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NEVER have a clogged gutter again, GUARANTEED! IS-0000108620 Patented one piece seamless construction Narrow opening impedes debris entry Protective baffle controls backsplash Covered hood deflects debris while allowing rain water to flow into gutter Long before David Hochoy became the artistic direc- tor of Dance Kaleidoscope, he nervously walked into a New York City rehearsal room in 1980. His friend had told him that the renowned Martha Graham the wom- an often referred to as the mother of modern dance was looking for men for a production of at the Metropolitan Opera. It was part of a season that would star Rudolf Nureyev and Liza Minnelli. He had already auditioned for the Martha Graham Dance Company three times. Three times, he had been turned down.

And then Graham herself walked into the rehearsal room and spotted him. let me know in one look that she recognized me and that it was OK for me to be Hochoy said. Over the next nine years, Hochoy worked his way up to soloist and then rehearsal director, becoming one of the last dancers to work with Graham before her death in 1991. He witnessed several casts perform one of her most famous works, a work that Dance Kaleidoscope will perform for the time in Indianapolis starting Thursday. Overstating the of the performance is which premiered in 1944, is one of the 20th most important bal- lets.

Set on the day of a young Pennsylvania wedding in the 19th century, it centers around a strong and complex woman a role Graham wrote for herself. Graham changed what dance looks like, at least in said Caitlin Negron, who is dancing the part of the Bride for Dance Kaleidoscope. put especially women on stage in places of The score of by the renowned Aaron Copland, won a Pulitzer Prize for music. Isamu three-dimensional set for the original perfor- mance at the Library of Congress turned the usual two- dimensional conventional designs on their ear. Armed with an knowledge of in- tentions and lessons for here are three ways Hochoy and Negron are using the famous wisdom.

The dance requires a complex woman While is about sending a bride and groom into a promising future, far from a happi- ly-ever-after story. The Bride is excited to marry the Husbandman (played by Timothy June), but her mind is full of worries. The strict Revivalist (a preacher played alternately by Stuart Coleman and Brandon Comer) in- sists on her being moral. The frontier provides chal- lenges for a new couple trying to settle down. And what if their brand new farmhouse burns down? The role captures complexity, Hochoy said.

tend to think of her as being this legendary cho- reographer, that great and so Ho- choy said. what nobody knows is that she was al- ways very, very insecure about herself and her (her pieces) good enough? Was the audience going to like he said. Graham told the dancers in rehearsal that chian was a love letter to the dancer who origi- nally played the Husbandman, Erick Hawkins. The two eventually married and then divorced after about six years. The love aspect is especially displayed in scenes where the Bride seduces the Husbandman, Hochoy said.

During her solo, for example, she picks up her skirt and dances toward him and then away from him. What does a complex woman look like on stage? Whoever plays the Bride must capture her contrasts. She must be youthful but not naive, full of hope but not blindly happy, energetic but experienced. The part should belong to a mature dancer, Hochoy said. He saw Pearl Lang perform as the Bride when she was 50 years old, he said, and he calls it one of the most incredible performances seen.

For this production, Hochoy chose Negron, 34, for her temperament and technique. we want to do, dur- ing the performances, is to see how (Caitlin is) able to reveal certain parts of the role and reveal certain parts of herself through the Hochoy said. This will be last performance with Dance Kaleidoscope before she retires from dancing to work fulltime for Indy Convergence, which brings together professional artists with community development op- portunities, with her husband, Robert Negron. Negron began ballet classes in elementary school be- fore studying dance in college at Southern Methodist University. After college, she began working for Dance Kaleidoscope and took short breaks to dance in Chicago and Los Angeles.

choreography can be earthy and raw. For example, where ballet requires dancers to rise on their toes, Graham asks them to spiral up and down, moving deep into their legs and twisting. The legendary movements are a re- sult of her keen understanding of people. Hochoy said she loved watching people in airports because the way they walked revealed so much about them. Biographies of Graham often connect her careful study of movement to her research on nervous disorders and the way they made people move.

would always tell us that we could tell the truth about the way somebody was by the way they Hochoy said. Negron said learning choreography for the Bride puts her in the right mental state to deliver the character on stage. get to rise to the challenge, rise to where other dancers have set the bar, and you can measure yourself for so long and do your best and at some point, you have to just be Negron said. Mingling with Baryshnikov and Nureyev During his tenure at the Martha Graham Dance Com- pany, Hochoy saw two ballet legends dance the roles of the Husbandman and Revivalist. Mikhail Baryshnikov and Nureyev rehearsed sepa- rately and chose not to meet on stage until the dress re- hearsal, Hochoy said.

The good looks and as- tounding technique earned him fame on the big and small screens as Carrie boyfriend Aleksandr Petrovsky on and the and the playboy Tony in The latter was internationally re- nowned for his individualistic style and the wild stories about his with his wife and others. As the start time approached the day of the concert, the backstage crew became unsettled. Nureyev, who was the one to step on stage as the preacher, had yet to put on his jacket, and no one dared disturb him. Finally, a cos- tume designer asked Hochoy to rouse the famous dancer from his musings. Ho- choy summoned his courage and found Nureyev pacing nervously backstage.

say to him, Nureyev, would you please put your jacket on because we have to start And he was really nice. He said, right, all right, all right, all Hochoy mimicked in an impatient manner. he put it on, and we were able to Indy dancers are presenting Domenica Bongiovanni Indianapolis Star USA TODAY NETWORK If you go What: Dance Also on the program: My Sing, When: 7 p.m. Thursday, 8 p.m. Friday and Saturday, 2:30 p.m.

Sunday Where: Indiana Repertory Theatre, 140 W. Washington St. Cost: Caitlin Negron will dance the part of The Bride for Dance production of PROVIDED BY CHRIS CRAWL Mikhail Baryshnikov.