Around the Holidays the NorthPark Mall in Dallas turns into a zoo thanks to the upscale mall’s unique holiday attractions which include Santa Claus, the trains and Sights and Sounds of the Season, which is a FREE performance series featuring the musical and movement stylings of schools, churches, synagogues and community and professional dance troupes from around North Texas. The performance series runs Nov. 28 through Dec. 22nd and the Dillards’ Court and North Court and again this is FREE!!!
With two little ones at home I am well versed with the trains and Santa Claus attractions at the mall, but I am a little embarrassed to admit that I have never stopped to watch any of the dance performances presented by the many well-known professional and pre-professional companies in the area. That is going to change this year especially since the only way to see Bruce Wood Dance’s Mistletoe Magic will be through this performance series. (Bruce Wood Dance performs tomorrow at 1pm in the North Court area.)
Looking at the performance line up online, I am amazed with the number of dance companies both professional and pre-professional that will be presenting in these 30-60 time slots as well as the variety of movement styles that will be showcased. I mean this Saturday alone starting at 10am you can catch some of the most popular names in the Dallas dance community, including 8&1 Dance Company, Anita N. Martinez Ballet Folklorico, Booker T. Washington High School for the Performing and Visual Arts, Bruce Wood Dance, Dark Circles Contemporary Dance, Danielle Georgiou Dance Group and Contemporary Ballet Dallas.
After checking in with some of these companies on social media, I can tell you that Dark Circles Contemporary Dance will perform Joshua L. Peugh’s Les Fairies as well as a section of a new work that Peugh is planning to introduce in the spring. OK! that alone has me hooked! Danielle Georgiou Dance Group will also give us a sneak peek of a new creation and perform Colby Calhoun’s Bedtime Stories. And Contemporary Ballet Dallas will perform to some holiday classics along with the school’s student ballet, tap and hip hop youth ensembles.
And while I have already included a link to the full line up, I wanted to pull out some special dates for all you dance lovers out there so you can go ahead and mark your calendars:
Dallas Black Dance Theatre Academy Performance Ensembles
The Hockaday School Dance Department
Texas Ballet Theater Dallas School
Collin County Ballet Theatre
Chamberlain School of Ballet
Avant Chamber Ballet
The Ballet Conservatory
Bombshell Dance Project
Dallas Ballet Company
I hope to see you all there!!! Get there early to find a parking spot and claim a front row seat!
And here is my last profile for this weekend’s Dallas DanceFest. I hope you enjoyed learning more intimate details about some of these companies and their dancers. Hope to see you at Moody Performance Hall on Saturday! This profile was originally posted on TheaterJones.com.
Dallas — With her busy work schedule which includes teaching and choreographing for various local dance organizations, Hailey von Schlehenried is proving that Dallas can be more than just an incubator for dance talent. Rather, it can also be a showcase for accomplished choreographers. Von Schlehenried first caught audience’s attention at Avant Chamber Ballet’s (ACB) Women’s Choreography Project last year with her piece, Yin and Yang. “Working with ACB was such a dream for me. I realized from that project that you have to trust yourself. A project won’t work out if you don’t believe it will.” She adds that the experience also taught her a lot about working with live accompaniment. “It’s difficult when you rehearse one way and you’re used to one thing and your dancers are used to rehearsing one way with recorded music. Working with the ACB dancers really helped me to be more open to the music I’m working with and appreciate the value of live orchestration.”
Originally from Johannesburg, South Africa, von Schlehenried is the resident choreographer and co-director of Royale Ballet Dance Academy in Dallas. She is a registered teacher with the RAD, a graduate from the Certificate in Ballet Teaching Studies (CBTS) and is proficient in many forms of dance, including ballet, lyrical, jazz, modern and Flamenco. She has been dancing and studying dance for more than 20 years and has been choreographing for the last six years. Her choreographic credits include Royale Ballet’s annual Nutcracker production, festivals, benefits and competitions. Von Schlehenried is also proficient in flamenco dance and performs as a guest artist with Daniel de Córdoba’s Bailes Españoles. In 2017 she was chosen for Avant Chamber Ballet’s Women’s Choreography Project where her work Yin and Yang was commissioned.
As an emerging choreographer, von Schlehenried says she’s both nervous and excited about presenting her work Flower in Rain at this year’s Dallas DanceFest (DDF). The piece, which features music by Max Richter, is a contemporary ballet duet that she created on Texas Ballet Theater dancers Riley Moyano and Amanda Fairweather. As for why she selected these dancers, von Schlehenried says she was inspired by the couple’s on stage and off stage connection. “There is such an honesty and trust when they dance together and it’s really beautiful to watch.” She adds, “I was really in love with this recomposition by Max Richter for a long time and I knew I needed to create to it, and when these dancers walked in the room everything kind of came together. They inspired the movement and the music finished it off.”
In regards to the job market here in Dallas, von Schlehenried says that things have really picked up in the last couple of years, but there is still more work to be done. “As a choreographer, the opportunities have started to get a little better as I grow my network, but there is still a need to keep this going and create more opportunities and platforms for dancers and choreographers. There are so many amazing dancers and choreographers in Dallas and we need to keep them here.” Von Schlehenried believes DDF is a step in the right direction, and she is looking forward to seeing so many artists and dance genres being presented on one stage this weekend. She is especially excited to see Bruce Wood Dance, Texas Ballet Theater, Southern Methodist University’s Meadows Dance Ensemble and Dallas Black Dance Theatre. “I think it’s going to be a good two days of dance.”
» Hailey von Schlehenried’s piece, Flower in Rain, will be performed this Sunday at 3:30pm as part of Dallas DanceFest.
