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9/7/90
RESOLUTION NO.
90- 699
A RESOLUTION GRANTING THE REQUEST OF MARY
STREET DANCE THEATER FOR A WAIVER .OF THE �
t RENTAL AND REHEARSAL FEES IN AN AMOUNT NOT TO
EXCEED $1,250 FOR A FALL CONCERT TO RE HELD
1 AT THE MANUEL ARTIME PERFORMING ARTS CENTER
DURING THE PERIOD NOVEMBER 1--31, 1990,
CONDITIONED UPON THE ORGANIZATION PAYING THE
CITY TWENTY PERCENT (20%) OF GROSS TICKET �-
SALES AND PROVIDING THE CITY MANAGER WITH ONE z
HUNDRED (100) TICKETS FOR THE PERFORMANCES;
FURTHER CONDITIONED UPON THE ORGANIZERS
OBTAINING INSURANCE REQUIREMENTS AS MANDATED r
BY THE CITY OF MIAMI AND PAYING FOR ANY COSTS
ABOVE AND BEYOND THOSE FEES GRANTED BY THIS —
RESOLUTION.
E
BE IT RESOLVED BY THE COMMISSION OF THE CITY OF MIAMI,
--f
—a FLORIDA:
I
- Section 1. The request of the Mary Street Dance Theater for
a waiver of the rental and rehearsal fees in an amount not to -_
exceed $1,250 for a fall concert to be held at the Manuel Artime
Performing Arts Center during the period November 1-31 1990 is
hereby granted.
Section 2. The herein waiver is hereby conditioned upon the
organization paying the City twenty percent (20%) of gross ticket
t
sales and providing the City manager with one hundred (100)
tickets for the performances. s`
Section 3. The herein waiver is further conditioned upon
the organizers obtaining insurance requirements as mandated bye
h
the City of Miami and paying for any costs above and beyond the
waivers granted under this Resolution, y
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DANCE
MARYVy
TmEAS .STREET
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July .27, 1990
Mr, Cesar Odio
City Manager
City of Miami
3500 Fan American Drive
- Miami, FL. 33133
Dear. Mr. Odia,
We are requesting a personal appearance beforeVethofn��talhfees
e
City of Miami Commission meeting to ask for a waiver
for our Fall"concert in the Manuel Artime Theater of the performing
.Arts.
Our company, Mary Street Dance Theatre, is committed not,only to
serving the broad community but also to expanding the levemuchlrof.&toreneSs
and interest of contemporary dance in Ma_mi.• We very
perform in the Manuel Artime Theaterbutour -desirealiwetmeu red be the
. financial constraints. In order.to realize ourgo
support of the City -of Miami'by waiving the rehearsal and performance
fees
We wish to support the theater and have it succeed, therefore w�
are willing to pay the 10% on the gross. sales; as required. �+ie have:
enclosed some brief information on Mary Street Dance Theatre to Tamil-
iariae yourself with our.company and its goals-
I
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MARY STRUT DANK THFATRE
y
t41SSION AND HISTORY
founded in 1985 by MiamB dn�+°�t�pha
J
Mary Street Dance Theatre was
bale Aadrea'i , AMary
n experimental. contemporary den visual artists,
and dancer
Street perfe ar1$inai works. that feature collaborations among
that explore human interactions and
dasttrs and sue ierans as well as works
social concerns.
"M ideas for dances sicanteraction
emerge from the human°vers�tionl�iconveraation
r
of the dancers, sags Andree. "I view dance as con
collaborating artists, and between those
atiions: dancers, among -dancers and
on stage and in the audience."
Since its first studio concerts in Coconut Grove, Mary Street Dance
ies
and athe rcompany
Theatre has performed in theaters, museums. art cecommissioned nterst ugh-
Forum
_
out Florida: In 1986, New'York's.Composers
n 1987,
'Neater WorkshoapaZ.musicians
-
to perform a new.p3lete at Dance Jeff Quay and
with j
acclaimed "City Walks," a collaboration And
in Atlanta at the Alternate Roots Festival.
