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Contemporary Ballet Dallas Announces New Name

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CBD in Holiday at the Ballet. Photo: Sharen Bradford /The Dancing Image

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.

I hope to see y’all there!

 

 

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Preview: LakeCities Ballet Theatre’s Dracula

A behind-the-scenes look at LakeCities Ballet Theatree’s upcoming performance of Le Ballet de Dracula in Lewisville.
Dracula
Photo: Nancy Loch Photography

Lewisville — If you are looking for something frightfully fun to do with the kiddos this Halloween, I suggest checking out LakeCities Ballet Theatre’s (LBT) fall production of Le Ballet de Dracula at the Medical City of Lewisville Grand Theater, Oct. 13-14. Complete with stellar set designs, creepy costuming, vibrant dancing and an easy to follow narrative thanks to a ghoulishly charming MC (Art Director Tom Rutherford), LBT’s Dracula has become a Halloween tradition for many families in the area, including mine. Having been a fan of the production for the last 6 years, I was excited to receive an invitation to LBT’s studio, which is located inside the Ballet Conservatory in Lewisville, to watch some rehearsal. While I was there, I got a behind the scenes look at the second half of the show, which features the brides of Dracula, and I also got the chance to talk to two of the lead performers.

I walked into rehearsal a few weekends ago while the company was going through spacing for the brides of Dracula section of the show. Known for her clean and creative choreography, it was no surprise Lannin spent most of the time tweaking the dancers’ formations and going over specific body nuances such as how the dancers should hold their hand over their hearts and where their eyes should be focused in their diagonal lines. Timing and musicality are especially important in this section as the music is very slow and purposeful so any mistakes the dancers make would be easily noticed by the audience. And with no make-up or costuming to hide behind, the dozen or so dancers really had to amp up their performance quality in order to make the scene more believable, which they accomplished with some encouragement from Lannin and artistic staff members Janet Waters and Deborah Weaver who also sat in during the rehearsal. For example, toward the end of the scene Lannin told the dancers, “You really need to explore your characters here. You once loved this man (Dracula). Do you still love him? Or are you angry about what he has done to you? Just really feel that pain and make this moment your own.”

The instructors also had no qualms about calling out corrections during the run-through, which the dancers eagerly took in. I attribute the dancers willingness to take corrections to Lannin’s nurturing teaching method, which seems to be especially effective for the baby brides, as she calls them, who are as young as 12. Lannin would calmly say things like “your body can not show the landing,” “Oh, that was not a pretty picture” and most importantly “you must be performing as you learn. We don’t have time to learn and then perform.”

Guest Artist Adrian Aguirre, a newcomer to the production, says he has really enjoyed working with Ms. Lannin in the studio. “Her critiques are always very constructive and uplifting. She also has a great sense of humor which I appreciate a lot.” He adds that he is the type of dancer that likes it when the music takes control of the movement and he found that to be true in this production, which he says made learning his role that much easier. Aquirre is a recent graduate of Southern Methodist University’s Meadows School of the Arts and is also the founder of the dance group, Uno Mas, which made its debut at Dallas DanceFest last month.

During rehearsal I also got to sit down with LBT Company Member Carley Greene who plays Aurelia, the love interest of both Marius and Dracula. Now a high school junior, Greene has been steadily rising through the ranks of LBT, but it wasn’t until last spring that she had her breakout moment in Lannin’s And The Things That Remain at LBT’s Director’s Choice performance. She came out the gate then with a dynamic solo showcasing impressive body control and a new level of artistic maturity that I had yet to see from her. I was glad to see that her confidence and joy of dancing are still present in her Dracula performance. As for how Greene feels about playing the lead character in the ballet she says, “It has been a great challenge for me to portray a lot of different emotions while also dancing and interacting with everyone on stage. Aurelia is so special to me because of the various emotions I need to express and because I get to dance to music that is so climactic and nuanced.”

Lannin made a wise decision years ago to record every performance so the dancers can reference it to learn their new roles as well as to refresh their memories of group dances such as the maypole dance in the first half and the brides of Dracula in the second. By watching the videos Greene says she is able to determine how much she has grown from year to year. “I am a completely different dancer today than I was last year,” Greene says. “I think every year I get more comfortable with the material, but this year particularly I feel I am able to express myself more freely.”

>> This preview was originally posted on TheaterJones.com.