» Dallas DanceFest is 8 p.m. Saturday, Sept. 2; and 3:30 p.m. Sunday, Sept. 3, at Moody Performance Hall in the Dallas Arts District. Performances are:
Dallas – It was announced this week that New York-based choreographer Michelle Thompson Ulerich is this year’s winner of Avant Chamber Ballet’s (ACB) Women’s Choreography Project (WCP), which will take place April 21-22 at Moody Performance Hall in conjunction with ACB’s spring performance. Never one to just stick with the status quo, ACB Artistic Director Katie Cooper started the project in 2015 with the objective of providing more opportunities for up-and-coming female choreographers to showcase their work. Since then the WCP has gained quite a following in Dallas thanks to Cooper’s insistence of live orchestration and her eclectic programming, which has included works by herself, Shauna Davis, Elizabeth Gillapsy, Emily Hunter, Amy Diane Morrow, Janie Richards and Hailey von Schlehenried. Cooper continues to enrich the Dallas arts landscape with her “dare to be different” attitude when it comes to the rules and traditions surrounding classical ballet and the expectations that come with being a choreographer in this particular genre. Cooper has also successfully brought live music and dance back together, which I think is putting positive pressure on other professional companies in the area to find creative ways to incorporate more live music in their performances. I can’t wait to see what Cooper and ACB have in store for us in the coming years.
Below is Avant Chamber Ballet’s press release in its entirty:
Avant Chamber Ballet Announces Women’s Choreography Project Winner
FOR IMMEDIATE RELEASE August 30, 2017
Dallas, TX – For the last three years, Dallas-based Avant Chamber Ballet has broken stereotypes and glass ceilings with live music and new works. This season’s Women’s Choreography Project presented in April 2018 is no different. “You might not notice the imbalance and sexism in ballet from the outside,” says Avant artistic director Katie Cooper. “There are more female ballet dancers than male by far, but there are very few female choreographers getting commissions from professional ballet companies. With Women’s Choreography Project, we give emerging women choreographers the opportunity they need to take their careers to the next level.”
Avant Chamber Ballet held an international search for the right choreographer to commission a new work for this season. Out of over 50 applicants, Michelle Thompson Ulerich was chosen to be this year’s winner. “I am thrilled to be choreographing for the artists of Avant Chamber Ballet,” says Ulerich. “Texas was my home for 14 years, and I am looking forward to coming back to create and to bring some of my New York experiences with me.”
Michelle is a choreographer, dancer, and teacher in New York. In 2017, she will present new works in New York; Austin, Texas; Napa, California; and Spartanburg, South Carolina. Prior to moving to New York, she was a professional ballerina with Ballet Austin for 14 years. Michelle has been teaching ballet at SUNY Purchase since September 2016. She has created works for Ballet Spartanburg, Ballet Austin II, Ballet Zaida, MOTION Dance Theatre. Her work for Avant Chamber Ballet will be presented on April 21-22, 2018 at Moody Performance Hall on the program Moving Music alongside masterworks by George Balanchine, Christopher Wheeldon and Paul Mejia.
Also commissioned this year through the Project is a new work from Kimi Nikaidoh. As the artistic director of Dallas’s Bruce Wood Dance, Kimi has choreographed for her own company of modern dancers but this will be her first commission with a professional ballet company. “I’m beyond lucky that Dallas provides me with the opportunity to create work for high-caliber modern and ballet dancers,” says Nikaidoh. “Working with the lovely ACB company will be a delight!”
Avant Chamber Ballet puts its classical technique and acting skills on trial in Alice in Wonderland at Dallas City Performance Hall this weekend.
Dallas — One by one the eight dancers place their hands on the waist of the person in front of them as they step into a wide second position. After a slight pause, the group slinks off stage as one using small, synchronized steps. If you are familiar with the characters in Lewis Carroll’s 1865 novel Alice’s Adventures in Wonderland, which follows a girl named Alice after she tumbles through a rabbit hole into a fantasy world populated by peculiar creatures than you can probably tell that the eight dancers are personifying Absolem, the Hookah-smoking caterpillar.
It was clever of Artistic Director Katie Cooper to use multiple dancers to depict the caterpillar in Avant Chamber Ballet’s (ACB) presentation of Alice in Wonderland which comes to Dallas City Performance Hall Feb. 11-12. Not only do the dancers get to show off their exemplary adagio skills, including sustained balances, graceful arm placements and fluid movement transitions, but the human-made caterpillar also gives Cooper the opportunity to play around with the dancers’ musical timing, something that Cooper is well known for along with her meticulous attention to technical details and imaginative use of space and movement patterns.
A prime example of Cooper’s artistic attributes can be found in the Flower dance, which resembles the Waltz of the Flowers from The Nutcracker both in costuming and the dancers’ fluid movement quality. But unlike most traditional ballets Cooper doesn’t like to use the corps as stage ornaments; instead she prefers to have them moving on the sides of the stage at all times. She also likes to feature the corps in in various geometric traveling patterns and opposite movement sequences that pay homage to Cooper’s Balanchine roots.
Cooper’s balletic interpretation of the classic children’s tale sticks close to the original story with Alice chasing the White Rabbit into Wonderland where she encounters a host of eccentric beings, including Tweedle Dee and Tweedle Dum, the Cheshire Cat, the Mad Hatter and of course the Queen of Hearts, who sentences Alice to death after she insults the Queen during a game of croquet. Cooper puts her own spin on the story with the addition of a human-made caterpillar, dancing mushrooms, a tea party gone haywire and a Greek chorus representing jurors in the trial scene.
