AKA: Ballet offers up a unique experience for both viewers and performers at the Latino Cultural Center tomorrow night.
From left: Carter Alexander, Hailey von Schlehenried, and Albert Drake of aka: Ballet. Photo: AKA: Ballet
Dallas — Hailey von Schlehenried is one of many local choreographers reaping the benefits of the changes that have been made to the Dallas dancescape over the last several years. Von Schlehenried first caught the public’s eye at Avant Chamber Ballet’s 2017 Women’s Choreography Project (WCP) and then again at Dallas DanceFest (DDF) later that summer. She has also recently been asked to set a piece for Wanderlust Dance Project, which marks another first for the blossoming artist.
It was at DDF where von Schlehenried met Carter Alexander (associate artistic director for Chamberlain Performing Arts) who asked if she would be interested in doing a collaboration the following summer. One thing lead to another and von Schlehenried is currently in the final stages of two new works, which will be presented alongside new pieces by Alexander and Albert Drake of Bruce Wood Dance at AKA: Ballet’s premiere performance at the Latino Cultural Center this Friday.
The performance will feature many familiar dancers, including Kaitlyn McDermitt, formerly with Avant Chamber Ballet; Alyssa Harrington, formerly with Dallas Black Dance Theatre; Alizah Wilson, Adrian Aquirre of Bruce Wood Dance; and Riley Moyano, Amanda Fairweather and Alex Danna of Texas Ballet Theater.
“We are so happy to have these dancers and they have been working so tirelessly in preparation for the show,” von Schlehenried says.
For this performance von Schlehenried has created two pieces: a classical pointe number and a more contemporary work. She describes the pointe work as fluid and free, and in contrast the contemporary work is visually darker, which meshes well with its theme about sinning. “I was really inspired by the music for the contemporary piece which is really centered on the idea of sin. The dancers pass around this scarf throughout the dance, which represents this idea of passing off our sins to someone else,” von Schlehenried says. “And the pointe piece is all about letting go and getting the dancers outside their classical boxes so that they appear to be surrendering to a situation.”
Von Schlehenried says her dancers played a big part in the creative process for both pieces. “I really wanted this to be a collaboration so I had the dancers brainstorm with me, which really makes them feel like they have a say and also relaxes the dancers. They all possess this amazing creative energy which helped make the process so much easier.”
Von Schlehenried is especially close with McDermitt who has had a role in almost every work she has put out since 2013. She even goes as far as calling McDermitt her lucky charm. “It just seems that every time I am working on a special project Kaitlyn is always in it. She is such a lovely person and is so into what she is doing, which really makes her a positive force for me and the arts community.”
McDermitt has definitely been paving a way for herself in the Dallas arts scene with gigs, including a couple of seasons with Katie Cooper’s Avant Chamber Ballet, performances at local festivals such as Plano Dance Festival and DDF as well as partaking in local arts events, including Dallas RAW and AKA: Ballet. She also teaches at Royale Ballet Dance Academy in Dallas and is a member of Ballet North Texas. She graduated from Southern Methodist University’s Meadows School of the Arts with a BFA in dance performance in 2012.
You can see McDermitt and the other performers in von Schlehenried’s, still untitled, works this Friday evening at the Latino Cultural Center. Tickets are available at www.ticketweb.com. You can make a donation to the show at www.fracturedatlas.org.
I was starting to wonder if Dallas DanceFest was even going to happen this year, but my reservations were laid to rest last week when the Dance Council of North Texas announced on its Facebook page the dance companies that will be participating in this year’s festival, which has been strategically renamed Dallas Dances.
The festival has received criticism from the beginning about its focus on mainly local dance companies and for its inclusion of pre-professionals from the Dallas-Fort Worth area. Local Dance Critic Manuel Mendoza touched on these sore points in his review of last year’s Dallas DanceFest, which boasted the question “Why doesn’t Dallas have the dance festival that it deserves?”
In his review Mendoza basically says that by including the pre-professional dance studios, high schools and university programs in the area the festival is actually doing a disservice to the more established dance companies in the area.
He writes, “North Texas professional companies are the ones putting the area on the dance map even as they struggle to find suitable places to perform in a town starved of small, affordable venues. They are the groups competing for public and private grants so they can aim high, so they can someday pay their dancers something close to what their New York counterparts earn.”
He continues, “Most important, they are the ones doing the most complex, interesting work.”
What I think people are overlooking is that the mission of the Dance Council is not to exclusively support and promote just the professionals in the area, but also the up and coming professionals that stem from the local studios, performing arts schools and universites. And I think this is where the mission of Dallas DanceFest starts to get murky. Is the festival suppose to only highlight the professionals in the area? Or is its main target the young professionals and giving them a unique performance opportunity?
Apparently festival organizers have decided it’s a little bit of both if this year’s line up is any indicator.
I think the Dance Council has come to realize that they should stick true to their overall mission, which is fostering and promoting every type of dance and dancer in the Metroplex and I believe the name change better reflects the vibrancy and diversity of the Dallas dance community.
With that said, here are the dance companies performing at this year’s Dallas Dances:
Contemporary Ballet Dallas (CBD) continues to rev up its image with a new name that will differentiate itself from the pre-professional school known as the School of Contemporary Ballet Dallas. CBD will be launching its new name, Ballet Dallas, at its spring concert May 17-18 at the Latino Cultural Center near downtown Dallas.
CBD was co-founded in 2000 by Valerie Shelton Tabor who has since served as one of the company’s choreographers and is now the company’s artistic director. Since its inception, CBD has participated in a number of local art and dance festivals, premiered more than 50 original works and has additionally commissioned eight new works from respected choreographers.
