Tag Archives: Granville Arts Center

Review: The Nutcracker, Dallas Ballet Company

Closing this week on Sunday Dec. 9. Next performance on Friday Dec. 7 at 7:30pm

Mice and Men

Dallas Ballet Company shows the value added with male dancers of all ages and abilities in its annual Nutcracker performance at the Granville Arts Center in Garland.
The Dallas Ballet Company’s The Nutcracker. Photo: David C. Harris/Time Frames Photography

Garland — In addition to musically enchanting choreography and well-placed comedic moments, what Dallas Ballet Company’s The Nutcracker performance—which has performances with a second cast Dec. 7-9—also had an abundance of talented young men playing pivotal roles in every scene of one of the best recreations of The Nutcracker I have seen from a local pre-professional ballet company in quite some time.

A fast-paced show that ended right on two hours, DBC’s Nutcracker was a whirlwind of bold colors, delicious looking props, splendid dancing and beautiful storytelling that brought new life to the 300-year-old ballet, which features movement by Marius Petipa and Lev Ivanov and a score written by Pyotr Ilyich Tch Tchaikovsky. The DBC’s performance contained elements from the original story written by E.T.A. Hoffmann as well as moments from George Balanchine’s Nutcracker, which is the stage production that audiences are most familiar with.

The story begins at the Silberhaus home where the family entertains its close friends with a grand Christmas Eve celebration. The party includes a visit by Herr Drosselmeyer (local actor Randolph McKee) who sets the action for the rest of the performance when he gifts a nutcracker doll to his goddaughter Clara played by the charming Anna Speer. This makes Clara’s brother, the endearingly awkward Julien Pham-Davis as Fritz, unhappy, and he shows his displeasure by breaking her nutcracker doll near the end of the party.

This was the only somber moment in an otherwise jubilant scene that was made possible by the fun and technically fair dance sequences executed by both the young children, Clara’s friends and the adults. It was also made possible with some well-timed comedic moments such the side-eye Malcolm Miranda (Butler) gave to party guests, the assistant governess trying hopelessly to catch the coats being tossed her way and the adorable little party girl who tripped Fritz and then smiled gleefully to the audience.

After all the guest, leave Clara falls asleep, and when she awakens she is surrounded by numerous mice shaking their tails and cleaning their whiskers. At this point in the show the dancers began to integrate the set pieces into the action, which is something I have not seen done to this extent in other local Nutcracker productions. For example, mice jumped out of the grandfather clock, and four troublemaking rats ate cheese on the couch while watching the Nutcracker (Ciaran Barlow) and Rat King (Christian Otto) battle it out center stage. Benjamin Barr, Trey Hileman, Ashton Pham-Davis and John Scullion had the audience laughing out loud with their stage antics, which included playing a game of Whac-A-Mole with the little soldiers standing up in a straight line upstage and even added pop culture references with the Floss dance and Pittsburgh Steelers Antonio Brown’s touchdown dance.

DBC’s Sophia Jackson and Chase Raine as the Snow Queen and King. Photo: David C. Harris/Times Frames Photography

Once the Rat King is defeated, Clara and the Nutcracker Prince are led into the Kingdom of snow where the Snow Queen (Sophia Jackson) and the Snow King (Chase Raine) are waiting for them. It was a rough start for the couple with their first lift, where Raine was supposed to arm press Jackson over his head. The error created a beat of tension for the duo before they completed the phrase with a fishbowl dip. Still, the couple didn’t let the mishap affect the rest of their partnering, which included various assisted jete leaps and press up shoulder sits. Raine was mindful of his hand placement when he assisted Jackson through a number of pirouettes and promenade in attitude, while Jackson tended to purse her lips in concertation before any turn, leg extension or lift, but then completed every movement with refinement.

The snow corps was also elegant in their body lines and group formations and attacked the springy pointe work with matching enthusiasm. And while their footwork started out heavy with the opening bourrees, the sound of their pointe shoes lessened as the dance went on.
In the second act of the show, Clara and her Prince are welcomed to the Kingdom of Sweets by a troupe of angels in the form of the youngest company members dressed in floor length gold gowns and bright smiles. As the couple is guided to their candied-covered throne The Sugar Plum Fairy (New York City Ballet’s Sterling Hyltin) and her Cavalier (New York City Ballet’s Andrew Veyette) make a grand entrance to much applause.