While Cooper says little has changed choreographically since ACB first presented Alice in Wonderland back in 2014, she points out that viewers will notice substantial changes in both the venue and cast size. “Dallas City Performance Hall is quite bigger than Bank of America Theater in the Eisemann Center for Performing Arts,” Cooper says. “This allows us to have larger casts and do a few effects and stagings the way I really wanted to do last time, but there just wasn’t enough space.” She adds, “The Company has also grown so there will be more professional dancers and children in the show this time around.”
Today, ACB has more than 15 company members from all across the U.S., including California, Illinois, Kentucky, New York, Texas and Virginia as well as a few international members hailing from Russia, Ukraine and Japan. The production also feature 60 young dancers from studios across the Metroplex, including Park Cities Dance, Mejia Ballet and Legacy Dance Center.
Company members Madelaine Boyce and Yulia Ilina will reprise their lead roles as young Alice and the Queen of Hearts, which not only suit their physical appearances, Cooper says, but also their individual personalities and technical tendencies. “Physically Madelaine looks like the almost perfect Disney Alice, but I also choreographed it just for her so it is very suited for her. And I can’t picture anyone else doing the Queen as well as Yulia Ilina. She is tall and long limbed so she literally towers over Alice. But Yulia is also a great comedian and actor, which might surprise you if you’ve only seen her in tradition ballerina roles.”
I got to see Boyce in action when I sat in ACB’s rehearsal of Alice in Wonderland at Park Cities Dance in Dallas last week. (Ilina was unable to attend this rehearsal). Boyce was very quiet and focused as she stretched her limbs before practice. Even the way she adjusted her hair and tightened her ballet skirt was accomplished in a calm lyrical manner. Cooper has wisely chosen movement phrases for Boyce that complement these individual traits, including long, sustained reaches, smooth shifts in epaulement, complex foot work and thoughtful gesturing.
Like the rest of the company Boyce also exhibits an excellent ear for music, a skill Cooper put to the test in rehearsal by switching out the musical recording for one with a slightly faster tempo. Boyce barely blinked an eye before speeding up her turns and battements to match the new tempo. The score is written by Chase Dobson (now Mikayla Dobson) and features the piano and strings, and will be performed live by members of the Dallas Symphony Orchestra led by conductor Brad Cawyer.
Working on this ballet has also given Cooper the opportunity to reflect on her own artistic growth and that of her dancers over the last three years. “When we did Alice the first time I spent almost half a year on it. I still have my big binder of all the steps I wrote out and meticulously planned. At this point, I trust my own ability and creativity more. I don’t go into each rehearsal for a new ballet with quite so much structure.” She adds, “My dancers have also grown tremendously. At a small company like ours everyone has opportunities in casting that are sometimes few and far between in large groups. That can push you as a dancer in a very good way.”
Avant Chamber Ballet presents Alice in Wonderland Feb. 11-12 at Dallas City Performance Hall in the Dallas Arts District.
Avant Chamber Ballet’s second annual Women’s Choreography Project features more dynamic works by international female choreographers and live music.
Richardson — If there is a need in the Dallas dance community especially if it pertains to ballet, then you can bet that Avant Chamber Ballet’s (ACB) Artistic Director Katie Cooper is already looking for a way to fill it. After all, Cooper started her company three years ago because she saw a need for more live music at local classical ballet performances. “When we started ACB no other professional dance companies were using live music in DFW and we are still the only ones who always have live music at every show,” Cooper says. “Musicality and the connection between the dancers, music and choreography to me is inseparable.”
So, when Cooper noticed so few female choreographers being represented on many local and national professional dance companies seasonal programs, she knew she had to do something about it. And that is how the Women’s Choreography Project came into being in 2015. “I know firsthand how hard it is to get commissions in such a male-dominated field. One of the reasons I started my own company was to give myself opportunities to create my own work and to also work with the dancers I wanted to work with. I wanted to try and give other female choreographers the same opportunities, which is why I started the Women’s Choreography Project.”
Last year’s inaugural event at the Eisemann Center for Performing Arts in Richardson featured the members of ACB in five diverse works produced by well-known regional choreographers, including Amy Diane Morrow, Elizabeth Gillapsy, Emily Hunter as well as two pieces by Cooper. Most of the pieces alternated between neo-classical and contemporary dance styles with the exception of Morrow’s String Theory, which had the dancers manipulating various strings stretched halfway across the stage.
This year Cooper says audiences can expect even more variety at the second annual Women’s Choreography Project which takes place May 7-8 at the Eismann Center. The program for this year’s event features two new classical works by Cooper, a musically inspired pointe piece by Canadian choreographer Janie Richards and a retrospective modern-based piece by New York choreographer Shauna Davis. While all four works are vastly different in terms of concept, costuming, music and movement style, what Cooper believes ties them all together is the choreographers’ fine attention to detail and the dancers’ technical execution of the steps in each work. All the works will be accompanied by live music under the guidance of ACB Musical Director David Cooper.
Shauna Davis is no stranger to the Dallas dance scene. She is a graduate of Southern Methodist University’s Meadows School of the Arts and also spent a season with Dallas-based Dark Circles Contemporary Dance, which also happened to be the same year the company performed Joshua L. Peugh’s jjigae at ACB’s fall dance concert in 2013. “That was the first time I had seen her dance and she was just really magnetic on stage. She has such a gregarious, outgoing and open personality and I think that you can really see that in her process. She brings a lot out of her dancers and makes them feel really comfortable, which is important because her piece is a little more modern, which is not many of the dancers’ primary style.” Davis’ piece, Untitled, set to Schubert’s trio op.100 features five dancers and focuses on the idea of technology and how it impacts our self-worth in this modern age, which she depicts on stage with the use of mirrors. “She has a very distinct idea behind what she is doing and uses a more modern vocabulary to describe the feelings and emotions the dancers are dealing with, which is quite different from Janie’s work which is more inspired by the music.”
