Tag Archives: Carl Coomer

Outside The Lines

Texas Ballet Theater expands its stylistic range in Val Caniparoli’s new work Without Borders, part of the company’s First Looks Series in Dallas this weekend.

TBT-WithoutBorders
Texas Ballet Theater rehearsing Val Caniparoli’s Without Borders. Photo: Ellen Appel

It’s not a coincidence that Texas Ballet Theater principal dancer’s Leticia Oliveira and Carl Coomer look like a pair of figure skaters just skimming the floor in a series of petite traveling lifts in American choreographer Val Caniparoli’s new work, Without Borders. “A lot of what I do has been inspired by ice skating or classical ballet or by working with African dance consultants in Lambarena and that has stuck with me over the years,” Caniparoli says.

Originally from Renton, Washington, Caniparoli opted for a professional dance career after studying music and theater at Washington State University. He received a Ford Foundation Scholarship in 1972 that allowed him to attend San Francisco Ballet School. He performed with San Francisco Opera Ballet before joining San Francisco Ballet in 1973. He became resident choreographer there, and later with Tulsa Ballet. Today, Caniparoli is one of the most sought after American choreographers in the United States and abroad, having set works on more than 35 dance companies, including the Joffrey Ballet. Caniparoli has also choreographed for many notable Opera houses in the U.S., including Chicago Lyric Opera, San Francisco Opera and the Metropolitan Opera.

Photo: Courtesy of Val Caniparoli

Caniparoli’s musical background plays a pivotal role in his creative process and is one of the most appealing aspects of his work. “I have studied music and theater all my life and fell into ballet when I was 20 so, it’s natural for me to create movement that is being dictated by the music.” I saw this firsthand back in September when I sat in one of his rehearsals with Coomer and Oliveira and later the full company for his piece Without Borders, which will have its world premiere at TBT’s First Looks Series May 6-8 in Dallas and May 27-29 in Fort Worth.

Most of the critiques Caniparoli gave to Coomer and Oliveira during rehearsal pertained to their musical timing and movement quality. “You have to fill out every count of the music,” Caniparoli tells the couple on one adagio section. “You also have to be very specific when counting the eights. This is a fast eight counts that moves into a slower tempo.” This last note was in reference to a particularly tricky lift where Oliveira coiled around Coomer’s upper body coming to a stop with her hips settled into the crease of his neck before slowly sliding down his body. Caniparoli switched places a few times with Coomer and Oliveira in order to help them get the right feel of the movement, which he illustrated with subtle head and arm gestures as well as slight weight changes during lifts. I found out later from Caniparoli that it is not unusual for him to get up and demonstrate certain choreography and partnering skills with the dancers he is working with. “I like to be very hands on with the dancers because as a dancer myself I liked working with choreographers who did allow the dancers to have a voice in the process. I learned early on that if you respect the dancers then they will respect you back.”

The music Caniparoli has chosen for the piece, a blend of tracks from Yo-Yo Ma and the Silk Road Ensemble’s 2013 album entitled A Playlist Without Borders, features a number of ethnic sounds, including African, Irish and Arabic and was also inspiration for the name of the work. “I wanted music with a lot of variety that would then be reflected in the movement as well as the costuming and lighting.” While the work doesn’t follow a particular theme, Caniparoli says he did use the musical explanations included in the CD, which described how the composers felt about each piece of music, as a basis for the choreography and inspiration for the dancers’ personal performances. “You don’t have to understand what my intentions were to enjoy this piece. I just want people to love the dancers, music, costuming, lighting and such, and not get too wrapped up in finding the meaning in everything.”

He continues, “I was just so inspired by Yo-Yo Ma’s ability to connect with all these traditional ethnic instruments and combine them in a unique East meets West way in these ensemble tracks. Whereas Lambarena focused more on war and unrest in other countries, in Without Borders I am trying to connect countries through music in a very uplifting and positive way.”

You can experience the music and movement of Val Caniparoli’s new work Without Borders for yourself when Texas Ballet Theater performs it at Dallas City Performance Hall this weekend as part of the company’s First Looks Series. The program also includes Glen Tetley’s Voluntaries and the company’s premiere of Ohad Naharin’s Minus 16. TBT will repeat the program at Bass Performance Hall in Fort Worth later this month.

>This preview was originally posted on TheaterJones.com.

 

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Ballet Bonds

Photo: Steven Visneau
Photo: Steven Visneau

Carl Coomer on his choreographic transition and new work Clann, part of Texas Ballet Theater’s upcoming program at Dallas City Performance Hall.

Dallas — “Clann,” the Irish word for family, is the inspiration for Principal Dancer Carl Coomer’s new work of the same name, but it could also describe how he views Texas Ballet Theater and especially Artistic Director Ben Stevenson. “Ben found me when I was really young and took me under his wing,” Coomer says.

Originally from Liverpool, England, Coomer began his training at the age of 13 and in 1998 was offered a scholarship to the Royal Ballet School. He performed with both Royal Ballet and Birmingham Royal Ballet before joining Houston Ballet in 2001. Houston Ballet was on tour in London when Stevenson spotted Coomer during an open company class. Coomer was offered a contract on the spot and shortly after that was on a plane headed to Houston.

“Ben has had to put up with a lot,” Coomer jokes. “I owe him.” So, when Stevenson left Houston Ballet to head up Texas Ballet Theater Coomer would soon follow. During his career Coomer has had the opportunity to perform the lead roles in some of Stevenson’s most memorable works, including GiselleDraculaFour Last Songs,Three PreludesFive PoemSwan Lake and The Sleeping Beauty, just to name a few.

Always up for a challenge, Coomer decided a couple of years ago to take the leap into choreography. His first work, Evolving, received high-praise from critics and audiences during TBT’s 2012 Portraits Ballet Festival at the Wyly Theatre in Dallas. His second work, Clann, will be presented at the Dallas City Performance Hall March 28-30 as part of TBT’s spring program, Balanchine and Beyond. His work will be performed alongside George Balanchine’s Serenade and Stevenson’s L, both recently seen in a similar program in Fort Worth, where they were accompanied by Sir Kenneth MacMillan’s Gloria (which will not be repeated in Dallas).

Seamus Heaney’s poem Punishment serves as Coomer’s main inspiration for the piece. “He writes about the discovery of a young girl’s body who they think was killed for committing adultery. Heaney tries to imagine what could have happened to her and in a couple of stanzas imagines himself being there. That made me want to take on the role of the observer and kind of figure out what happens to this girl.”

But Coomer is quick to point out that the piece doesn’t necessarily follow a storyline. Instead he uses traditional Celtic music composed by Jordi Savall and Andrew Lawrence-King to create different characters and the different relationships between them. “I used the pieces of music and the images from the poem to help me create different emotions and different ways of moving.”

Coomer adds that this time around he wanted to challenge himself in terms of his choreographic process. “With Evolving I definitely set the steps in the studio, but with this piece I didn’t want to go about it the same way. So, I did each section of music completely by itself and then started linking them together to see how it played out. I wanted to push myself to be more spontaneous and create more movement on the spot.”

He has also discovered that switching from the role of dancer to choreographer is not as easy as it sounds. “Because I am working with people that I know, I want them to look really good, but at the same time I want to push them as well. But I also know what it feels like to be dancing and to come back from a week off and be really sore. So, I think it’s hard to be tough on the dancers because I know what that feels like.” And with his friend and colleague, Lucas Priolo, retiring at the end of this season TBT fans have to wondering what Coomer’s plans are for the future. “I definitely see myself dancing a little longer. This is what I know. And even when my stage career ends I still want to continue in this field.”

This feature was originally posted on TheaterJones.com.