When I started writing about the Dallas dance scene for TheaterJones.com nine years ago, CBD was really a mystery to me. I felt that it lacked some clarity in its name, marketing and the types of work being produced and commissioned. And you would never see the same dancers perform in multiple shows. Thankfully, CBD has become more consistent with its dancers over the years. The name change also puts to bed any confusion regarding the company’s status as a professional dance company. For awhile there I thought CBD was a pre-professional troupe of dancers similar to that of Chamberlain Performing Arts, Collin County Ballet Theatre or Ballet Ensemble of Texas. I realized pretty quick that my assumption was incorrect, but I can’t be the only one to have made this error.
OK! back to the company’s upcoming performance at the Latino Cultural Center. It looks like it will be a fun and eclectic evening of dance with four new works by choreographers Kevin Jenkins (Boston Ballet School), Hailey von Schlehenried (Royale Ballet Dance Academy in Dallas), Carter Alexander (Chamberlain Performing Arts) and Emily Bernet and Taylor Rodman of Dallas-based Bombshell Dance Project.
AKA Ballet’s first performance will feature new works by Albert Drake, Hailey von Schlehenried and Carter Alexander, but they need your help!
Summer is usually a slow time for dancers as most dance companies take a break during the hot summer months to prepare for the next season. And most dance schools have changed their schedule to focus primarily on dance camps, which leaves many teachers with less hours and a smaller income. It is especially hard for freelance dancers to find work during the summer as the job market comes to a standstill and won’t pick up again till September when Nutcracker preparations begin.
With all this in mind three local choreographers are looking to change things up this summer with a new choreography project!
Albert Drake, Hailey von Schlehenried and Carter Alexander have joined forces to create AKA Ballet, a new choreographic endeavor which features six new works to be presented at the Dallas Latino Cultural Center in July. The catch is the three creators are hoping to raise the funds needed to pay the dancers, musicians and technical crew prior to show, thus making the event FREE to attendees.
A lot of dance companies in the area have turned to crowdfunding to finance certain projects, performances or specific individuals. I typically just scroll past these posts on Facebook, but something about AKA Ballet’s project made me pause and click on their link https://www.gofundme.com/akaballet
I ended up contributing to this project because I have seen work produced by all three choreographer so, I know they will give us something that is high caliber as well as aesthetically moving and stylistically diverse. If you are not familiar with these three individuals: Drake is a member of Bruce Wood Dance and has produced two works for the company, Whispers (2015) and Chasing Home (2017). Von Schlehenried teaches at Royale Ballet Dance Academy in Dallas and her choreography has been featured at Dallas DanceFest 2017 and Avant Chamber Ballet’ Women’s Choreography Project. Alexander is the associate artistic director for Chamberlain Performing Arts and has set work on local dance companies like Contemporary Ballet Dallas. He also served as school prinicpal at the Miami City Ballet School for seven years before returning to Dallas.
When asked about the idea of free admission von Schlehenried says, “We really just want people to embrace the art and come see what we are doing and tell us what they think. We also want to provide more job opportunities for those working in the arts community which is why we are asking for donations so we can also pay for the music and the lighting and the theater as well as the dancers.”
She adds, “Carter is really the one that got the ball rolling on this project. He approached me last year after Dallas DanceFest about doing some kind of collaboration next summer and of course I said YES! I just think this is an awesome idea and hopefully it can become something bigger in the future.”
Drake is also pumped for the opportunity to create work outside his comfort zone. He writes on this Facebook page, “I’m excited to challenge myself on a new front and dive into an experience I didn’t know was possible. The chance to work with some really talented individuals with the freedom of expression is the dream baby.”
Hailey also hinted that the three of them might be working on a piece together in addition to their own individual works. I am interested to see what a classical, modern and Flamenco dancer can come up with.
As the time draws closer I will be making visits to rehearses to see how the collaboration is going as well as get a sneak peak at the works, which I will then share on my blog. So, please mark your calendars for July 29th and don’t forget to donate!
The Dance Council Honors has thankfully split from Dallas DanceFest and will return to its more intimate setting at Dallas Black Dance Theatre.
I know I am not the only person happy about the fact the Dance Council Honors(DC Honors) will no longer be squeezed into Dallas DanceFest (DDF). For the last few years the DC Honors has occurred in conjunction with DDF and unfortunately has suffered as a result with the main complaint being the length of each evening’s program.
The presentation of the awards also lacked the comradory and celebratory atmosphere that has always been a part of the DC Honors, which is why I am glad that the event has split from DDF and will be returning to Dallas Black Dance Theatre on Oct. 29 for some food, fun and fantastic dancing. And, of course, we will hear from this year’s DC Honorees, which include Kathy Chamberlain, Stephanie Rae Williams, Patty Granville, Alpana Kagal Jacob and Malana Murphy.
Over the last couple of decades, these incredible individuals have made huge strives to better our local dance community thanks to their passion, dedication, knowledge, cultural awareness and above all love for the art form of dance. Because God knows we are not in it for the money!
I know I will be there to watch Kathy Chamberlain as she receives the Mary Bywaters Award for her lifetime contribution to dance.
I met Kathy one day at Sandy’s Shoes and Dancewear back in the summer of 2009. I had just moved to Dallas from Cleveland and knew absolutely no one in the local dance community. She took me under her wing and she and I had multiple phone conversations about the ins and outs of the Dallas dance scene. She is the one who lead me to local dance writer Margaret Putnam. I started off by reading a lot of Margaret’s reviews, which at the time were published in the Dallas Morning News and TheaterJones.com (TJ). This eventually lead me to contact TJ where I have now been writing dance previews, Q&As and reviews for the last six years.