During the selection process Canadian choreographer Janie Richards immediately caught Cooper’s attention with her very thorough application, which included an eight-page PowerPoint presentation highlighting every detail of the piece from costuming and lighting, and even a choreographic layout of the almost 20-minute work. Cooper describes Richards’ L’inverno as a very intense, intricate and high energy contemporary pointe piece set to Vivaldi’s Winter. “Her intent is to capture the crispness, brightness and hard edges of winter, but also then the melting of winter and the coming of spring. It’s a really cool piece with a lot of technically challenging material.”
Rounding out the program is Cooper’s full-length version of Harlequinade composed by Riccard Drigo and a solo Cooper created for company member Emily Dixon called Piros set to Brahms’ Hungarian Dances. “I knew we were going to do Harlequinade way before I saw anyone else’s pieces. I knew if I was going to commission new work it was not going to be a traditional tutu classical ballet. Harlequinade is just really fun and cute, and it showcases some of the dancers really well.” And as for working with Dixon on Piros, Cooper says, “I just love working with Emily. She is a beautiful person inside and out and that really comes across in her dancing. She lives for these moments on stage, so I knew she would be able to hold an audience for six minutes.”
You can check out these new commissioned works by Katie Cooper, Shauna Davis and Janie Richards when Avant Chamber Ballet presents the Women’s Choreography Project May 7-8 at the Eisemann Center in Richardson.
Avant Chamber Ballet gets into the holiday spirit with Nutcracker: Short and Suite at Dallas City Performance Hall this Thursday.
Dallas — Audiences disappointed in the fact Texas Ballet Theater will not be bringing its Nutcracker production to the Winspear Opera House this season can find some solace in Avant Chamber Ballet’s (ACB) equally skillful, yet a little less traditional take on the holiday classic this Thursday at the Dallas City Performance Hall. Boasting a 35-minute running time, ACB’s Nutcracker: Short and Suite features some of our favorite dance segments from the second half of the beloved production, including Spanish Chocolate, Arabian Coffee, Chinese Tea, the Marzipans, Russian Trepak, Candy Canes, Waltz of the Flowers and the grand pas de deux with the Sugar Plum Fairy and Cavalier. And with live accompaniment provided by Bishop Arts Brass and Saule Garcia on piano there is really no other Nutcracker production like this one being offered in North Texas.
With her long, lethal legs, regal stature and precise point work, Yulia Ilina seems designed to play the role of the Sugar Plum Fairy. During last week’s rehearsal at Park Cities Dance in Dallas I looked on as Ilina and Artistic Director Katie Cooper make some tiny changes to her solo in order to keep everything musical according to Cooper. This phrase becomes Cooper’s mantra when she is giving notes in between each dance section. In Ilina’s case it means taking out the little arabesque half turn before a bourrée or adjusting the timing of arm gesture to more closely match the nuances in Tchaikovsky’s well known score. Cooper also tweaks Ilina’s epaulementplacement in certain spots to draw more attention to her lines. Cooper puts Eugene Barnes and Ilina’s endurance levels to the test with two rock solid press up lifts in the grand pas de deux, with the last one ending in a fish bowl dip with Ilina’s legs wrapped around Barnes’ middle. Newcomer Barnes demonstrated great strength and extension in his rotating jete series and sautés while veteran Ilina hit every move in her part, including the 16 downstage progressing fouettes, with melodic fervor and refined execution.
From here on out it was one technically enchanting and visually exciting dance after another. Most choreographers have a hard time working with odd numbers, particularly trios, but Cooper is always finding new ways for the dancers to interact with one another and her signature circling patterns and linked arm movements were present in both the Spanish Chocolate and Marzipan numbers. Madelaine Boyce and Kaitlyn McDermitt showcased their amazing stamina and unbreakable form in their roles as Chinese Tea and Trepak while Megan Van Horn will mesmerize viewers with her fluid body isolations and lingering floor splits in the Arabian dance.
Cooper breathes new life into the Waltz of the Flowers ensemble piece with dynamic crisscrossing jete passes, petitallegro jumps incorporating multiple beats and directional changes with epaulement as well as brain teasing formation changes. The section where all ten dancers morph from a circle into a star-shape that they then rotated clockwise while performing quick-moving waltz steps was particularly impressive. The group’s meticulous timing and Juliann McAloon’s zealous fouette turns near the end are also sure to leave you feeling breathless.
The evening will also include Cooper’s Sleigh Ride which is comprised of shorter dances performed to Chris Coletti’s Bach’s Bells and instrumental versions of classic holiday songs, including “O Tannenbaum,” “Hark the Herald Angels Sing,” “What Child Is This” and, of course, “Sleigh Ride.”
» Avant Chamber Ballet’s Holiday Celebration takes place Dec. 10 at 8 p.m. at Dallas City Performance Hall. Tickets are available at www.ticketdfw.com
Get into the holiday spirit with any one of these Nutcracker productions, from the traditional to Nearly Naked, offer across Dallas-Fort Worth. Plus a list of other holiday dance.
It’s that time of year again! In between all the shopping, decorating and baking you have planned this holiday season make sure you set some time aside to check out one of the numerous Nutcracker productions being offered by many of the professional and pre-professional dance companies across Dallas-Fort Worth. For audiences west of the DFW Airport, Texas Ballet Theater will be running Ben Stevenson’s version of The Nutcracker for multiple weekends at Bass Performance Hall in Fort Worth. Additionally, Ballet Frontier of Texas and North Central Civic Ballet will be presenting their annual Nutcracker performances at Will Rogers Auditorium.
