Choreographer Penny Saunders Works Her Magic for Diablo Ballet
Diablo had performed works by Saunders, notably Berceuse and Sur le Fil, but this is Penny's first new work created on the Company. "We are so thrilled," said Lauren. Lauren describes her friend Mari as, "Our cheerleader and past Board President of Diablo Ballet." She and Lauren became like sisters. "For 22 years Mari never missed a performance," Lauren added.
Penny had known Lauren for years and became intrigued when Lauren told her that Mari was a "certified clown" who went by the stage name Dr. Magic. "I thought, well, that's interesting," said Penny. She "leaned into" the aspect that Mari was "bringing joy to people as a profession." When Penny started working with the dancers, "We started pulling in a few things that brought clowns to mind without being too, you know, literal about it." She included "elements that bring joy. That was my guideline. There's a little bit of pantomime, a little bit of silliness," and then some sentiment of loss about Mari's passing, "but through the lens of joy," added Penny.The audio accompaniment is her own mix of recorded music and background sounds. One track is by French composer René Aubrey, who is known for combining modern instruments with classical music. "That keeps it upbeat," Penny says. There's also a track from the Mills Brothers, a jazz quartet in the mid-20th Century, and a piano work by innovative composer Michael Wall. Penny also included some sounds she'd recorded that express joy, such as laughter, amusement park sounds, and inflating balloons.
In some of Penny's works (Manifold, Alice, Brown Eyes) movements take place on the floor. In the interview mentioned above, Penny said, "the relationship a dancer has with the floor is key to the unfolding of their story." Asked if she sees the floor as a prop, she explains that her background is in ballet, but she shifted to modern dance. "I'm expanding my vocabulary," she says. Penny finds floor work "more pedestrian, more human" than pointe work, which can be "naturally elitist. There's something about it which not everyone can do, which is beautiful, it's ethereal and I love it." But she aims her work at the broader scope of everyday people in, "an intimacy that we can all recognize as humans, not highly trained beings necessarily," she says. It's about "getting off that high pointe shoe and staying connected with the earth. I think the floor comes into that. I can't help myself," she laughs.
Although Penny hadn't staged a premiere on Diablo before, she was familiar with some of the dancers from when she had restaged her works for the Company and had "a picture" of them in these roles. "I knew that they were kind people and ready to go," she recalls, "and that's usually all I need...They were a joy to work with."
Penny's choreography takes her around the country, staging and restaging works on dance companies. The previous day she had flown in from North Carolina after staging a premiere work with the Charlotte Ballet. After Diablo, she will fly to the Pacific Northwest for another production. "I try to give each project the attention it deserves," she says. She admits the scheduling and coordination can be a challenge, "It's a lot to juggle," she muses. Fortunately, her "bosses" are understanding, especially about her time. She is also Adjunct Assistant Professor at the University of Utah School of Dance. As if that weren't enough to keep her busy, she is the mother of a ten-year old and a two-year old. Her husband also teaches dance at U of Utah and often travels to restage pieces. "He understands what I do in a way that no one else could ever. We make a great team. Thank goodness," she laughs.
In an earlier interview with the Dance Data Project, Penny mentioned that, "There is a special kind of magic that happens when a room full of people share an experience together." When asked if Dr. Magic shares that magical experience she answers, "I hope so. As a creator, creative person, that's what I'm striving for, to make sure some people who come into the show are captivated in some way, taken away, or transported beyond their day-to-day. I feel that art has the power to elevate who we are as humans, and when we can share an experience, all the better." It's her view that people spend a lot of their time in isolation, behind their screens, so bringing them together to share an experience is very important.
In some of Penny's works (Manifold, Alice, Brown Eyes) movements take place on the floor. In the interview mentioned above, Penny said, "the relationship a dancer has with the floor is key to the unfolding of their story." Asked if she sees the floor as a prop, she explains that her background is in ballet, but she shifted to modern dance. "I'm expanding my vocabulary," she says. Penny finds floor work "more pedestrian, more human" than pointe work, which can be "naturally elitist. There's something about it which not everyone can do, which is beautiful, it's ethereal and I love it." But she aims her work at the broader scope of everyday people in, "an intimacy that we can all recognize as humans, not highly trained beings necessarily," she says. It's about "getting off that high pointe shoe and staying connected with the earth. I think the floor comes into that. I can't help myself," she laughs.
Penny Saunders' Dr. Magic is included in Diablo Ballet's performance of Sleeping Beauty's Wedding on February 9 and 10. For more information see diabloballet.org.