Kathy was ultimately the one who jump-started my career here in Dallas and I will forever be grateful to her. And her willingness to help me is also one of the things I like most about our local dance community. Although everyone is technically in competition with one another they are always willing to lend a helping hand and offer up support when needed. So, I recommend offering your support to the dance community by coming to this year’s DC Honors. Even if you don’t know any of the honorees you should still come. I did when I first moved to Dallas and it taught me a lot about the city’s dance culture and the wide range of work being made here as well as the wealth of talent being fostered in our city schools and studios. You should definitely check it out!
I have included the official press release below:
For Immediate Release:
WHAT: Dance Council of North Texas 2017 Honors
WHEN: Sunday, October 29, 3:00 P.M.
WHERE: Dallas Black Dance Theatre, 2700 Ann Williams Way, Dallas, TX 75201 in Dallas Arts District
Dance Council of North Texas is pleased to honor five people within the area dance community who have made a significant contribution to world of dance.
Kathy Chamberlain is receiving the Mary Bywaters Award, which recognizes a person who has made a lifetime and significant contribution to dance. Dance Council of North Texas is delighted to join with Chamberlain School of Ballet, (CSB) Plano, as itcelebrates its 40th Anniversary. Chamberlain School of Ballet is the supporting school for Chamberlain Performing Arts, a leading North Texas pre-professional dance company founded by Ms. Chamberlain. She received the prestigious Ford Foundation Scholarship for study at the School of American Ballet, NYC.
Stephanie Rae Williams is the recipient of theNatalie Skelton Awardhonoring a person who is currently performing. Ms. Williams was featured in Dance Magazine’s “On the Rise” in 2013. In 2005, she received the South Dallas Dance Festival Scholarship from DCNT. Stephanie was a Fellowship recipient at the Ailey School, a 2006 Youth America Grand Prix Winner as well as a 2006 Youth America Grand Prix Finalist. As part of DC Honors, Stephanie will perform My Funny Valentine, choreographed by Darrell Mourie. She appears through the courtesy of Dance Theatre of Harlem, NYC.
The Mary Warner Award for service in dance recognizes Patty Granville, who exemplifies
the individual whose vision is essential to the dance community. Ms. Granville has been the Director of the Garland Center for the Performing Arts since its opening in 1982. As one of the founders, she has served as producer for Garland Summer Musicals since 1983. In 2003, the Garland City Council unanimously voted to rename the Performing Arts Center to the Patty Granville Arts Center. Patty provides countless opportunities for performers, musicians and craftsmen to participate in musical theatre.
Larry White Educator Awardrecognizes Alpana Kagal
Jacob for her inspiring and innovative contributions to her students’ development. After her Arangetram and graduation, she has been teaching Bharata Natyam to young children and adults. Alpana has been a guest lecturer at both UNT and TWU and has served as choreographer and teacher for Dallas Theater Center Summer Workshop projects. Alpana has taught at Booker T. Washington High School for the Performing and Visual Arts, Brookhaven College and Richland College. She is a disciplined and loving teacher to all her students.
Buster Cooper Tap LegendAward celebrates the exemplary contributions of Malana Murphy to America’s original dance form: tap. Malana began her professional career at the age of 14 while performing in the production of Calling All Kids, choreographed by Gracey Tune. In addition to graduating from Booker T Washington High School for the Performing and Visual Arts, Malana has performed commercially and in industrials. Malana’s love for tap dancing has inspired her to share her passion and knowledge with students locally and across the United States. She is also the head of the local tap dance festival RIFF, which stands for Rhythm and Fusion Festival.
DBDT: Encore! will perform as well as Dance Council 2017 scholarship recipients. The opening number is generation# (sic) choreographed by Tammie Reinsch of Ballet Ensemble of Texas. Doug Voet of Uptown Theatre in Grand Prairie will serve as the event’s emcee with Dallas Black Dance Theatre veteran Nycole Ray providing production assistance. Reception, refreshments and a silent auction will complete the afternoon’s agenda.
$35 – ADULT
$30 – MEMBERS, Dance Council of North Texas
$20 STUDENTS, ages 13 through 18.
STUDENTS, ages 12 and under: Free when accompanied by an adult
Dallas DanceFest has announced its 2017 line up which shows a lot of hometown pride.
Wow! It is hard to believe that this year marks the 4th installment of Dallas DanceFest (DDF) which was created in 2014 under the guidance of arts patron Gayle Halperin and the Dance Council of North Texas. It looks like the festival’s mission of presenting high caliber and well-rounded dance performances will continue this year with a program that features all the major local players as well as the largest showing of pre-professional companies to date and a handful of relatively unknown dance companies from around and outside the Metroplex.
Let’s start with the bigwigs in Dallas dance. For the fourth straight year Bruce Wood Dance Project, Texas Ballet Theater and Dallas Black Dance Theatre will be featured at DDF as well as their smaller counterparts DBDT: Encore! and the Texas Ballet Theater School.
We will also see pieces from some repeat dance companies, including Dark Circle Dance Company, Contemporary Ballet Dallas, Indique Dance Company, Southern Methodist University’s Meadows Dance Ensemble and Houston-based NobleMotion Dance.