For residents north of Dallas there are myriad Nutcrackers to choose from, including versions by LakeCities Ballet Theatre in Lewisville, Festival Ballet of North Central Texas in Denton, and Allen Civic Ballet in Allen. The Eisemann Center for Performing Arts in Richardson, will soon be bursting with holiday cheer when Chamberlain Performing Arts, Dallas Repertoire Ballet, Royale Ballet Dance Academy, Tuzer Ballet and Collin County Ballet Theatre bring their Nutcracker productions here beginning Thanksgiving weekend and continuing till Christmas. The Irving Arts Center is another popular venue for local Nutcracker productions, including versions by Ballet Ensemble of Texas, International Ballet Theater and Momentum Dance Company. And in Dallas the Moscow Ballet returns to McFarlin Auditorium at Southern Methodist University with its rendition of The Great Russian Nutcracker, featuring new costumes and set designs.
You can even hear Tchaikovsky’s full Nutcracker played by the Dallas Symphony, without dancers, if you’re so inclined.
And if you are in need of a change this season, check out any number of the holiday dance shows being offered, including Avant Chamber Ballet’s Holiday Celebration at Dallas City Performance Hall; Epiphany DanceArts Tis the Season at the Eisemann; Texas Ballet Theater’s The Nutty Nutcracker at Bass Performance Hall; and even a burlesque show in Dallas aptly named Nearly Naked Nutcracker. A full list of all the Nutcrackers and holiday productions in the area can be found below.
Nov. 20-21 Ballet Frontier of Texas presents The Nutcracker with choreography by Chung-Lin Tseng at Will Rogers Auditorium in Fort Worth. $40-$50. Call 817-689-7310 or visit www.balletfrontier.org
Nov. 20-22 Moscow Ballet return to Dallas with its rendition of The Great Russian Nutcracker at Southern Methodist University’s McFarlin Auditorium. This year’s production features new costumes for Act I by designer Arthur Oliver and two new backdrops by Academy Award Nominee Carl Sprague. $28-$88. Call 800-745-3000 or visit www.tickmaster.com
Nov. 27-29 Chamberlain Performing Arts annual showing of The Nutcracker featuring New York City Ballet Principal’s Tiler Peck and Tyler Angle at the Eisemann Center for Performing Arts in Richardson. $15-$100. Call 972-744-4650 or visit www.eisemanncenter.com
Nov. 27-29 Momentum Dance Company brings the holiday tale to life with choreography by Jacquelyn Ralls Forcher at the Irving Arts Center. $15-$25. Call 972-252-2787 or visit www.irvingartscenter.com
Nov. 28-29 LakeCities Ballet Theatre celebrates its 25th annual production of The Nutcracker which features live music from Lewisville Lake Symphony and guest artists Sarah Lane of American Ballet Theater and Daniel Ulbricht of New York City Ballet. $20-$45. Call 972-317-7987 or visitwww.lakecitiesballet.org
Dec. 4-6 Dallas Ballet Company presents The Nutcracker featuring guest artists April Daly and Miguel Blanco from Joffrey Ballet at the Granville Arts Center in Garland. $23-$24. Call 972-205-2790 or visit www.garlandarts.com
Dec. 5 Local dancers Harry Feril (Bruce Wood Dance Project) and Yulia Ilina (Avant Chamber Ballet) join theInternational Ballet Theater for its production of The Nutcracker Sweet at the Irving Arts Center. $28-$38. Call 972-252-2787 or visit www.irvingartscenter.com
Dec. 5-6 Ballet Ensemble of Texas, under the direction of Joffrey alum Lisa Slagle, presents the holiday classic at the Irving Arts Center. $25-$30. Call 972-252-2787 or visit www.irvingartscenter.com
Dec. 5-6 Rowlett Dance Academy presents its 14th annual production of The Nutcracker at Garland High School. $10. Call 972-475-8269 or visit www.rowlettdanceacademy.com
Dec. 5-6 Royale Ballet Dance Academy offering of The Nutcracker at the Eisemann Center for Performing Arts in Richardson. $20-$25. Call 972-744-4650 or visit www.eisemanncenter.com
Dec. 5-6 North Central Civic Ballet’s rendition of The Nutcracker at the Will Rogers Auditorium in Fort Worth. $30. Visit www.nutcrackertickets.com
Dec. 5-10 New York City Ballet brings George Balanchine’s The Nutcracker to the big screen in various movies across the DFW Metroplex. $16-$18 Adult. Visit www.fathomevent.com
Dec. 11-27 Texas Ballet Theater takes the stage with Ben Stevenson’s version of The Nutcracker at Bass Performance Hall in Fort Worth. Call 877-828-9200 or visit www.texasballettheater.org
Dec. 11-13 Dallas Repertoire Ballet brings its rendition of the beloved holiday tale to the Eisemann Center for Performing Arts in Richardson. $22-$42. Call 972-744-4650 or visitwww.eisemanncenter.com
Dec. 12 Colleyville Ballet’s production of The Nutcracker for one-night only at the Irving Arts Center. $25-$30. Call 972-252-2787 or visit www.irvingartscenter.com
Dec. 12-13 Festival Ballet of North Central Texas showing of The Nutcracker at Texas Woman’s University, Margo Jones Performance Hall in Denton. $11-$36. Call 940.891.0830 or visit www.festivalballet.net
Dec. 19-20 Tuzer Ballet presents The Nutcracker with guest artists Rie Ichikawa (Boston Ballet) and Zack Grubbs (Cincinnati Ballet) at the Eisemann Center for Performing Arts in Richardson. $15-$50. Call 972-744-4650 or visitwww.eisemanncenter.com
