It’s 6pm on a Friday night in the East Bay at the historic landmark Orinda Theater, just 15 miles east of San Francisco. With its impressive luminous flashing neon lights on its marquee displaying a spectacular view to those who pass along Highway 24 at night, it gives pride and joy to the citizens of Orinda to have its city name in glittering lights, as not many intimate cities in the Bay Area can claim.
Outside, underneath the retro ceiling before the entrance doors of the theater, newly installed neon lights bounce off eye-popping colors onto the reflective glass cases that display the movie posters of Hollywood’s latest offerings; “Emma” “Onward”, and “Call of the Wild”. Cars full of movie going customers are coming from all different directions from the East Bay while the percolating sounds of the popcorn machine make noise non-stop in the lobby at the concession stand getting ready for the crowds.
You would think this would be a typical Friday movie night for this majestic theater, but it is quite the contrary. No movies are playing at any of its three auditoriums. Nor are there any customers inside the lobby that are normally filled with crowds waiting in line at the concession stand or hanging out at Cine Cuvée, mingling in groups at its attached wine bar.
MOVIE NIGHT IN
Tonight’s event is called “Movie Night In”, an ingenious promotion posted on social media from the theater’s Facebook page, where for a mere $20, customers can get a large bag of fresh popcorn, a box of “official” movie theater red vines, and either a bottle of quality wine or four beers that are normally sold at the theater and wine bar. Best of all, customers need only drive up to the curb where theater owner, Derek Zemrak, would personally deliver their orders straight to their car, just like a the old carhop waiters did in the the 60’s. The promotion is in response to the “shelter in place” order by the county that forced all movie theaters to close its doors in mid-March around the country due to the COVID-19, more commonly known as corona-virus.
Of course, with the “Movie Night In” promotion, customers still needed to provide their own entertainment at home. Despite this, it seems just bringing a few goodies from the local movie theater can certainly make the evening more enjoyable, even if the participants are just stationed in front of the TV right in their own living room on a La-Z-Boy sofa or recliner.
Unfortunately, with the building’s high astronomical rent and utilities due each month, Zemrak was forced to close the theater and lay off his entire staff.” At least they can get unemployment…you can’t make money on zero revenue”, Zemrak noted.
Though “Movie Night In” generates a very small fraction of income, it has now become a regular Friday night ritual for some of the patrons. Some customers have gotten used to the idea. Still every little bit helps. “Not too many people realize how expensive it is to operate and rent a movie theater. People see the movie theater and don’t even think anything about how expensive it is to operate”, Zemrak said.
“We just need to sell a thousand $25 gift cards and we’ll be fine”.
The majestic Orinda Theater’s landmark neon lights.
TO STREAM OR NOT TO STREAM– THAT IS THE QUESTION
Ironically, the movies that had to immediately cease playing at the theater at the time of the “shelter in place” order came into effect are now streaming on VOD (video on demand). While not all of the theaters were forced to shutdown in the country before the federal government stepped in at the time, NBC Universal announced that its own movie studio Universal Pictures and specialty label Focus Features would be releasing their films in theaters and on-demand simultaneously. This was the path taken by the studios to help salvage their box office gross for their current lineup of their theatrical releases if all theaters were forced to close, which it did.
Instead of watching “Emma”, “Onward”, and “Call of the Wild” in movie theaters, moviegoers can now only watch them only on VOD . It seems as streaming services, such as Disney Plus, VUDU and Amazon Prime, overnight has made the “home movie going experience” much more exclusive to the audience as they “shelter in place”.
In addition, NBC Universal is planning to launch a brand new upcoming streaming service called Peacock in mid July. This will make it much easier for Universal to release theatrical movies and stream it at the same time, if they ever decide to. They could completely eliminate or reduce the “theatrical window”, which is typically 72 to 76 days for most movies before it reaches home video or VOD. Nonetheless, the ease of home viewing could continue to be destructive for movie theaters, big or small, struggling to stay afloat in an age of shrinking theatrical window dates, let alone the dreaded, coronavirus. If movie studios decide to follow Universal’s suit, then all movie theaters will be in peril; the movie theater chains, like AMC and Cinemark, as well as the small independent theaters, like the Orinda.
“If you look at the business model that’s the way to go… there’s no question, go streaming…but it’s not the right thing to do to movie theaters”, Zemrak explains. “I would have never expected Universal to be the first studio to do that”.
“If Disney, Universal and Paramount decide to go streaming at the same time… the general population are going to stay home”, Zemrak said.