New Music
Brian Monroaey, premiered
invited to perform at the loth annual
in 1988 the company was
America Festival in Miami.
outreach programs are a hallmark of Mary Street Dance Theatre's
Community tential of the per
poseries
work. In an effort to developthe educdtionnal
of workshops for
'arts.
and visual the company
learning disabled children at the Easter Seal Society Demonstration
deacers�
in Northwest Dade County. The program, whit g
into the classroom, has resulted fa an
_
musicians, visual` artists, and poets
tool for teaching learning disabled students
educational video tape on art as a.
In 1988, Mary'Street Dance Theatre and the Miami -Dade Pubic Library
Week Celebration at the Metro -Dada
1
-1
ooutced the first International Dance
ar The rogram featured two days of free
Cultural Plaza in downtown Miami6 p
outdoor performanmad dance films, and attracted an audience of over 500.
ces b
1489
The Second Annual International Dance Week Celebration began April 27, }
with the first of a aeries of performances called Miami collaborations which
i s film maker. a visual artist, and a musician. The 199C1;
involved .the .company. travelling to Lima. � Perm
schedule is continually increasing with the company
and idew York City to peA.
rform and hold workshops. We are continuing our tom-
■itaient:to our performance schedule in South Florida. The coepany'has ba$ua
u.
es with the
a series of lecture/desionstrations in co�lege0fa urreativeiprocess+
of increasing our audience by iafs�rming -0
Dais Andree and Mary
Street Dance Theatre are the recipients of gsants '
and'awatrds from the State of Florida, Division of Cultural Affairs, the P etro y
Southern Bell, and Baptist Hospital Of t�84 4
t
k
Dade Cultural Affairs Council,
he compapj► also has a roster of more than 40 individual contributors.
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• MOfVtSAY, MA�f �' 1 1`N� t+tiAMi l
fil*ne
works4 from Mary Ste
Dsls Andtee's MuT &mt Dance
Oamw a pit ocigo.
,g. t cawolrt of folly
"do ae Nor Ladd School lac
the Arb back, SctWlo.
. Andrea a aetw►
abstract arsd nwrermtitts T r mil,. to FtaaDteex% the u*k vad Wet three Macs whn saembe
Dos Sckkt ksd Brix# (Attd So It her � ... Wig, Hermaades
Coot) and the somber, powerful A ad the blond Mahoney England --
,three Circleradicallyshow he dkecRlt oas � � � onstage, wWW9 up
A fourth work. Trfirl Botntd by � � who could be adted
Quest doreogrmphrr and ex Mia- the Fl"' the Res Andreble Woman
Ann Law was a weird inter- and Flashy Gam• Andrea haired
lode in' a demanding ,naming ... �� the link between the chairwtd
woman
exploring wrrous, minute twitches moves exactly like
of movement in a tight knot of Vatnwa White) the violent erup-
women g tutu -lice dresses. lions inthistoo-perfect Emily.
The Friday was as exQ10- A just Circle, with music by Jeff
• slam of creativity for Atdree — a Quay and John Merchant, was as
substantial aft tar an art- unexpectedly powerful finale.
lot whose work hbaked
more iillce gas canna
as lea
} process than fmisbed form In recent sbnost emotionless movement for pelvis on the dormant belly of Her -
four dancers, it into nodes: suddenly both ceavulsed
— The first work, lnterxatras I& }fig imago of lice an orgasm or a lab. Andtee has
thefts. bepa with violinist YIoki deacy and mourahmr. In one, .courage and tsdeat to slope it.
Richards acting on the floorin tradi- vignette, Spry bwddfed pelvis -to.
tiond Indian style. playing a chro-
matic melody with a distinctly non -
Western feel. Dressed in a black mad .
-j} pwh�ite striped top andm dot
iman
� by letting bits of
In
subtly adjust her tam.