Dec. 19-20 The Allen Civic Ballet presents its annual production of the holiday classic with live musical accompaniment by the Allen Philharmonic Chamber Orchestra at the Allen High School Performing Arts Center in Allen. $15-$25. Visit www.allencivicballet.org/nutracker
Dec. 19 The Art Ballet Academy presents The Nutcracker at Mansfield ISD Center for the Performing Arts, Mansfield. $16. Visit www.abacademy.com
Dec. 22-23 Collin County Ballet Theatre’s annual production of The Nutcracker features live music from Plano Symphony Orchestra at the Eisemann Center for Performing Arts in Richardson. $22-$77. Call 972-744-4650 or visitwww.eisemanncenter.com
OTHER HOLIDAY DANCE
(including non-traditional takes on The Nutcracker)
Nov. 19 Avant Chamber Ballet returns to White’s Chapel United Methodist Church in Southlake with its holiday production of Nutcracker: Short and Suite. This one-act Nutcracker presented by Apex Arts League includes new choreography by Katie Cooper and music by Tchaikovsky. $15-$20. Call 800-481-8914 or visit www.apex-arts.org
Nov. 27-29 The Dallas Symphony Orchestra plays Tchaikovsky’s complete The Nutcracker (no dancers), and featuring the Children’s Chorus of Collin County, at the Meyerson Symphony Center, Dallas. Call 214-692-0203 or visit www.mydso.com
Nov. 27-Dec. 27 MBS Productions presents its annual hit The Beulaville Baptist Book Club Presents a Bur-Less-Q Nutcracker, in which a church has to do a last minute substitution of its dancers for The Nutcracker, at the Addison Theatre Centre’s Studio Theatre. $29. Call 214-477-4942 or visit www.mbsproductions.net
Dec. 6 8&1 Dance Company closes its third season with In The Spirit, featuring live music and heart-warming chorography at the Quixotic Word in Dallas. Visit www.8and1dance.com
Dec. 6 Dallas Youth Ballet presents a Rockefeller Christmas Spectacular at Dallas City Performance Hall with special guest Arron Scott from American Ballet Theatre. $20-$75. Visitwww.parkcitiesstudios.com
Dec. 10 Avant Chamber Ballet’s Holiday celebration at Dallas City Performance Hall incudes Katie Cooper’s Sleigh Ride and Nutcracker: Short and Suite. $20-$30. Visit www.ticketdfw.com
Dec. 11-12 Bruce Wood Dance Project presents a Christmas Cabaret benefit with Broadway stars Aaron Lazar, Liz Callaway and Joseph Thalken, at the BWDP Studio, 3630 Harry Hines Boulevard, Suite 36, Dallas. $350-$1,000. Call 214-428-2263 or visit www.brucewooddance.org
Dec. 12 Ballet Concerto presents its annual A Holiday Special at Will Rogers Auditorium in Fort Worth. The program includes Winter Wonderland, The Princess and the Magical Christmas Star, O Holy Night and A Cool Yule. $8 for daytime performances and $12-$25 for the evening performance. Call 817-738-7915 or visit www.balletconcerto.com
Dec. 12 Contemporary Ballet Dallas offers their spin on Charles Dickens’ classic tale with Boogie Woogie Christmas Carol at McFarlin Memorial Auditorium on the Southern Methodist University campus. $18-$30. Visitwww.contemporaryballetdallas.com
Dec. 18 Texas Ballet Theater brings The Nutty Nutcracker, its PG-13 spoof of The Nutcracker, to Bass Performance Hall for one night only. $40-250. Call 877.828.9200 or visit www.texasballettheater.org
Dec. 18-19 Epiphany DanceArts celebrates the holiday season with its production of Tis the Season at the Eisemann Center for Performing Arts in Richardson. $17-$27. Call 972-744-4650 or visit www.eisemanncenter.com
Dec. 19 Broads & Panties presents Nearly Naked Nutcracker: A Burlesque Ballet featuring aerial performances, circus arts, ballet and burlesque at Trees in Deep Ellum. $20-$44. Visit www.treesdallas.com
Dec. 19-20 Denton City Contemporary Ballet presents A Gift for Emma at Margo Jones Performance Hall at Texas Woman’s University, Denton. $15-25. Call 940-383-2623 or visit www.dentoncitycontemporary.org
Dec. 19-20 ImPULSE Dance Project celebrates the season with Snow at the Medical Center of Lewisville Grand Theater. Program includes works by Artistic Director Anastasia Waters and company members Krista Langford and Kristin Daniels. $17. Visit www.impusedanceproject.org
The Austin-based choreographer on her quest for cultivating home grown art and collaborating with Oklahoma’s Bell House Arts in this year’s Dallas DanceFest.
Dallas — Amy Diane Morrow is no stranger to the Dallas dance scene. In addition to having taught classes at Southern Methodist University, Texas Christian University and Texas Woman’s University, Morrow is also frequently in town teaching Gaga workshops, a movement language developed by Ohad Naharin of the Batsheva Dance Company. And last March Morrow made a big splash at Avant Chamber Ballet’s inaugural Women’s Choreography Project with her new piece, String Theory. Morrow fans will get another chance to see her work at the second annual Dallas DanceFest which takes place Sept. 4-6 at the Dallas City Performance Hall. Morrow will be presenting her trio Carry On, which she is doing in collaboration with Owasso, Oklahoma-based The Bell House Arts, Inc. (BHA).