“The chain theaters are in more jeopardy than independent theaters because independent theaters show art films, foreign films – stuff that you can’t see…so if Disney decides to go streaming the same day the theatrical release is..”, Zemrak continued, “….you have a better shot with the independent and foreign films than the blockbusters.”
“It’s going to be really interesting in the next three months to see really what happens when the theaters reopen – how studios are going to say we’re going on streaming – if that’s the case corporate theaters like AMC and Cinemark – they’re screwed, whereas we can we can survive because we have art films.”
As an independent movie theater owner at the Orinda, Zemrak is also responsible for its film programming, as well as musical and special events. With so many movie theater chains around the area, he prefers to concentrate not so much on obtaining big Hollywood blockbusters for the theater, but the non-mainstream gems that mature audiences will resonate with. One such film was “Parasite”, which was one of Zemrak’s prime choices that he selected to play at the theater immediately after it had won the Golden Globe for Best Foreign Film in early January and before the Oscar nominations were announced. At that time, it was not a wide release film and played a record run for 12 straight weeks at the theater and turned into an unexpected blockbuster due to the Oscar buzz and year-end awards it received, including winning “Best Picture” at the Academy Awards, the first foreign film to ever accomplish this, which Zemrak rightly predicted after the nominations were even announced and even putting his reputation on live radio.
Just like there is an audience for seeing films on the big screen, there is also an avid audience for watching movies at home. Unfortunately, the more streaming movie studios do, it becomes more and more destructive for movie theaters. It becomes a balancing act when it comes to satisfying both the studios and theaters.
“I’ve been talking to all of the independent film distributors because they’re doing things with movie theaters, to say “stream your things online and we’ll give you 40% of the take!”, Zemrak added. “That sounds good but here you have a brick and mortar building and the sub studios are saying we’ll give you money to go streaming. It’s opposite of what your base product is…but if all the major studios are going to go online and stream…movie theaters are dead.”
GENERATION GAP – BABY BOOMERS VS GEN X & Y
Zemrak also noted another major obstacle for movie theaters: the generation gap between the older and younger audiences. Whereas baby boomers want the big screen experience, the younger “i-phone mp3” generation of movie goers are content to watch the latest movies on their mobile device and be done with it. It’s about instant gratification.
“So it’s like you have this crossroad of people… this complete divide of people who say I’m passionate about supporting a theater”, Zemrak continues. “If I’m passionate about supporting a theater, I’m going to support an independent theater. I’m not gonna go the Regal, the IMAX or the Luxe. I’m going to go to an independent theater because that’s what I remember. I remember going to these movie theaters that are special whereas the younger generation have no connection whatsoever to a movie theater.”
“It’s not about the Cinemark with the recliners and the comfort of the room, it’s what I want to reminisce about when I used to go to the movie theater. It was something special – like the Roxy, the Castro, the Orinda Theater. I can go and feel something from my past and go to see a movie. That’s what it’s about…but the other generations – the Generation X and the Generation Z (millennials). – they’re not going to go to the movies. They watch it on their tablets, on their iPhones, and watch it at home.”
HOPE AFTER POST CORONAVIRUS
As “Movie Night In” comes to a close for the evening, Zemrak was pleasantly surprised at the number of incoming online orders for movie gift cards. In these difficult times for small businesses, there is still a glimmer of hope and encouragement from local supporters who actually care, but unfortunately, COVID-19 will still lead the economy into a recession for the majority of businesses, at least in the short term.
Once the pandemic is over however, theater owners will have a difficult time to entice moviegoers to return, especially with the older crowd who are highly susceptible to the COVID-19 virus. Perhaps, the social distancing of six feet from another may still need to be enforced for awhile and the addition of a Hazmat suit until we discover a new vaccine for COVID-19 and will become the new norm. If this were the case, Zemrak believes it would completely eliminate the need for reserved seating, but given the alternative, I believe people will strongly prefer being six feet apart than being six feet under.
Regardless of the outcome, there are lots of moviegoers who absolutely can’t wait to leave their homes and rush into movie theaters. They want the option of being able to dream and escape to the movies when needed. If they can’t do that, it might as well be the end of Western Civilization, as we know it.
However, it’s the major Hollywood studios, like Disney, that would really like to see the dreaded COVID-19 to come to an end immediately. Disney’s lineup for 2020, like most movie studios, has a string of global blockbusters for the entire year and has recently announced an upcoming June 6th release date with “Mulan” which was originally postponed from March due to the pandemic. With the newly revised June 6th release date and the ever increasing number of COVID-19 cases around the world, it may seem overly optimistic by the studio…but when you wish upon a star – your dreams come true.
