MizeranyDance! Controversial - Provocative - Cutting Edge Michael Mizerany in a promotional photo for RIDING IN MY CAR. Photo by James Freeman RIDING IN MY CAR REVIEWS "Wide-eyed and shirtless with sweat rolling off his contorted body, Michael Mizerany claws at the air in the final scene of "Tin Soldier." His twisted movements conjure images of soldiers in combat and transcend to the internal conflicts and ultimate demise we all face. With his amazing presence and visual wisdom, Mizerany won a Horton award back in 1995 for his performance of "Tin Soldier," and it was a powerful introduction to an evening with his new company, MIZERANYDANCE!, last weekend at the Black Box Theater. In addition to "Tin Soldier," the highlight of the evening was the premiere of "Silver and Gold," a commissioned work by Mizerany's long time friend and colleague, John Malashock. It paired Mizerany with Christine Marshall, perhaps the oddest couple you could find, yet the most sexy, rough-and-tumble partners I've seen in years. While Mizerany is muscular and could probably lift a small car, Marshall is super tiny, but fearless like a feral kitten, and that juxtaposition combined with highly physical, risky partnering made this little duet electrifying. It was all about chemistry and timing - lifts, tosses, drags, rolls, slaps - all of them were on the edge, and in spite of the difference in size and gender, the couple maintained a taut equality." Kris Eitland, Sandiego.com "I was thrilled to have caught a performance of MizeranyDance, which only ran for a weekend. Michael Mizerany, dancer/choreographer extraordinaire, really got to show his range and versatility. His pieces, and the one commissioned by John Malashock, were the highlights of the evening. Mizerany opened the evening with his 1995 creation, “Tin Soldier,” an aggressive, angry, fearful piece that speaks volumes, timelessly. Mizerany’s robust, muscular moves were gorgeous. Malashock’s premiere, “Silver and Gold,” was delightful, with elfin, ultra-agile Christine Marshall literally walking all over Mizerany – standing on his shins, his back, his abdomen. She’s mesmerizing, light and delicate as gossamer, but physically powerful. The piece was impressive, expressive and thoroughly unpredictable. Act one was rounded out by well-executed works by Colette Harding and Bradley Lundberg. Act two featured five whimsical pieces comprising the title premiere, “Riding in My Car.” Here, Mizerany showed his humorous side, and his dancers – Deven P. Brawley, Jeff Bulkley, Katie Griffin, Kevin Ho and Christine Marshall – rose to the comic occasion. Brawley was especially funny as the swaggering car-crazed macho-man in “In My Car,” and he also shone in the highly amusing “Third Wheel, with Katie Griffin and Kevin Ho trying to get together, while Brawley kept popping up between them to interrupt their connection. The evening was delicious, and Mizerany is definitely a choreographer to watch." Pat Launer, Curtain Calls "Gathering at a local dance studio to perform dance works has been the norm of both ballet and modern dance companies for ages, and the Black Box Theater at the Academy of Performing Arts is no exception. The weekend of Sept 7-9th saw Michael Mizerany and his MizeranyDance Company with good friends and colleagues John Malashock, Bradley R. Lundberg, Colette Harding, Sadie Weinberg, Christine Marshall, Deven P. Brawley, Jeff Bulkley, Katie Griffin and Kevin Ho joining Michael in presenting special works, new premieres, and the grand debut of Mizerany’s RIDING IN MY CAR. At Saturday evening’s performance, some 63-dance enthusiasts attended to lend their support. In 1996, Michael Mizerany joined the internationally renowned Bella Lewitzky Dance Company for their final season of touring, and Michael has been nominated a record seven times for the Lester Horton Dance Award in Performance, winning the prestigious prize in 1995 and 1996 for his solos in TIN SOLDIER and BUMP IN THE ROAD, respectively. Here, Michael started the evening with TIN SOLDIER, both choreographed and performed by Mizerany, with music by Henryk Gorecki. Using extensive ‘floor work’ Mizerany displays control and sustained tension, good visual line and emotional sensitivity to the superb mezzo-soprano-vocals. Followed by Sadie Weinberg in A DIFFERENT KIND OF LOVE to music TODAY, I SING THE BLUES; Mizerany returned with Bradley R. Lundberg for a premiere duet THE MISSING PIECE (Music by Fuzzbox), and their dance partnership was effective and pure fusion in their adagio work. It was, however, the John Malashock choreography in the Act I closer, SILVER AND GOLD, likewise a premiere with the remarkable adagio work of (light-as-a-feather) Christine Marshall and Michael Mizerany, to the music of Matthew Barley, which scored high marks. Cleanly executed by Marshall and Mizerany, this piece was attention-grabbing and offered the best dance of Act I. Act II was the reason we were all here, the debut of Michael Mizerany’s RIDING IN MY CAR, proving that Mizerany has solid choreographic credentials. Divided into ‘movements’, much like a symphony, IN MY CAR, featured dancer (with an attitude) Deven P. Brawley, who also can really dance; SCREECHING FROM THE CURB with Katie Griffin, perhaps the most seasoned female dancer of the program; I LOVE YOU/I HATE YOU/I DATE YOU, where dancer Jeff Bulkley had a superb adagio partner in Christine Marshall. They both danced smoothly and with focus on the movement; THIRD WHEEL, again brought together Deven P. Brawley, Katie Griffin and Kevin Ho, a super trio piece of choreography, topped only by the final movement CAREENING DOWN MULHOLLAND DRIVE, in which the five dancer ensemble executed probably the best dance work together of the evening. Everything one can see, do or experience in a car, told with athletic vigor and technically challenging choreography." Rob Appel, San Diego Theatre Scene MICHAEL'S BIOGRAPHY Michael Mizerany is the artistic director/choreographer for the San Diego-based MIZERANYDANCE! Michael studied dance at Southern Illinois University at Edwardsville and then joined The Modern America Dance Company (MAD/CO) in 1986. After three seasons with MAD/CO, Michael relocated to Los Angeles to join Loretta Livingston & Dancers and, in 1996, Michael joined the internationally renowned Bella Lewitzky Dance Company for their final season of touring. He has also served as a guest artist with such companies as Yorke Dance Project, Francisco Martinez Dance Theater, Los Angeles Chamber Ballet, and currently serves as guest artist/assistant to the choreographer for Malashock Dance in San Diego. Michael has been nominated a record seven times for the Lester Horton Dance Award for Outstanding Achievement in Performance, winning the prestigious award in 1995 and 1996 for his solos TIN SOLDIER and BUMP IN THE ROAD, respectively. In 2000, Michael was awarded the City of Los Angeles (C.O.L.A.) Individual Artist Fellowship to choreograph NECESSARY DEPRAVITY. In 2001, Michael formed is own company, MIZERANYDANCE!, and debuted three new works, FIRST KISS, PRISONS & PEDESTALS, and the erotically hypnotic dance piece THE BOX. Also in 2001, Lewis Segal of the Los Angeles Times named Michael as one of the Outstanding Dance Performers of the Year. In 2002, Michael received a Regional Arts Grant as well as a California Community Foundation Grant to choreograph the over-the-top melodrama EDGEWALKERS. Additionally, Michael received an Entry Level Organizational Grant to produce THE BIBLE WALL. In 2003, Michael received an Artist Completion Grant from the Durfee Foundation, an Entry Level Organizational Grant and a California Community Foundation Grant to choreograph, THE MAN CLAN, a funny and fearless foray into the male pedigree. THE MAN CLAN premiered at The Ford Amphitheater in July of 2003 and was nominated for two 2003 Lester Horton Dance Awards including Outstanding Achievement in Choreography – Long Form. Also in 2003, Michael was nominated for a Regional Emmy Award for his portrayal of the misogynistic antagonist in John Malashock’s dance film THE SOUL OF SATURDAY NIGHT. In 2004, Michael premiered a new solo, ETUDE FOR MALE NUDE II: HIDDEN, a quixotic musing on the beauty and agility of the male nude form, and received a 2004 Lester Horton Award nomination for his performance. In 2005, Michael received a Small Organizational Grant from the City of Los Angeles to choreograph and produce, KRUEL SUMMER, a controversial new work examining war and its aftermath. KRUEL SUMMER enjoyed national touring to Los Angeles, San Francisco and St. Louis. In addition, Michael was commissioned by the Cerritos Center for the Arts to choreograph ACQUIESCE, which premiered at the Lewitzky Legacy Concert in May of 2005. Recently, Michael was commissioned by Michigan Dance Collective (MDC) to choreograph FERAL as well as a restaging of ACQUIESCE for their most recent concert at the Traverse City Opera House. In August, ACQUIESCE (as well as MIZERANYDANCE!) had its international debut at the Toronto Dance Festival 2006. Michael returned to Traverse City in November to set another new work on MDC, HAUNTED, which will had its premiere at the Knickerbocker Theater in Holland, MI in January of 2007.   Most recently, Michael was commissioned by MAD/CO to create a new dance work, STANGE ADDICTION, for their 30th Anniversary Concert in February of 2007.