DFF 2017 will also feature a number of first timers, including Danielle Georgiou Dance Group, Center for Ballet Arts, Impulse Dance Project, Uno Mas and Grandans. Southern Methodist University Meadows dance student’s Kat Barragan and Arden Leone will also be showcasing work for the first time at this year’s festival.
I am also pleased to see so many familiar pre-professional ballet companies on this year’s roaster, including Ballet Ensemble of Texas (Coppell, TX), Ballet Frontier of Texas (Fort Worth, TX), Chamberlain Performing Arts (Plano, TX), Dallas Ballet Company (Dallas, TX) Royale Ballet Dance Academy (Dallas, TX) and LakeCities Ballet Theatre (Lewisville, TX). I have seen these companies perform a variety of dance styles from classical and neo-classical to more contemporary and jazz movements and I am eager to see how these aspiring professionals handle the pressure of sharing the stage with the more seasoned artists on this year’s program.
We have also seen a surge in the number of dance festivals occurring around Texas over the last couple of years so, it didn’t surprise me to see the Rhythm and Fusion Festival and Wanderlust Dance Project in this year’s line up. If you’re interested in reading more about the rise of dance festivals in Texas then you should read Nichelle Suzanne’s 2015 article for Arts+Culture magazine entitled Talent, Training, Festival & More: Fueling Contemporary Dance in Texas.
The 2017 Dallas DanceFest will take place Sept. 2-3 at the Moody Performance Hall, formerly Dallas City Performance Hall. More information about the festival can be found on the Dance Council of North Texas website.
Chamberlain Performing Arts delivers strong technique and spectacular guest artists at the company’s 31st Nutcracker production this weekend.
Richardson — Oh, the weather outside was definitely frightful last Friday evening, but the mood inside the Eisemann Center for Performing Arts was festive as audiences eagerly took their seats for the Chamberlain Performing Arts’ (CPA) 31st showing of The Nutcracker. What sets this company’s Nutcracker apart from other productions in the area is Artistic Director Kathy Chamberlain and her team’s minimalist, yet effective approach to the stage design and movement choices, thus turning the typically cumbersome party scene into an exciting dance narrative filled with nonstop action and clean choreography.
The simple set design in the party scene, which included a handful of gifts, a large grandfather clock, a couch and a chair enabled the audience to focus more on the children and adult dances as well as the subplots taking place around the room. Choreographers Chamberlain, Richard Condon, Lynne Short and Catherine Turocy combined rudimentary ballet steps i.e. chasses, balances, relieve plie and bourrees with various regimented formation changes and even some boy/girl partnering walks in the children’s dances, creating an effect that was both clean and captivating. By intermingling the adults and children into one waltz section, the choreographers successfully kept the energy and storyline moving at a chipper pace.
Katherine Patterson (Clara) perfectly captured a child’s innocence and wonder when it comes to Christmas with her endless energy and shining stage presence. And while Patterson had a tendency to cut her movements short, when she did complete her line in an arabesque hold or sous-sus in fifth, it rivaled the lines of the older company members. With more time and training she will be a force to be reckoned with in coming years. Clara’s friends (Madison Cox, Emily DeMotte, Annika Haynes and Mary Rose Vining) displayed beautiful musicality and body control in their petit adagio section, which featured alternating leg extensions and arm placements and deliberatepique steps, all the while holding baby dolls. Guest artist Joshua Coleman really played to the younger audience members in his role as Herr Drosselmeyer with his over-the-top facial expressions and well-executed magical illusions, which included an impressive disappearing act.
CPA Senior Company Member Bethany Greenho did a commendable job as the Snow Queen. Even her sometimes stiff back arches and locked hip joints in her battements couldn’t take away from her swan-like arms and nimble pointe work nor the way she fearlessly went for the pas de deux’s momentous lifts. Dallas native Travis Morrison, who performed with the Colorado Ballet from 2006 to 2012, inspired Greenho’s confidence with his unwavering strength and razor-sharp focus during the lifts and tricky counterbalance body positions spread throughout the dance. The snowflake dance lacked some of the elasticity demanded by Tchaikovsky’s score, which falls more on the choreographer’s shoulders than the dancers as the movement in the section catered toward more gliding steps and sustained body positions rather than constant spritely jumps and steps. The hand-held fan-like props with tiny snowballs attached at the ends drew attention to the dancers’ strong body lines and made for a memorable ending to the first half of the show.
The second half in which Clara and her Prince entered the land of sweets gave the whole company the opportunity to show off their artistic growth and technical versatility and also featured some amazing performances by special guests, including Harry Feril (Bruce Wood Dance Project) in the Arabian section and Tiler Peck (New York City Ballet) and Tyler Angle (New York City Ballet) as the Sugar Plum Fairy and her Cavalier.
Peck and Angle’s chemistry was undeniable as they executed the complex reverse promenades into a ponche arabesque and the multiple over-the-head lifts including the dynamic fish bowl dip at the end with expressive abandonment. Their luminous auras and technical finesse portrayed at the end of each move, especially after the lightening-quick seven assisted pirouettes into a sustained back arch, is not something that can be taught. Their magnetism as a couple didn’t fade in their solo sections, which featured impressive jumps and controlled landings by Angle and bold lines and unwavering confidence from Tiler in the infamous diagonal chaine, pique turn combination in time to the changing rhythm of the music.
Lisa Hess Jones’ clever choreography in the second half played to each group’s specific skill level from the synchronized walking patterns of the itty bitty angels and the simple soft shoe work of the intermediate bakers and bon bon’s to the more technically advanced pointe work of the marzipans and the Waltz of the Flowers. The end result was one of the most well-rehearsed and lively second acts of the Nutcracker I have had the pleasure to see this season.