If anyone knows how to put people back into movie theaters, it’s magical world of Disney.
At the GTC 2019 Keynote conference in San Jose this month, Nvidia’s CEO and founder Jensen Huang announced Omniverse, an open collaboration platform to simplify studio workflows for real-time graphics.
This has been in the works for nearly 25 years with the company, who have been long trying to make this happen throughout the years, worked closely with Pixar Animation Studios. With Omniverse, the production pipeline in producing a full featured animated film now has become much simpler and more efficient in the process, as well as being a big money saver for the Hollywood animation studios.
Huang explained, “If you take a look at a major film and it cost something like $300M to 350M to produce that film and the vast majority of it is post production which is otherwise known as rendering and it might take something along the lines of that year and a half a year to year and a half.”
“If you could even save one month on what is otherwise a one year long project, the amount of money you could possibly say is in the millions and so this is one of the reasons why this industry is such in a hurry to find ways to accelerate the rendering process and to accelerate the production process.”
Making animated films has always been labor intensive throughout the complete complex rendering pipeline; from the beginning of its concept, modeling, texturing, rigging, animation, lighting and finally, the rendering process itself.
“You have to render it make it look totally perfect…and then once you create the character, you have to composite a whole bunch of other characters in the scene and all the environments and all the special effects…are done in physics simulation it is so so complicated.” Huang continued, “…a few shots may be assigned to a studio, a few shots would be assigned to another studio… as a result, multiple studios in multiple sites are all working on a movie at the same time.”
Omniverse includes portals — two-way tunnels — that maintain live connections between industry-standard applications such as Autodesk Maya, Adobe Photoshop and Epic Games’ Unreal Engine.
This new open collaboration platform streamlines 2D and 3D product pipelines across industries. Omniverse is built around the latest industry standards for design collaboration.
It supports Pixar’s Universal Scene Description technology for exchanging information about modeling, shading, animation, lighting, visual effects and rendering across multiple applications. It also supports NVIDIA’s Material Definition Language, which allows artists to exchange information about surface materials across multiple tools.
In addition to Pixar, there are presently more than 200 animation film studios around the world but you can now work with any film studio no matter which continent they are located in.
Astonishingly, graphic artists and designers will be able to view updates made in real time, as though they are in the same room sitting next to each other through NVIDIA’s Omniverse Viewer, which gives users a live look at work being done in a wide variety of tools. No matter where the filmmakers or studios are, even if they are working with on remote laptops, Omniverse connects and unifies all the designers together from anywhere making it one identifiable project, instead of hundreds of small projects that studios have been so accustomed to throughout the years.
To top it off, the Omniverse Viewer delivers the highest quality photorealistic images in real time by taking advantage of rasterization as well as support for NVIDIA RTX RT Cores, CUDA cores and Tensor Core-enabled AI.
“With Omniverse, NVIDIA has created a product artists will be eager to put to work,” said Guido Quaroni, vice president of Software at Pixar. “When we open sourced USD, our goal was to make it easier to combine complex characters and environments into a single scene. Omniverse raises the bar, leveraging USD to enable scalable real-time collaborative workflows across some of the industry’s major software packages.”
With Omniverse, artists can see live updates made by other artists working in different applications. They can also see changes reflected in multiple tools at the same time.
As a result, artists now have the flexibility to use the best tool for the task at hand.
For example an artist using Maya with a portal to Omniverse can collaborate with another artist using UE4 and both will see live updates of each others’ changes in their application.
Whether it’s Epic Games, Adobe or Autodesk, or any other Pixar collaborator, they are all encouraged by the new platform, as it allows artists to collaborate regardless of the tool they use and without the need for time-consuming conversions.
“We love the idea of connecting tools from all vendors to enable collaborative workflows,” said Tim Sweeney, CEO of Epic Games. “We adopted USD and MDL to streamline workflows where assets originate from many different applications, so it’s great to see NVIDIA extend that ecosystem to enable live connections with simultaneous updates.”
“Omniverse is an exciting concept that will enable artists around the world to collaborate on digital content creation,” said Sebastien Deguy, vice president of 3D and Immersive at Adobe. “We look forward to seeing its development and evolution.”