Morrow describes Carry On as an autobiographical portrait that focuses on the weight of relationships and the distance within relationships as it pertains to family and friends. “At the heart of it Carry On is an autobiographical portrait that became a study on this portrait in relationship to two people, three people and a group of 20 people,” Morrow says. “I have restaged it several times on several different groups and now it has distilled back to a trio.” The piece also touches on the physical and emotional baggage we carry around with us.
Morrow says Carry On is also a reflection of her travels and the amount of stuff people try to carry through airport security. “Every time you go through TSA it is a reminder of the things that we carry and how stuffed and over packed we are. It got me thinking about how these things are somehow tied to security, memory, people and places.”
Morrow sees herself as a connector of people and places. After years of splitting her time between Texas and Tel Aviv, Israel, Morrow now resides in Austin where she will be joining the staff at the University of Texas’ Department of Theatre and Dance. The city is also home to her latest project, the TBXS Toolbox Series, which provides specialized workshops for creative artists to hone skills for their personal practice and expand their professional market. “I still travel and do residencies a lot, but my effort is really to bring the international collaborations, opportunities and experiences that I’ve had to my home state because I really believe in home grown art and building the local community from grass roots.” So far, TBXS has hosted seven workshops and has featured guest artists, including ARCOS Dance, Kira Blazek, Manuel Vignoulle and Jesse Zaritt.
While in Tulsa this past summer Morrow met BHA Founder Rachel Bruce Johnson and their collaboration and friendship grew from there. Morrow says, “The Bell House has become a really great umbrella for freelance artists to collaborate with Rachel. It’s her mission to provide these teaching and performance collaborative opportunities, and she is doing it.” Since joining BHA, Morrow has performed at the Fringe Fest Summer Stage in Tulsa, the Tulsa Ballet Studio K Series and will be a part of Dallas DanceFest 2015. Morrow notes that with the current shift in the industry away from traditional dance companies to more independent projects and opportunities, it’s no surprise that the number of these non-profit arts cooperatives has been growing throughout the region. “This is a big conversation I am having right now with others in the Austin dance community. Nowadays to be sustainable and to be able to keep putting out work you really need an alliance or collective to help you, and Rachel is doing that in her own way with BHA.”
Morrow is also a big advocate of dance festivals. In fact she first met her mentor Ohad Naharin while working at the American Dance Festival. “Festivals are where you network and grow, and it’s where the magic happens. The word festival is becoming to mean an efficient organization that provides the maximum amount of opportunities for the maximum amount of people. It’s really an umbrella for the artists and the community, and it’s definitely needed.” Morrow adds, “I think that festivals in the south and specifically in Texas will continue to grow over the years and I’m really excited to be a part of it.”
» The second Dallas DanceFest is Sept. 4-6. Performances will take place on Friday and Saturday night at 8 p.m. with the 2015 Dance Council Honors awards ceremony and performance showcase occurring on Sunday afternoon.
Avant Chamber Ballet makes a rousing tribute to American Ballet at the Soluna Festival with guests from the Dallas Symphony Orchestra.
Dallas — There’s nothing like hearing live music at a classical ballet performance. It adds some spontaneity to an otherwise technically fixed art form as well as a layer of anticipation for both performers and audience members. It was this anticipation that had audiences on the edge of their seats as Avant Chamber Ballet (ACB) broadened their artistic range in a near flawless performance Tuesday evening at Dallas City Performance Hall in conjunction with the Soluna: International Music & Arts Festival. Staying within the margins of the festival’s theme “Destination America” Puder put together an exciting program that included some of her favorite American ballet choreographers, including George Balanchine, Christopher Wheeldon and Paul Mejia, and also showcased the company’s ever growing versatility and musical awareness.
Having been brought up on the Balanchine style it came as no surprise that ACB’s restaging of Balanchine’sValse Fantaisie paralleled the technical fortitude of the original. Glinka’s driving composition, arranged by ACB’s composer in residence Chase Dobson, guided the five females and one male through this whirlwind that can only be called pure dancing. As was Balanchine’s custom, leg beats and rises on and off pointe were accentuated with subtle head tilts and arm changes. Natalie Anton, Madelaine Boyce, Kristen Conrad and Kaitlyn McDermitt performed the springy corp steps without hesitation and beautifully captured the musical nuances with their elongated arabesques and breathy arm transitions. Christy Martin was a spitfire in the lead role with fellow dancer Peter Kurta. Martin showcased exquisite control as she stepped into a lengthyarabesque hold after completing a vigorous entrechatvariation.
Kurta ate up the stage in his traveling jump sequences and maneuvered Martin through a series of assistedpirouettes and rotating body positions without qualm. Musicians Miika Gregg (violin), Lydia Umlauf (viola), Jennifer Humphreys (cello), Kara Kirkendoll Welch (flute), David Cooper (horn) and Saule Garcia (piano) partnered beautifully with the performers on stage with changing tempos, volumes and styles generating the same energies in the dancers.
Paul Mejia’s Serenade in A challenged ACB’s Natalie Anton, Emily Dixon, Yulia Ilina and Rachel Meador with its musical intricacies and scrupulous technique. Choreographed in four parts, each section uses a different part of the body to highlight the nuances in this illustrious Stravinsky composition. The long-sleeved white leotards and matching ballet belts enhanced the dancers’ lines and did not detract from the detailed movements seen in the work. Right away the eye is drawn to the dancers’ upper bodies as they contract and release on different counts.
These constantly changing counts made the simple plies with wrist flicks and back arches appear fresh and exiting. In the third section the fast tempo was accented by the dancers’ hips as they quickly tip-toed on the balls of their feet around one another. Pianist Garcia slowed the tempo down in the final section as the dancers focused on raising and lowering their arms to different counts and rhythms.