Senior dancer Luke Yee wowed audiences with multiple toes touches in the Chinese dance as well as in the Russian dance where he performed alongside Southern Methodist University dance major Alex Druzbanski. Henry Feril showed off his modern background with his hinged-back body layouts and swooping arm movements before assisting Katherine Lambert in a number of shoulder lifts and body dips in the Arabian section. Greenho, Breanna Mitchell, Raquel Dominguez, Aidan Leslie and Serena Press enthralled viewers with their beautiful lyricism and solid pointe work while playing their flutes in the marzipan dance. The whole senior company returned for the Waltz of the Flowers in which they effortlessly captured the nuances in the music with their constant weight shifts on pointe and dynamic crisscrossing jumping sequences. Definitely, a Nutcracker worth seeing again next season!
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 second annual Dallas DanceFest promises more variety and exceptional dancing from individuals and groups throughout the region.
Dallas – The perception of dance in Dallas has changed dramatically over the last five years largely due to the development of the Dallas Arts District; the rise in the number of professional dance companies based in the city; the restructuring of veteran dance groups like Texas Ballet Theater and Dallas Black Dance Theatre; and the creation of local dance festivals, including Rhythm In Fusion Festival (RIFF) and Dallas DanceFest (DDF). All of these factors are helping to transform Dallas into a grand destination for dance. Keeping this in mind the Dance Council of North Texas (DCNT), in partnership with the City of Dallas Office of Cultural Affairs, is planning to deliver more vitality, diversity and excellence in dance with the second annual DDF which takes place September 4-6, 2015 at Dallas City Performance Hall. This prestigious event features performances on Friday and Saturday evenings at 8:00 p.m. and concludes Sunday afternoon with the Dance Council Honors.
The impact of the festival isn’t just felt around the Dallas-Fort Worth Metroplex but across the region as well. Houston-based METdance (formerly Houston Metropolitan Dance Company), an original participant in the Dallas Morning News Festival, was disappointed when that festival disbanded in 2004 as it had looked forward to performing for Dallas audiences. But artistic director Marlana Doyle says, “We were grateful to be a part of DDF last year and had the thrill of enjoying the Dallas audiences and arts community in such an amazing venue once again. METdance appreciates the efforts of the Dallas Dance Council and looks forward to celebrating the arts in Texas.”
Kimi Nikaidoh, artistic director of Bruce Wood Dance Project here in Dallas, adds, “Given the all-consuming nature of running an arts organization, it’s impossible to see what all of the many other groups in the area are accomplishing. Dallas DanceFest brings us all out of our respective “workshops” and gives us the chance to be inspired and challenged by each other.”
Curated by top dance professionals Lauren Anderson, Fred Darsow, Bridget L. Moore and Catherine Turocy, DDF 2015 will feature 19 exceptional artists and companies from all across the region including – Houston, Austin, Oklahoma, Alabama, and the Dallas-Fort Worth Metroplex. Audiences can expect each performance to be a unique and thrilling display of dance styles including – classical ballet, modern, tap, hip-hop, traditional Indian dance and Ballet Folklorico. The programs will also feature performances by well-known and beloved Dallas institutions such as Dallas Black Dance Theatre and Bruce Wood Dance Project along with some new names including the Dallas Cowboys Rhythm & Blues Dancers.
“It was incredible to see such a tremendous response to DDF 2014,” says DCNT President Kirt Hathaway. “The Dance Council made the decision to re-implement this wonderful dance event after it had sat idle for so many years. With the inclusion of the Dance Council Honors, DDF has immediately become one of DCNT’s marquis events. Producing such a wonderful weekend of dance would not have been possible if the organization had not experienced such growth over the past several years. It truly shows that there is a great commitment by the board and staff to support dance in North Texas and beyond. This year promises to be even more exciting.”
This year’s participants include:
Ballet Ensemble of Texas (Coppell, TX) – Formed in May 2001 under the leadership of Lisa Slagle, the company’s goal is to present quality ballet performances for the local communities and to provide advanced ballet students with the opportunity to prepare for a career in dance. It is the official company of the Ballet Academy of Texas.
Bell House Arts, Inc. (Owasso, OK) – Founded by Rachel Bruce Johnson, The Bell House is a collaborative dance and art cooperative dedicated to creating opportunity for artistic exchange. At The Bell House, we are interested in the collaboration of ideas, people and movement language that challenge the status quo and conventional ways of making art by elevating art as a process. Its fosters meeting points for artistic connection between people rather than elevating the art as product in order to activate the transformative nature of movement that can be experienced both in the practice, performance and witness of dance.
Booker T. Washington High School for Performing and Visual Arts (BTWHSPVA) Repertory Dance Company I & II (Dallas, TX) – BTWHSPVA is “the cradle of the Dallas Arts District.” In 2015, the school was awarded the Texas Commission of the Arts Medal of Honor for exemplary training in Arts Education. The department’s philosophy is to provide a broad dance education that challenges the students artistically, intellectually and physically and to prepare qualified students for collegiate and professional careers in dance and related professions.
Bruce Wood Dance Project (Dallas, TX) – BWDP was launched in 2011 to champion the vision, leadership and artistry of nationally acclaimed Texan dance-maker Bruce Wood. BWDP picked up where the successful Fort Worth-based Bruce Wood Dance Company left off. Under Wood’s direction the company produced six word premieres and a TITAS Presents Commission for Command Performance Gala. Currently in its fifth season the company is now under the direction of Kimi Nikaidoh after Wood’s passing in May 2014.