The second half of the show maintained the quick pace of the first half with divertissements that played to the dancers’ strengths, including flexibility, stamina, control, musicality and self-expression. Miguel Falcon and Macy Wheeler with Luke Hileman, Carlie Jacobs, Christian Otto and Audrey Ratcliff kicked it off with a sassy, syncopated performance in the Spanish variation filled with skirt swishes, grand battements and musical partnering.

Terrence Martin returned as a guest artist for DBC in the Arabian dance again this year, where he showed off his athetic ability in a couple of back hand springs as Lydia Louder and Isabella Poscente rhythmically moved around him. The Chinese variation, led by Courtney Raine, featured intricate pointe work and matching fan work.

The show had not one but four Russian Babas who were then matched with four young ladies in a very loud and boisterous dance number filled with stomping, clapping and unexpected partnering sequences. The grandest moment came when the boys paired off and then linked arms with each other and then two girls on their outside arms and began to run in a circle until they had enough momentum to lift the girls off the floor.

In DBC’s rendition, Mother Ginger (Gloria Ewerz) directed over a dozen gingerbread children through a series of elementary ballet moves as they waved their wooden spoons in the air. The Pastry Chefs in the back waving the oversized gingerbread men on large sticks were also a nice touch.

The Reeds didn’t quite keep up with the punctuated nuances in their music, but Lead Reeds Veronica Britt, Kendyll Jacobs and Tatum Jenkins all delivered strong performances. Flower leads Charlotte Kelsey and Christian Otto lacked chemistry, which impacted some of the physical connections in their partnering sequences, but they were much more confidant in their solo sections. At the same time the flower corps were enchanting with their graceful arm placements, accented pointe work and picturesque ending pose.

All this glitz and glam paved the way for guest artists Sterling Hyltin and Andrew Veyette as the Sugar Plum Fairy and Cavalier in the grand pas deux. The couple drew attention to the tender love story between the two characters with their purposeful hand and body connections as well as their expressive facials aimed at one another. Both sat in the pocket of the music, which heightened the audience’s admiration for the two professional dancers. Hyltin seems made for the Sugar Plum Fairy role with her breathy port de bra arms and risky pointe work. Veyette’s performance was a great example of what is expected from male ballet dancers in these classical roles.

In addition to his strength and dexterity in his solos, Veyette also showed the audinece what a strong support system he can be for Hyltin. Sometimes this meant stepping back while Hyltin performed a series of petit allegro jumps or simply walking in a circle while holding her hand. And of course Veyette was there to assist Hyltin when she jumped in the air and to effortlessly lift her over his head to the ooh’s and aah’s of the audience.

Audiences only get a taste of this type of partnering in most pre-  professional Nutcracker performances. But with a large cast that featured more than 20 young boys, teenagers and grown men, DBC’s Nutcracker performance gave the audience a unique opportunity to see traditional partnering moves in almost every dance sequence throughout the entire show, which then helped the female dancers to shine brighter.

» The second cast in Dallas Ballet Company’s The Nutcracker performs Dec. 7-9 at the Granville Arts Center in Garland.

This review was originally posted on TheaterJones.com.


Q&A: Stephanie Rae Williams, Dance Theatre of Harlem

Stephanie Rae Williams of Dance Theatre of Harlem returns home for the Sweatt Dallas Dance Festival and the Dance Council Honors this weekend.
Stephanie Rae Williams 2017 (1)
Stephanie Rae Williams. Courtesy of Dance Theatre of Harlem

Dallas — As the oldest of six siblings, Stephanie Rae Williams says her parents had to get creative when it came to financing her love of dance, especially classical ballet. Williams credits her mom with discovering the South Dallas Dance Festival scholarship, which also happens to be where she will be performing this weekend, along with attending the Dance Council Honors (DC Honors) where she will receive the Natalie Skelton award for artistic excellence by the Dance Council of North Texas. “My mother is such an amazing woman and she just wanted me to have all these different opportunities in dance and so, she was really the one who sought out different scholarships that were available and helped me apply for them,” Williams says. Her mom’s hard work paid off in 2005 when Williams was awarded the South Dallas Dance Festival scholarship, which she used to attend Julliard’s summer intensive that same year. The scholarship also gave Williams the opportunity to perform at the SSDF, which was a big deal for the 16 year old at the time. “I think I performed a classical piece, which is nothing like the solo I will be performing this time.”