Just as the title states, Puder’s new work Endless Arc was a continuous array of wide arcing movements, contracted torsos and explosive leg extensions. By breaking the piece into five parts the audience could fully appreciate Puder’s interweaving formation changes, complex petite allegro sections and push and pulling partnering skills. In the first section, Sarah Grace Austin set the tone when she performed a series of slow side bends and tendue steps with an inverted hip swivel. As Bela Bartók’s String Quartet No. 4 picked up tempo Austin and the other five dancers on stage exploded into a number of running jetes which led them off stage.
In the second and fourth sections, Madelaine Boyce, Kirsten Conrad and Christy Martin made easy work of the traveling chaine turns and double pirouettes that came in between their running patterns, which had them circling close to one another before shifting directions. The simple rotating bourrees and slow walks which spread the group across the stage in the third adagio section was one of the most visually arresting moments of the whole piece. The audience was also pleased to see Tagir Galimov handling the classic partnering skills (i.e. rotatingarabesques, pirouettes) with more assertiveness and continuity.
The piece came to a satisfying conclusion as the entire company executed a series of high powered traveling jumps and alternating battements before ending in diagonal spanning the stage. As they pivoted to the front with one arm curved up and the other down the stage went dark. Throughout the piece Charlton Gavitt’s bold color choices and abrupt lighting cues meshed with the sharp changes in the music and helped round out the work.
These more traditional works were separated by two contemporary duets choreographed by Christopher Wheeldon. In The American pas de deux Michele Gifford clung to Shea Johnson as he manipulated different parts of her body. Flexed feet, broken arms and a contracted torso made up most of Gifford’s movements as Johnson swept her across the floor in a number of over the head lifts. The counterbalance holds and sustained lifts, which made up a bulk of the work, tested Johnson’s control and consistency with positive results. WhereasThe American was light and buoyant, Wheeldon’s There Where She Loved was grounded and tense with Gifford desperately reaching and arching away from Johnson as he dragged her across the floor on the tops on her feet. Soprano Corrie Donovan’s soul stripping rendition of Kurt Weill’s Je ne t’aime pas as well as her physical presence on the stage gave the couple courage to fully let themselves go which in turn made their performance more dynamic and believable.
Avant Chamber Ballet plans to wow audiences with its artistic range and technical fortitude at the inaugural Soluna: International Music & Arts Festival in Dallas.
Dallas — It comes as no surprise that Avant Chamber Ballet (ACB) is the only local ballet company invited to participate in Dallas’ inaugural SOLUNA: International Music & Arts Festival. After all, the company’s goal of reconnecting dance with live music fits right into the festival’s purpose and it also helps that ACB has strong ties with the Dallas Symphony Orchestra, the organization in charge of this three-week performing and visual arts extravaganza. ACB Artistic Director Katie Puder adds that DSO is always her first choice when looking for collaborators, and having worked with these musicians already has made this process a little easier. It also can’t hurt to have DSO Principal French Hornist David Cooper as your company’s music director. With that said, ACB’s fresh perspective on the fixed art form of ballet has more than earned them a spot on the festival’s roster.
Staying within the margins of the festival’s theme,Destination (America), Puder has put together an exciting program showcasing choreographers and composers who came to American for inspiration and freedom. The lineup includes George Balanchine’s Valse Fantaisie, Christopher Wheeldon’s pas de deux fromThe American and There Where She Loved, Paul Mejia’sSerenade in A and the premiere of Puder’sEndless Arc. “Soluna’s theme of Destination America was a great reason for applying for our first Balanchine ballet and presenting a Paul Mejia ballet,” Puder says. “We are also honored to be the only ballet company partnering with the festival and Dallas City Performance Hall is the ideal home for ACB.”
Watching ACB rehearse for Soluna at Park Cities Dance two weeks ago I saw the dancers being tested both physically and mentally, which in turn added new intensity to their movement choices. This was most apparent in Mejia’s musically brutal work, Serenade in A, which features company members Natalie Anton, Yulia Ilina, Rachel Meador and Emily Dixon. While everyone in the company learned the piece Puder selected these four based on certain factors. “It was a choice of who looked best in it, would look best in the white leotards and had the height too. The four girls shouldn’t match (in terms of appearance), but they need to be able to blend together.”
Right away the two pairs start on different counts as they glide side to side in a series of deep squats with a contracted torso as their arms swoop up and down, resembling bird’s wings. As the dancers move into a box formation their timing matches as they perform a series alternating hand gestures and shouldering before smoothly changing timing again. Another signature section is when the four dancers come together and link hands just as the dancers do in the second half of Swan Lake. As the group deliberately walks forward together they raise their linked arms up and down on alternating counts. One at a time they present a foot and shift their weight forward while repeating the arm movements. The layered movements and musical intricacies are challenging, but these four dancers make it look effortless nonetheless.
An exhilarating display of curvaceous arms, hard-hitting leg extensions and continuous stop and go action,Endless Arc, set to Bela Bartok’s String Quartet No. 4, shows us another side of Puder. “For Soluna I knew I wanted a full company piece that would be different than the other repertoire we were presenting. The music is so driving and energetic. It demands a certain quality and power.” All the elements that audiences have come to appreciate about Puder’s work are still present, including her intrinsic musicality and complex body positioning, but now there is a sense of urgency to the dancers’ movements. This urgency shows through the dancers’ explosive running and leaping passes, the push and pulling quality behind their partnering and Ilina’s head-whacking grande battement derriere.
The Soluna: International Music & Arts Festival runs May 4-24 with Avant Chamber Ballet’s performance taking place at Dallas City Performance Hall on May 5 at 7:30 p.m. Beginning at 6:30 p.m. in the DCPH lobby, Anita N. Martinez Ballet Folklórico will perform.