examines mankind’s continual search for peace amid inescapable violence, the fear and flight from persecution and pursuit, and the perseverance of a cultural identity. Apokalypsis examines in honest detail the forced exodus of a people from their homeland and is a testament to the resiliency of the human spirit. Passages include various images of surreal dreamlike quality, to the stark immediacy of violence and fear. Integral to the narrative is a massive, stage length set reminiscent of the Berlin Wall which the dancers climb and hurl themselves against in desperation. In addition, twenty black umbrellas and fifty rocks are used as symbols of fragility, safety and an uncertain fate by a diverse intergenerational cast of professional dancers, student performers and elder dancers.
Dreams is the third evening-length work created by co-Artistic Directors Diane Arvanites and Tommy Neblett, performed to commissioned music by composer John Kusiak. Dreams is a multi-media collaborative event involving dance, music, theatre, interactive elements, and video projection. The visual environment was created by lighting designers Linda Taylor and Paul Marr with scenic design by Jayne Murphy and Richard Lindley. Dreams is based on the private world that occurs during sleep, the playground of the unconscious. Rich in subconscious fantasy and psychological discord, Dreams is a succession of moving images, visual in quality, which project the dreamer’s internal self. The images in the work are the embodiment of thoughts transformed into physical form. These forms represent an assertion of the soul by which we seek knowledge and understanding. Dreams makes accessible and revelatory the dreamers own personal subconscious ruminations which are mesmerizing, cathartic, and entertaining.
Desiderare is the Italian phrase for desire in all of its many forms. Desiderare is an exploration of the inner landscapes of turn of the century sex workers. The piece invokes images of females who are tough, resilient, independent, competitive, and sexually transparent. The men take their place as voyeurs and the audience is in danger of the same. Although Desiderare references 19th century brothel workers, it can be placed in any time historically because of its content. Desiderare is gender specific because of it’s thematic premise and is, as are many works by Prometheus Dance, a testament to the resiliency of the human spirit, the perseverance of a cultural identity and a reflection of human nature. Desiderare is interspersed with spoken word by poet, sculptor and Prometheus Elder, Karen Klein. The text is a narration of sentiment and incident. Written by Karen Klein and spoken in vigil as warning, comfort, destiny, and predetermined event, the text also includes sign language interpretation adding texture and emotional content. Live solo cello, accompanies parts of the evening. Desiderare is the fourth evening-length work created jointly by co-artistic directors Diane Arvanites & Tommy Neblett for Prometheus Dance.
Heart of the Matter is the fifth evening length work performed by Prometheus Dance, choreographed by Diane Arvanites and Tommy Neblett. Using eclectic electronic music and projected video, the work unravels layers of personal history to re-write individual stories. Aiming to return to the source of inherent inclination, Heart of the Matter is a tour-de-force performance which examines personal interactions, self-imposed conflict, and interference, revealing the interconnectedness of us all. The work was created by Diane Arvanites, Tommy Neblett, and members of Prometheus Dance over a period of two years including a 2012 Dance Alliance Artists Residency. Heart of the Matter was presented by: WorldMusic/Crash ARTS 2012, Bate Dance Festival 2013, Outside the Box Festival 2013. Heart of the Matter comments on specific gender relationships, although the personal pursuit of freedom is the main directive. The subject of Heart of the Matter deals with conflict and resolution. The conflict of relationships that interfere with free will and choice, often self-imposed, evolve towards a singularity of being.