“We’re thrilled to explore the potential of NVIDIA Omniverse to give our customers access to immersive, interactive and collaborative experiences across industries,” said Amy Bunszel, senior vice president of Design and Creation Products at Autodesk. “We share their vision of better world modeling and simulation. By combining USD and RTX, Omniverse promises to accelerate the future of design and make.”
Huang professed at the Keynote address, “I can’t wait to see the first major motion movie made by Pixar, rendered completely on RTX”. With Omniverse, it should be even more productive.
“To infinity and beyond!”
Here is a video demonstrating Omniverse at the Keynote, with CEO Jensen Huang.
After pulling off an all-nighter on the set of the popular TV series “Star Trek – Discovery” in his role as Commander Saru, actor Doug Jones was scheduled to fly the next morning from Toronto to San Francisco to be honored and presented onstage with a “Lifetime Achievement Award” at the California Independent Film Festival.
Not bad for an guy who has been unrecognizable to most of the public since he is usually behind layers and layers of prosthetic makeup in the majority of his roles, but has become a Hollywood icon for over his thirty-year career by playing some of the most unforgettable characters ever created on screen. The latest being “Amphibian Man”, the sea creature who falls in love with a mute woman, played by Sally Hawkins in last year’s Best Picture winner, “The Shape of Water”.
As soon as he arrived in the theater, he was sincerely apologetic to the cheering crowd for being late. He certainly didn’t disappoint his legion of fans, including the many Trekkie’s, as some actors in this position might have taken a different approach, such as cancelling all together, but Jones seemed to care more about his fans than about himself and it definitely showed.
EARLY DAYS
Interviewed by CAIFF founder and President, Derek Zemrak , Jones recalled growing up as a “a very tall, goofy, skinny kid” in a small town in Indiana. He was made fun of and picked on by all the other kids over the years. To survive all that, he went on to become the class clown, inspired by the likes of Dick Van Dyke, Jerry Lewis, Danny Kaye…Carol Burnett, Mary Tyler Moore, just to name a few. Those were “his” people.
“I’m inspired by that TV, so I should be on it one day”, Jones reminisced. “All my friends are on there, so I want to join them, right?”.
While going to school at Ball State University in Indiana, in addition to being the team mascot, Charlie Cardinal (with the red bird suit) he was learning mime as part of the mime troupe, “Mime over Matter”. His first job after graduating was as a street mime and contortionist at King’s Island, an amusement park in Cincinnati.
Jones explained that his “excuse” job to move to Los Angeles was to apply for a bank management training position for nine months, but was fired after eight months.
“As they should have!…Banking? You don’t want to trust me with your money.” Jones exclaims.
Then he got involved in TV commercial acting classes in Los Angeles, and within six months he was a dancing mummy on a Southwest Airline spot, and the three years following that, did 27 commercial TV spots for MacDonald’s “Mac tonight” campaign that allowed him to buy his first house.
With his contortionist skills and his “flexible” reputation as “a tall, skinny goofy guy, who moves well; wears a lot of crud on his head and doesn’t complain about it”, his attitude, along with his affable personality helped Jones make that successful transition from TV commercials to the film industry; more specifically the creature effects makeup industry”.
Jones reminisced how he was referred to by a well-known stunt friend, who was well aware Jones could put his legs behind his head, which eventually led him into his first gig on his first major motion picture.
“I got a call from the Stunt department…”, Jones explains. “We want to you to come and meet us”. After Burton demonstrates his skills, the stunt writer says “hang on a second, I’d like you to meet somebody… and he comes back with Tim “freaking” Burton. So, after I wet myself…”, Jones demonstrated his skills again. Jones got the part in “Batman Returns”, without even having any head shots.
In addition to playing the Thin Clown in “Batman Returns”, his other highlights include playing Billy Butcherson in the perennial favorite Halloween movie, “Hocus Pocus” starring Bette Midler; and the title role in “Fantastic Four – Rise of the Silver Surfer”. However, he has become Guillermo del Toro’s “go to man”, in which he no longer needs to read the script for his films to accept the role. He has worked in seven of his films, including roles of Abe Sapien in the Hellboy series, the Faun and Pale Man in Pan’s Labyrinth, and Amphibian Man in the Oscar winning Best Picture, “The Shape of Water”.
The original costume worn by Doug Jones as Orlok from the forthcoming movie, Nosferatu,, scheduled to be released in 2019. Photo taken at the lobby of the Orinda Theatre. Photo by Marcus Siu.