Chamberlain Performing Arts (Plano, TX) – Established in 1984 by Artistic Director Kathy Chamberlain as a student ensemble dedicated to providing students a stepping stone to professional dance careers. Chamberlain is dedicated to serving North Texas and the surrounding community by providing professional quality performances and outstanding outreach programs. The company takes great pride in the ongoing efforts to expand its cultural diversity through performance collaborations.
Dallas Black Dance Theatre (Dallas, TX) – Founded in 1976 by Ann Williams, DBDT consists of 12 full-time dancers performing a mixed repertory of modern, jazz, ethnic and spiritual works by nationally and internationally recognized choreographers. Over the years the company has grown from a community-based, semi-professional organization to a fully-professional dance company that is renowned in the U.S. and is noted for its rich cultural diversity, history of inclusion and high-level of artistic excellence in contemporary modern dance and educational programs
Dallas Black Dance Theatre II (Dallas, TX) – This semi-professional company created by Dallas Black Dance Theatre Founder Ann Williams in 2000 consists of eight aspiring artists from around the nation. Under the guidance of Nycole Ray, DBDT II provides an opportunity for young artists to develop their dance skills while serving the Dallas/Fort Worth community and touring across the nation. Going into its 16th season performing works by recognized and emerging artists, DBDT II performs a diversified repertoire of modern, jazz, African, lyrical and spiritual works.
Dallas Cowboys Rhythm & Blues Dancers (Irving, TX) – Founded in 2009, DCRB is a high-energy co-ed hip hop dance team and drum corps. Lead by Jenny Durbin Smith DCRB brings an innovative, unique and exciting element to the Cowboys legendary game-day entertainment line-up. The dance teams dynamic routines feature breakdancing and hip hop-based movement requiring both strong musicality and level of dance ability. Presented by Miller Lite, DCRB was conceptualized under the direction of Dallas Cowboys Executive Vice President of Brand Management Charlotte Anderson and is the first and only entertainment concept of its kind in the National Football League.
Dark Circles ContemporaryDance (Dallas, TX) – Originally formed in Seoul, South Korea by Joshua L. Peugh and Cho Hyun Sang, Peugh started the USA branch of the company in 2013 bridging the gap between East and West. DCCD is dedicated to bringing the progressive work of international choreographers and dancers to a worldwide audience. It strives to educate the public on the power of movement in communicating ideas.
AJ Garcia-Rameau (Austin, TX) -AJ Garcia-Rameau is an independent contemporary ballerina based in Austin. AJ trained at Houston Academy of Dance and Austin School of Classical Ballet. She received additional training under scholarship with Alvin Ailey School, Joffrey Jazz/Contemporary and Complexions Contemporary Ballet. AJ earned a BS degree in Chemical Engineering and Dance minor from the University of Texas. She has performed with Exclamation Dance Company, Austin Classical Ballet and BHumm Dance Company.
Houston Repertory Dance Ensemble (Houston, TX) – The ensemble is a sponsored project of Fractured Atlas, a non-profit arts service organization, and is led by Artistic Director Amy Blake. This ensemble was designed for the dancer seeking collaboration with exemplary worldwide professionals in the industry to help them obtain greater levels of achievement in the arts through classical training in ballet, jazz, modern and contemporary. The ensemble provides dancers with a positive working environment and opportunities for master classes, private coaching, YAGP participation and multiple international showcases and performance venues.
METdance (Houston, TX) – Founded in 1995, Houston Metropolitan Dance Center Inc. strives to educate and revitalize a passion for dance through the finest instruction and performance. Under the direction of Marlana Doyle MET Dance Company has performed throughout the United States in dozens of theaters receiving high acclaim, performing works by some of the most influential and talented choreographers of our time. The company is the sister organization to the MET Dance Center. Mosaic Dance Project of Dallas (Dallas, TX) – Created in 2014 by Giovanna Godinez Prado, Mosaic Dance Project’s mission is to create, educate and inspire individuals that desire to grow not only as dancers, but as artists as well, along with our cultural and ethical awareness and values.
Natyananda: Joy of Dance (Birmingham, AL) – Founded in 1978 by Sheila Rubin, Natyananda performs both traditional and original choreographic works in the classical Bharatanatyam style of Southern India. Through student, professional and guest artist presentations Natyananda promotes understanding of universal artistic and cultural themes while showcasing the rich and unique heritage of Alabama’s Asian Indian-American community.
NobleMotion Dance (Houston, TX) – NMD was co-founded by Andy Noble and Dionne Sparkman Noble in 2009. Over the last five years it has distinguished itself as one of Houston’s most important dance companies. NMD brings a fresh perspective to their community with its mission of integrating technology and dance, and is a Resident Incubator at the Houston Arts Alliance and is currently on the Texas Commission on the Arts (TCA) touring roster.
LaQuet Sharnel Pringle DDF 2015 commissioned premiere(Austin, TX) – A Booker T Washington HSPVA alum, Pringle attending the North Carolina School of the Arts before making her Broadway debut in 2005 in Sweet Charity with Christina Applegate and Dennis O’Hare. She has also performed in productions of The Lion King and Memphis. Today, Pringle is an adjunct professor at Texas State University teaching Jazz Dance in the Musical Theater Department. She is also the artistic director and founder of Fearless Young Artists (FYA) and was the headliner of Dance Planet 19.