The event, newly renamed Sweatt Dallas Dance Festival in honor of Mary Lois Sweatt (1939-2016), runs Oct. 27-28 at Ann Richards Middle School and includes performances by Williams, Sydney Winston (2017 SDDF scholarship recipient), Beckles Dancing Company, 410 Line Dancers, Images Contemporary Dance Company and Momentum Dance Company, just to name a few. The schedule also features a master class with former Bruce Wood Dance Company member Christie Sullivan, a youth dance showcase and an industry roundtable. The event is made possible by Arga Nova Dance with the support of Ann Richards Middle School and South Dallas Cultural Center.

For SDDF, Williams will be performing José Limón’s Chaconne, courtesy of Dance Theatre of Harlem (DTH). Out of the four casts, Williams was the only female chosen for the solo, which she describes as modern-based and challenging, yet extremely satisfying to perform. “There’s something really gratifying about the way Jose Limon choreographed this piece. It feels like you evolve as a human being throughout it and by the end of it you’re like dead, but alive at the same time.”

Growing up in Allen, Texas, Williams started her dancing at Texas Ballet Theater School (formerly Dallas Dance Academy) when she was 8 years old. She grew up training in ballet, jazz, lyrical, tap and hip-hop with Joyce Seaborne Bader, Lyndette Bader and Fiona Fairrie. After graduating from Allen High School, Williams joined Ben Stevenson’s Texas Ballet Theater for a season before heading to New York City. There she worked with Desmond Richardson and Dwight Rhoden at Complexions Contemporary Ballet before joining DTH’s ensemble company in 2010. After DTH returned from hiatus with Virginia Johnson at the helm in 2012, Williams was then asked to join the revived company and has spent the last five years here gaining more confidence in herself and her craft. “It’s the first company that I was able to make my home and really feel like I could grow and be nurtured there. What’s interesting is that half that dancers that came with us to Dallas in 2014 have moved on and yet I am still here. It’s surreal being one of the veterans that the new company members now come to show them the ropes.”

When asked if she ever gets the urge to explore opportunities outside of DTH, Williams responds, “Yes, I do sometimes get the urge to explore opportunities outside of DTH, and I have done that with Virginia’s approval, but DTH remains my home base.” Williams mentions that she just completed four shows with the Seattle-based Arc Dance Company, which she says Johnson was nice enough to allow her to do. “It a lot of fun because for once I wasn’t the seasoned dancer. I was the new girl and I feel like it’s really important to challenge yourself and not get too comfortable anywhere, and so I am really thankful I have a director that encourages these types of opportunities.”

As far as what Williams is looking forward the most at SDDF, she says, “Just mingling with everyone there and also seeing so many smaller dance companies from professional to the local high schools perform. And because it’s not just the professionals performing this really does feel like the whole South Dallas community is coming together to celebrate dance throughout these three performances.” Williams adds that she is also looking forward to seeing the kids attending the festival as she believes there are not enough black dancers for them to look up to in the industry today, especially in classical ballet. “I was the only black girl in my entire dance school, but I just thought that this was the norm. It wasn’t until I walked into DTH to audition that I noticed there was this whole other side missing from my dancing because at DTH when we dance there’s this whole other type of soul that we bring to the stage.”

While in town Williams will also be attending the DC Honors where she will receive the Natalie Skelton award for artistic excellence. The event takes place at Dallas Black Dance Theater on Sunday afternoon and will include food, a silent auction and performances by local companies and scholarship recipients. In addition to Williams, this year’s honorees also include Kathy Chamberlain, Patty Granville, Alpana Kagal Jacob and Malana Murphy. As far as Williams’ reaction to the award news she says, “I was both humbled and excited when I heard I would be receiving this honor. It’s just really nice knowing that I have so much support here in Dallas and it means so much to me to be recognized in this way.”

» For more information about Sweatt Dallas Dance Festival, please visit www.becklesdancingcompany.org, and for more information about the Dance Council Honors, please visit www.thedancecouncil.org

This article was originally posted on TheaterJones.com.


Review: Dallas Ballet Company, The Nutcracker

Photo: David C. Harris/Time Frames Photography
Photo: David C. Harris/Time Frames Photography

Holiday Blend

Strong storytelling, elaborate set design and dynamic guest performances are some of the highlights at Dallas Ballet Company’s annual Nutcracker performance in Garland.