DREAM ROLE & UPCOMING FILM
After having played so many monsters and creatures, Jones had just one dream role left…
“If you asked me ten years ago, what’s the one role you haven’t played yet you really would love to?” My answer was “I haven’t played a proper vampire yet…I want fangs…I want to be a classic vampire…I’m too old and gross to play a young sparkly vampire. Jones continued. “Who’s old and gross? “Nosferatu!”.”
As chance would have it, Jones would get a call from Director David Lee Fisher, who did a 2005 remake of one of the first original German horror silent films, “The Cabinet of Dr. Caligari” that was shot over a hundred years ago; in which the remake updates the silent film with sound and dialogue. He called to see if Jones wanted to play the lead role in his upcoming project, “Nosferatu”. Little did Fisher know this was Jones’ absolute dream role was to play Count Orlok in “Nosferatu”.
“What’s really special…is the film in the background is all shot in green screen and the original footage from shot nearly 100 years ago will be all in the background.” Zemrak added, who came on board as one of the producers of the film, as well.
Jones also added, “not only did I get to play that character that I longed to play, but I got to play in the environment that Max Schreck got to play in.”
Something tells me with the enthusiasm and amazing talent of Doug Jones, this new and upcoming “Nosferatu” won’t suck.
Article and photos by Marcus Siu
(originally published on mlsentertainment.wordpress.com)
Fathom events, March – On the evening of Sunday, April 2nd, thousands of delighted moviegoers were treated in hundreds of movie theaters to the classic thriller North by Northwest, directed by the incomparable Alfred Hitchcock. A hapless advertising executive named Roger Thornhill, played by Cary Grant, is mistaken for a fictional government agent by a gang of spies head by Vandamm, their ruthless ringleader played by James Mason. Thornhill is kidnapped and then framed for the murder of a United Nations diplomat. He escapes his sinister captors and goes on a run across America in his attempt to clear his name. Eva Marie Saint plays Vandamm’s mistress Eve, but with a twist. Martin Landau has his film debut as Vandamm’s creepy right-hand man.
Thornhill has two memorable and iconic encounters that have become part of our rich film lore. The first is the encounter he has with a sinister crop-duster, a scene filmed in the San Joaquin Valley nears Bakersfield, California, about two hours north (by northwest?!) of L.A. (For devoted fans, it took place on Garces Highway). Originally, Hitchcock envisioned a tornado threatening him, but for tech reasons, settled on the bi-plane and an exploding oil tanker. It works beautifully, a fact to which film history attests.
The next harrowing scene in which the bad guys pursue Thornhill takes place in the Black Hills of South Dakota on the massive sculpture of four presidents carved into Mount Rushmore which depicts Washington, Jefferson, T. Roosevelt, and Lincoln. Thornhill along with Eva, find themselves clawing across the face of Lincoln, and in fact, Hitchcock had even thought of naming the film “The Man on Lincoln’s Nose” after a short story he had read by that name which inspired the scene.
Some actors who had aspired to roles in the film included James Stewart and Gregory Peck for the role of Thornhill and Grace Kelly and elizabeth Taylor as Eve.
The Production Code Administration had difficulties with the sexual content of the film, but Hitchcock prevailed. Martin Landau’s character was scripted as a homosexual jealous of Vandamm’s mistress, but Hitchcock agreed to have him be more subtle than the script demanded.
And incidentally, if you think you heard hints of the music from Psycho or Vertigo, you’re right. The music North by Northwest was composed by Bernard Herrmann who wrote the score for all Hitchcock films and is considered to be one of Hollywood’s greatest composers of all time.
North by Northwest is a classy thriller and an iconic American treasure, and it’s Hitchcock at his very best which is pretty good, indeed.
As part of a valuable cultural service, Fathom Events presented Oscar Wilde’s classic comedy of manners,The Importance of Being Earnest at selected theaters in the U.S. for a one-night-only screening November 3, 2015. The performance was a filmed live production on October 8th, 2015 at London’s Vaudeville Theatre in commemoration of the play’s 120th anniversary.
As an iconic “comedy of manners” and one of the funniest plays in the English language, “Earnest” exaggerates the absurd superficiality of upper-class Victorian society, emphasizing the “importance of being earnest,” with “earnestness” having the connotation of intense conviction, dependability, and unflappable honesty. Being earnest was an integral part of the moral code of honor nominally practiced by upper-class Victorians. However, in practice, Wilde reminds us, “In matters of grave importance, style, not sincerity is the vital thing.”