Rhythmic Souls (Dallas, TX) – This small company if wicked fierce rhythm tapper is captivating local audiences with their unique blend of style, charisma, innovative choreography and rapid-fire footwork. The company is on the cutting-edge of dance choreography with cross-genre repertoire that infuses rhythm tap dance with body percussion, sand dancing, contemporary movement, flamenco, swing dance and anything else that might lend itself to their rhythmic percussion. The company strives to bring the spirit of tap dance back to the stage and continue the legacy of an American art form.
Southern Methodist University Meadows School of the Arts Dance Division (Dallas, TX) – The SMU Division of Dance offers both conservatory dance instruction and a liberal arts education. The dance program develops disciplined, versatile artists through professional training in ballet, modern and jazz techniques as well as theory. Undergraduates can earn a B.F.A. in Dance Performance or a minor in Dance Performance. Students perform masterworks of the great choreographers of the 20th century as well as works by contemporary masters.
Texas Ballet Theater School (Fort Worth, TX) – Training the next generation of dancers and arts patrons is the mission of TBT Schools. Starting with the very young, we nurture aspiring artists to discover their greatest potential and to develop a love of movement, a passion for creativity and an appreciation for the beauty and athleticism of classical dance.
Tickets for DDF 2015 available August 1 through TICKETDFW: online at www.TICKETDFW.com, by phone (214) 871-5000, or in person at the box office 2353 Flora St, Dallas, TX 75201.
Dallas native Parisa Khobdeh shares what it means t be a Paul Taylor dancer, fostering her free and easy movement quality and the company’s upcoming performance at the Eisemann Center.
Richardson — It takes more than strong technique and individual virtuosity to make it as a member of the Paul Taylor Dance Company. It also takes humility, authenticity and a natural self-awareness as company member Parisa Khobdeh has discovered over the past 12 years.
Born and raised in Plano, Khobdeh trained with Gilles Tanguay at Dance Consortium and Kathy Chamberlain at the Chamberlain School of Ballet. It was Chamberlain who encouraged her to audition for Southern Methodist University’s dance program where she got the opportunity to work with choreographers, including Robert Battle, Judith Jamison and Donald McKayle. Her path as a professional modern dancer wasn’t cemented until she attended the American Dance Festival (ADF) as a Tom Adams Scholar where she saw the Paul Taylor Dance Company perform Promethean Fire (2002). The first time she auditioned for the company she didn’t make it, but that didn’t deter her from her ultimate dream of becoming a Paul Taylor dancer. After attending a Taylor intensive in New York Khobdeh made it through her second audition and premiered with the company at ADF in summer 2003.
One of the last living pioneers of modern dance, Paul Taylor first presented his choreography with five other dancers in Manhattan in 1954. Over the last 60 years he has become a cultural icon thanks to his vivid imagination, all-encompassing intellect and quick eye for uncovering a person’s character, which continues to captivate audiences around the world. Formed in 1993, the Paul Taylor Dance Company has performed in more than 540 cities in 64 countries, representing the United States at arts festivals in more than 40 countries and touring extensively under the aegis of the U.S. Department of State.
The company returns to Dallas Feb. 7 for a one-night only performance at the Eisemann Center for Performing Arts in Richardson, TX. The program includes the Dallas premiere of Diggity (1978), Beloved Renegade (2008) andCloven Kingdom (1976). There will also be a screening of the Paul Taylor documentary Creative Domain, presented by the Eisemann and the Arts Incubator of Richardson, at 7 p.m. on Thursday, Feb. 5 at the Alamo Drafthouse in Richardson. Tickets for that are $10.
TheaterJones asked Parisa Khobdeh about her training in Dallas, becoming a Paul Taylor dancer and having work set on her by the legend himself.
TheaterJones: You have been with the Paul Taylor Dance Company for more than 10 years. What is it about the man that instills such loyalty from his performers?
Parisa Khobdeh: I don’t see it as loyalty so much as it is a commitment to him and his work. We are really a family and look out for one another. Mr. Taylor has an eye for uncovering a person’s true character. He notices things that aren’t always apparent to the rest of us when he is auditioning people. He chooses not only really beautiful dancers, but also people with really great souls. And because of that you don’t see a lot of turnover among the dancers in the company. I joined the company at 22 and it has been a place that fosters artistry. There are a lot of revolving-door companies out there. They emphasize the technical virtuosity and not necessarily the depth of humanity, which is what Mr. Taylor’s work, embodies. His work reflects his physicality, beauty and well-structured physique. And then the dance itself is structured to show architecture through space and that is something that sets his work apart from others choreographers.
In a 2007 DanceMagazine article Mr. Taylor refers to the way you move as eye-popping. How does it feel to receive such a compliment from such an illustrious source in the modern dance world?
Oh gosh! I don’t really think about it to be honest. What I feel for Mr. Taylor is complete love and support. He has a beautiful soul and such a big heart. Every day we get the opportunity to work around a genius. So, back to your question I really don’t think about the things you just mentioned. This has definitely been a wonderful place for me to foster my artistry. Mr. Taylor really allows the dancer to speak and fulfill the role given to them. And I think that’s why his company attracts more mature dancers. It’s woven into the work, these subtleties of being human. He sees things a certain way and then shows you where to look and it’s really just been a wonderful place to expand and experience life for myself. To learn from him, watch him create and then to be created on is such an honor.
You are the focus of his works Lines of Loss (2007) and To Make Crops Grow (2012). What is the atmosphere like in the studio when the company is working with Mr. Taylor?