Soon she was trading larger and
more Western riffs with Rkhards
— mach in the maaner of last yeses
Taw Dattcm and a Wotrtatt StttfntQ:
Then the piece took off. Three
-f� dancers tan, skinny David Her-
nandez, diminutive Helena Thev-
=? enot and solidly built Mary Spring
-`' -- ultimately entered the space as
'3 the music switched to a recorder `
4 Indian -Influenced plane by Rkdwatds.
` Their movement was big mW
AM, beginning in the center of
the torso and throwing energy out
into the air with whiplash actin
There was a Ions cab for Spring,
who kooks like a dancer trsatsformwed
since last year: Beform she seemed
to dance wWk. a very sms>r. boxy.
apace. Now. she throws energy out
d two sosnewhst ch.. y body.
Uttd Was Dos-Scktcktaf Brunt .
(Axd So It Gees) is a bitterly fwmy
work -- an one level about sea -rote
stereotyping and on watt ew; about
incest said violence within the fam-
fty, Set to Gernwan ballads by Kurt
f Weill mad Friedrich Gulda, it has as
leitmotif a vamp (Thevenot) is
calm and frowsy howaedress who
<; kads acwnd a sea ioddess (Andree)
by Wash attached to a collar at her.
though you're in there between
them --what is so terrible about
this is that it never loses the look
of love. You never know what
kind. Mother -daughter? Lovers?
It's never specific. It's just that pit
of dark love that the South has
been telling us about for years.
Dale Andree and her company,
the Mary Street Dance Theater,
are from Miami, and they arc tell-
ing us about it again.
July 179 1990
S iakepit of Love
By Joan Aeocella
Daft An*" ad Ana taw
ArKhe's Stiff Heat. Law's
A" 8W OrWW
At WftWgton SWm Owrch
June 29 and 30
Wbm the Deft Bo up on Dale
Andrees Still Neat, you feel a car- j
tain foreboding, for there before
you are the ingredients of one of
those summer -night -on -the -back -
porch -in -Biloxi dramas, where j
you find out that Mae Ellen has
been sleeping with Pa for the last
10 years, and so little Billy Joe
isn't the guy from the Texaco sta-
tion's son but, oh no--Pal—and
that's why Ma went out that
morning and shot the horse, et
cetera. All the dramatis personae
are present. Them are three young
women in loose - dresses and a
grim -looking man in a chair, and
neat to him a grim -looking wom-
an who pulls her bodice out and
stares down ruefully at what we
can assume are her disused
And in fact that is the drama we
get, but in dance, which makes it
wbolly dillerent: a groping, physi-
cal thing, a quest for order —in
the fora of an ordered dance --
and then the lapse into violence.
At the very start, the this do a
am of dm*graces dance, mean-
while fanning themselves madly
with their hands. The fanning is
comic, but not for long. Soon
their hands are not fanning but
circling their faces, as if they were
trying to tell us that they are beau-
tiful —or autistic Amid these fe-
male thrashings, the man sits mo-
tionless. Then he gets up and
starts dancing with one of the
young women. Back and forth
they move, faster and faster, with
their chests jammed against one
another as if they were surgically
attached. As with the fanning,
then is nothing that doesn't turn
into strangeness and pain.
The strangest part comes at the
end. The older woman sits at the
table with one of the young
women. She takes her hand At
first they seem to arm wrestle.
Then they am stroking each oth-
ePs arms. Then they are standing
and wiping each other brown, ex-
cept that the wiping gets more and
more intense, so that soon the old-
er woman is pretty much grinding
her hands into the other one's
face..Then the music (Jeff Quay
on percussion in the darkness be.
hind them) mounts to a horrid
din. The two women embrace, fall
to the floor, and roll over and
over each other, kicking and
thrusting. From the audience
what you am is a sort of snakepit,
a tangle of limbs and underpants,
a big pink animawith lots of legs,
dying. Finally they stop and just
He there on the floor, and the
lighu go out.
Aside from its sheer physical
persuasiveness —you feel as