The primary comic conceit in Wilde’s play deals with his clever use of the word earnest used both as an adjective in the afore mentioned sense, and Ernest as a noun…capitalized, minus the “a”, and being a proper man’s name. The confusion and interchangeability of the names between the two main characters, Algernon and Jack, the latter professing to be “…Ernest in town and Jack in the country,” forms the core of the play’s driving force of satire and duplicity, and an irony based on the characters’ violation of the very essence of being earnest through their abiding dishonesty. Jack is certainly not earnest when he pretends to be Earnest in the city but “Jack” in the country and the wit continues unabated throughout this Victorian romp.
Deftly directed by Adrian Noble (Amadeus, The King’s Speech) with a pitch-perfect cast featuring the incomparable David Suchet (Agatha Christie’s Poirot), as the irrepressible, irascible Lady Bracknell, The Importance of Being Earnests is rollicking high farce and wit at it’s very finest. Algernon is in love with Cecily, Jack is smitten by Gwendolyn, and both are forced to adopt the names “Ernest” because the objects of their affections cannot tolerate a man with any name other than “Ernest.”
Ironically of course, they forego the moral code of honesty associated with earnestness in order to satisfy their romantic interests. However, all is resolved in the end and the two couples are joined to live happily ever after.
In the final scene of the play, Lady Bracknell comments to Jack, “My nephew, you seem to display signs of triviality,” to which Jack replies as he and Gwendolyn happily exit stage left arm-in-arm, “On the contrary, Aunt Augusta, I’ve now realized for the first time in my life the vital Importance of Being Earnest.”
“Revelations,” Alvin Ailey American Dance Theatre’s great masterpiece of modern American dance, was presented last evening along with three other spirited works for a one-night-only screening at selected cinema’s throughout the country, compliments of Fathom Events and Lincoln Center at the Movies: Great American Dance Series.
Alvin Ailey (1931-1989) founded AAADT in 1958 in New York City and it rightfully enjoys the distinction of being the first predominantly African-American modern dance company in the world. Ailey once remarked that he believed America’s richest treasures are to be found in our African-American cultural heritage … “sometimes sorrowful, sometimes jubilant, but always hopeful,” and indeed nowhere else in the vast panoply of the American dance tradition is that assessment more profoundly expressed than in his magnificent “Revelations,” Ailey’s 1960 paean to the rich spiritual tradition of the African-American experience in the gospel South.
“Revelations” is at once ritualistically soulful and rhythmically complex, incorporating as it’s musical motive force an array of deeply moving and spirited African-American gospel music and holy sermon blues reflecting the Black experience in America.
Ailey once described “Revelations” as a visceral recollection of a childhood in rural Texas during the Great Depression. It is a dance of deep human compassion, moving by turns from mournful oppression and sin (“Baked and I Been Beaten”) to redemption (“Fix Me Jesus”) and finally to ecstatic jubilation (“I Wanna Be Ready”), fostering a sense of reverent and rapturous community and inviting the audience to join in the redemptive celebration at evening’s end. And it is perhaps this vital sense of community, the immediacy of the connection Ailey creates between performer and audience,that has contributed to the enduring success of this masterpiece for fifty-five years … and running.
Complimenting this thematic content, one will find in the very make-up of the ensemble a communal structure. For example, what will not be found in Ailey’s troupe of highly trained performers is a prima ballerina or her male counterpart, a premier danseur, “star” principal dancers like those found in classical ballet companies such as the New York City Ballet or the Bolshoi, whose traditions and techniques date back to the 17th Century royal courts of Europe.
Another distinguishing feature of AAADT and modern dance in general which dramatically sets it apart from the classical tradition is not only a more “democratic” sense of ensemble, but also it’s musical sources (by contrast, the ballet typically utilizes works by such composers as Bach,Tchaikovsky, and others). Most obviously however is Ailey’s basic movement techniques and patterns, emphasizing linear line, horizontal “grounded” movement, and intertwining body images as opposed to the two dominant values found in classical ballet: jumps and leaps or so-called ballon, creating the illusion of the dancers momentarily floating in the air, and the tradition of performing with “turned out” hips and legs with the full weight of the body concentrated on the tips of fully extended feet, creating an unmistakable vertical line.
The Alvin Ailey American Dance Theatre’s iconic “Revelations” has been best described by The New York Times as being one of the great works of the human spirit.” It stands resolutely for what is good about America and humanity in general, and for this reason alone it’s immortality is assured.