We are all very present when he is creating. Entering the studio Mr. Taylor already has the music broken-up and counted out; he has his notebook; and he knows what and how many dancers he is going to use, but he knows there is only so much you can plan. It’s now a matter of going into the studio and having the process and that’s when the energy between the dance maker and the dancer really comes to life. And you need that process and coming into the studio. You can’t just make a dance in your head in your house. It’s exciting and seldom is it disappointing because if you are not being created on then you are watching him create which is a gift in and of itself. Sometimes he will articulate what he wants and if you don’t get it then he will get up and show you and you get to experience the dancer that he is. There is such a beauty when he comes up and touches you. When he actually moves you there is a touch memory there that stays with you even after performing the work for the hundredth time. It’s really a sacred process.
When did you come to the realization that modern dance was the right path for you?
I actually started my dance training with Julie Lambert and Gilles Tanguay at Dance Consortium with would later merge with Kathy Chamberlain’s school. I was 14 at the time and I really danced because it was fun. With Gilles I learned a lot of modern movement, but when I joined Kathy’s school the focus was more on classical ballet. The school also offered classes in other styles of dance, but most of the students spent their summers at the School of American Ballet and I was never really moved by the storybook ballets. I appreciated them, but the form didn’t really speak to me. It was Kathy who encouraged me my senior year of high school to audition for the Southern Methodist University’s dance program. So, I auditioned and got in and really had no idea what I was getting myself into. At the time I wasn’t interested in becoming a dancer, but I began to waver after taking Graham technique and working with various choreographers such as Robert Battle, Judith Jamison and Donald McKayle. But most importantly I was seeing a lot of modern dance work created by Paul Taylor and Merce Cunningham. I was starting to see works that really spoke to me and that was a big game changer. So, it wasn’t until the end of my junior year when I went to the American Dance Festival (ADF) where the Paul Taylor company premiered Promethean Fire (2002) that I knew this is what I wanted to do. I didn’t just want to dance for Paul Taylor; I had to dance with Paul Taylor.
Looking back how did attending festivals such as ADF prepare you for your future as a professional dancer?
The SMU dance program required you to attend festivals, but Kathy Chamberlain has always encouraged her dancers to go and see dance and for good reason because perspective is everything. And honestly I didn’t know what dance was capable of doing. And I sense that had I not seen some of those performances I wouldn’t have known what I wanted.
As a dancer who is over 30 years old how do you avoid burning out or becoming jaded by the industry?
I think it’s about awareness and consciousness and you are ultimately in control of all of that. Nothing external to you like a choreographer, job or partner will make you happy. Happiness is our birth right. Ultimately, we all have our different paths, but it’s still up to us to have that consciousness to dream up what our life could be. We all have the same potential and it’s just a matter of how bad do you want it. How hard do you want to work at it and I think that’s just consciousness. Mr. Taylor beautifully transmits content and depths of life. There are probably a lot of young dancers that it’s all about becoming a star and in that case the Paul Taylor company is probably not right for them. It’s definitely not the place for them because it’s not about you. If you can come from a place of true contentedness and not competing with other dancers then the work doesn’t become hard or unenjoyable. It becomes an experience and it becomes gratitude. You get to see the beauty in life for its simplicity and sweetness.
The other part of it is being healthy and not smoking or drinking, and to really have a clean lifestyle. That’s what I need to be able to do the work that I’m content with and happy about. I am not saying any of these things are wrong. The kind of vigor and the expectations that the work demands of an artist actually causes me to eat consciously. I had a major injury that took me out and it was really a gift because it allowed me to want to come back to dancing. It was a gift to be able to watch work and watch my colleagues do what they love to do it. It gave me perspective. And then to be able to go back to doing it, I only felt gratitude.
How does it feel to get to perform in your hometown?
I definitely feel like I have come full circle. But what is most exciting is seeing how the city and dance community has changed since I left 12 years ago. That’s really the beautiful part of coming back to Dallas. It’s wonderful that there are presenters like the Eisemann Center and TITAS to bring in such amazing dance companies. You know, it’s not just about the dance schools, but it’s also about seeing dance and gaining perspective.
The evening’s program includes Diggity (1978), Beloved Renegade (2008) and Cloven Kingdom (1976). Which pieces will you be performing and how does each piece speak to you?
I will be performing in Beloved Renegade and Cloven Kingdom. Having a strong ballet background and exposure to other styles thanks to Kathy and SMU made learning the material easier for me. And obviously Mr. Taylor is from the school of Graham so his style is not too far off from what I am use to. Still, I was young when I joined the company, 22, so there was a lot for me to learn and it takes years to become a Taylor dancer. With more than 140 works in his repertoire these three pieces give you only a small taste of Mr. Taylor’s aesthetic. He shows you where to look in all his works, but then you have to do the discovering for yourself. Beloved Renegade is a perfect example of this. It’s inspired by Walt Whitman’s “Leaves of Grass.” And how it looks to me is Mr. Taylor is reflecting on his own life or man reflecting on his own life and reminds of a quote “find death before death finds you.” I think Mr. Taylor even said that all stories end the same way and that’s with death. That’s the one thing we do know. But the work is not morbid at all.
Cloven Kingdom is the earliest work on the program and really reflects Mr. Taylor’s intellectual hunger. You can see the tension between the Baroque and modern music, but also the tension among the dancers as they struggle with social conformity as they try to disguise their own animal motives. So, you see that struggle and that conflict and the movement vocabulary within the work ultimately came out of this tension between what’s socially acceptable and our true primitive nature. Diggity is a work Mr. Taylor did with long-time collaborators Donald York (composer) and Alex Katz (sets and costumes). There’s 20 some cutouts of dogs placed around the stage which in turn creates an obstacle course for the dancers.