Addison — “An alien dark underbelly vibe, but with a gentle tone,” is how Mark Caserta describes the mood of Dregs, a new piece he and fellow choreographer and boyfriend Mikey Morado have created for Dark Circles Contemporary Dance’s (DCCD) Winter Series, which boosts works made by queer choreographers centering on gay identity in America. The program will also feature Eoghan Dillon’s Boys Are and Joshua L. Peugh’s Bud, which he did in collaboration with multimedia artist Brian Kenny. The performance will be held Jan. 24-27 at Addison Theatre Center, DCCD’s new home for 2019 thanks to its new partnership with WaterTower Theatre.
“It’s quite gender confusing, but very sexy,” Caserta says about the approximately 22-minute work, which includes an original score by Pittsburgh-based slowdanger whom he says mixed the track in the studio while the dancers worked. “It’s alien and out there, but also has a relatable vibe.”
As for the choreography in the piece Morado says, “We like to work with images that are more chic and simplistic and less confetti and more latex. So, what we made at the end of the day was a very alien world that has its own rules and doesn’t really operate within this 2019 America vibe.”
Morado and Caserta are both products of reputable dance institutions. Morado received a BFA in dance at Marymount Manhattan College before joining Sidra Bell Dance New York in 2013. Caserta trained at the Ailey School and graduated from the University of the Arts with a BFA in ballet performance. He has danced with Eleone Dance Theatre, Complexions Contemporary Ballet, Les Ballets Jazz De Montreal and Camille A. Brown + Dancers.
The couple met via social media and began collaborating with each other soon after. They were living and working in New York City when they decided to move to Dallas to work for Christy Wolverton-Ryzman at Dance Industry Performing Arts Center in Plano, in 2015.
“I have known of Dance Industry since my time at Complexions,” Caserta says. “The kids would come to New York City to attend workshops, and through them I developed a relationship with Christy and Jamie Anderson. They had offered me a job a few years before, but I was working, so it wasn’t until 2015 when Mikey and I were looking for a change that I asked them if the offer still stood and we moved to Dallas.”
Morado says that his relationship with Dance Industry didn’t start until after the couple had made their decision to move. “I had never met either of them, but we came out in March to teach and see what the vibe was here and Jamie and Christy picked us up from the airport and the second we got in the car with them there was an instantaneous certainty that we belong here. So, they brought me on and gave me basically the same amount of role that Mark has in the studio.”
It was about a year later when Wolverton-Ryzman handed over the reins of the Thriving Artist Project to Morado and Caserta. “This was something she had started the year prior to hiring us,” Morado says. “It was a small scale project and really more about her connecting with the kids and giving them professional advice.”
He continues, “I think she knew she wanted to amp up the program and that she wanted to do something that would extend beyond the walls of Dance Industry in a very real and practical concert dance sense. So her bringing Mark and I on, she knew that she would be well-connected to the current dance world that is still happening in New York and all over the world.”
So far Morado and Caserta have been living up this promise as evident by the list of names they have on the Thriving Artist Project’s event calendar online. The list includes high end choreographers such as Sidra Bell of Sidra Bell Dance New York, Jonathan Alsberry of Hubbard Street Dance Chicago, Micaela Taylor of TL Collective and Christie Partelow of Nederlands Dans Theater.
When I brought up that these are names you typically associate with local dance institutions such as Booker T. Washington High School for the Performing and Visual Arts Morado replies, “There are a lot of shiny and glitzy things in Dallas and particularly around Booker T. and so it’s very easy for that to be considered the mecca of ‘shiny dance things,’ but I think it’s really meaningful and impactful for these kids that Mark and I work with that we work in a way that is very humble and we choose to work with artists who reflect that humility.”
He adds, “What sets us apart as individuals, but also as a couple is our level of consideration and really making sure that the quality and connection is genuine. That it’s never forced and we work with artists who we truly support.”
It was through the Thriving Artist Project where Morado and Caserta meet Peugh who was at the couple’s first performance back in 2016. “He was super complimentary and we clicked with him right away,” Morado says.
“It was such a bold and loving move for him to reach out to us,” Caserta says. “He is a smart businessman and has become a great friend.”
The dance duo also had nothing but nice things to say about their time in the studio with the DCCD dancers. “We were super inspired by the dancers and just by that particular group that is with Dark Circles right now,” Morado says. “They have such a warm chemistry among them and the majority of them identity as gay or queer themselves, and I think particularly being in Dallas and connecting with people like that has a bit deeper of a ripple than it would in a place like New York because there is less of a demographic there for that.”
While discussing the creative process for Dregs, Morado says it was done in reverse order to what people generally consider normal. So, instead of giving the dancers specific movement phrases or specific motifs, he says they generated a lot of the movement based off of the tasks they had the dancers doing such as free writing and coming up with their own gesture movements, which they later combined into collaborative group phrases.
Morado explains, “The experience for them is very personal, and rather than giving them the details and having them form the piece around that we kind of had them form the piece and then said ‘oh that is a detail we want to put in.’” He adds, “We also made an effort to highlight each dancer individually and to not stick with one soloist. We wanted to equalize everyone and especially with a group this talented we would be short changing ourselves if we didn’t individualize the piece for them.”
For this work, DCCD has also paired with Youth First, a program of Resource Center and one of the only youth centers in the North Texas area aimed at meeting the needs of LGBTQ youth ages 12-18. The company has been teaching masterclasses for the teens which explore identity and self-expression through movement.
» Katie Dravenstott is a freelance writer and dance instructor in Dallas. Visit her blog at www.kddance.wordpress.com