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PREVIEW – GroundWorks DanceTheater excels in diverse repertoire at Trinity Cathedral

GroundWorks Dance Theater doesn’t merely explore the way dancers move. It also considers how choreographers think and feel about the world. The Cleveland modern-dance company is looking at its art from three distinctive perspectives this weekend at Trinity Cathedral. The program includes the Cleveland premieres of Jill Sigman’s “Split Stitch” and Amy Miller and David Shimotakahara’s

REVIEW – GroundWorks DanceTheater premieres captivating “Just Yesterday”

A generous array of life lessons can be glimpsed in “Just Yesterday,” the new Dianne McIntyre work that GroundWorks DanceTheater introduced over the weekend at the Breen Center for the Performing Arts. The Cleveland choreographer crafted this endearing and potent piece after interviewing the GroundWorks dancers about their families. A sort of memory dance, “Just

PREVIEW – GroundWorks DanceTheater’s ‘Just Yesterday’ is based on dancers’ family stories

What: The Cleveland modern dance company performs works by Dianne McIntyre, Zvi Gotheiner and artistic director David Shimotakahara. When: 8 p.m. Jan. 22 and Jan. 23. Where: Breen Center for the Performing Arts at St. Ignatius High School,1911 West 30th St., Cleveland. Tickets: $15, seniors and students; $22, others. 216-961-2560. For more than three decades, Dianne McIntyre and Olu

REVIEW – GroundWorks Dancetheater scales the bluesy heights

What: The Cleveland company performs works by artistic director David Shimotakahara, artistic associate Amy Miller and Alex Ketley. Where: Cain Park's Alma Theater, Lee and Superior rds., Cleveland Heights. Tickets: $21 and $23. Call 216-371-3000. To sing the blues is one thing. To dance them is another. And what a smorgasbord of novel and affecting movement GroundWorks Dancetheater

REVIEW – Guest Blogger Chris Atamian reviews GroundWorks

Less is sometimes more, indeed. In the wonderfully intimate and strangely proportioned West End Theater (i.e. thirty-foot domed ceilings and decorative arches overlooking a mere 84 seats and a semi-circular dance floor the size of my back pocket), the Cleveland-based company presented a charming and sometimes clever New York début—think classically-influenced movement set to contemporary