Dallas — After 28 seasons Dallas Ballet Company (DBC) Artistic Directors Brent and Judy Klopfenstein know what works and what doesn’t when it comes to their version of The Nutcracker. Intricate set design, light-hearted narratives, cleverly crafted group dances and dynamic individual performances are what audiences have come to expect and DBC didn’t disappoint at Saturday afternoon’s showing of The Nutcracker at the Granville Arts Center in Garland.

Guest Artists April Daly and Miguel Blanco from Joffrey Ballet were magnetic in their roles as Sugar Plum Fairy and Cavalier. They both displayed unwavering control as Blanco manipulated Daly through the tricky body rotations and balance holds in the grande pas de deux at the end of the show. Despite his broad frame Blanco was very lighted-footed in his jumps and pulled off his triple pirouette effortlessly. Daly was like watching a shooting star on a clear night. She ricocheted across the floor in a series of pique turns finishing in a flawless arabesque hold. Her breathy exhales and soundless, fast foot work made her a captivating performer to watch.

The show also contained some standout performances by a few DBC members. Lanie Jackson dazzled in her role as the Snow Queen. In addition to exquisite technique, Jackson’s innate musicality gave her the freedom to explore different qualities of movements. One minute her arm placement is razor-sharp and body position exacting and the next her arms are exploding to match her exhale at the top of a soutenu turn into a smooth shoulder lift. Even though Morgan McClinchie (Snow King) could have used more tension in his body while leading Jackson around the stage, his capacity for the press up lifts and backward progressing catches were impressive. McClinchie also got to showcase his clean technique and jumping chops as the lead in the Waltz of the Flowers alongside Isaac Hileman and Christian Otto. Long-limbed and naturally poised, all three young men take after Guest Choreographer Jason Fowler, a former soloist with New York City Ballet and DBC alum. Waltz of the Flowers lead Olivia Mann wowed the audience with her rhythmic breathing patterns, supple feet and unending extensions.

Whereas the Snow Corps were not as springy in their movements as Peter Ilyich Tchaikovsky’s score demands and traffic patterns and timing were not always clear at times, The Waltz of the Flowers Corps was the exact opposite. All eight dancers executed the fluttery arm movements and striking pointe work with spunk and synchronized musicality.

Photo: David C. Harris/Time Frames Photography
Photo: David C. Harris/Time Frames PhotographyGranvi

The opening party scene at the Silberhaus’ house was quick moving, yet predictable with Drosselmeyer’s (Randolph McKee) eccentric showmanship, Clara’s youthful vigor and the adequate performances by the Harlequin and Columbine Doll and Mechanical Solider. Audiences enjoyed the maturity Annie Corley brought to the role of Clara. Her obvious skill and effervescent personality were used throughout the show and not just in the first half. The group dances in the first half were refreshing thanks to the use of props such as fans, baby dolls and swords. The movement itself was rudimentary (i.e. waltz steps, chaines, tendues and traveling chasses), yet it was performed cleanly and concurrently. The battle scene was more playful than menacing with the younger performers portraying the mice and soldiers. The flashing red and white lights on the otherwise dark stage added to the scene’s drama.

The large props present in almost every scene added to the overall fanciful theme, but in some cases they also slowed down the transitions between scenes especially during the second half. The Spanish Chocolate group made up for the drawn-out pause with spirited jumps and saucy skirt flicks. Terrance Martin reprised his role as the Arabian and proved he is still capable of performing the front walkovers and back handsprings that dubs this section a crowd pleaser. Whitney Hester surprised us with her sharp point work and controlled upper body positions as the lead in Chinese Tea. But what really sets DBC’s production apart from others is the skill set of even its youngest dancers. Basic, yet clean movement choices and fun use of props is why the Gingerbread scene remains an audience favorite.

This review was originally posted on TheaterJones.com

2014 Nutcracker Nuttiness

Carolyn Judson as the Sugarplum Fairy in Texas Ballet Theater's The Nutcracker. Photo: Ellen Appel
Carolyn Judson as the Sugarplum Fairy in Texas Ballet Theater’s The Nutcracker. Photo: Ellen Appel

No matter where you live there is a Nutcracker performance waiting for you. Here’s a list of North Texas Nuts, plus other holiday dance.

From the big-budget dance companies such as Texas Ballet Theater and Moscow Ballet to the smaller, community-based companies, there is an enchanting Nutcracker performance for everyone to see. For those of you living North of Dallas there is the Allen Civic Ballet, Festival Ballet of North Central Texas in Denton and LakeCities Ballet Theatre in Lewisville. For audiences in the Richardson and Plano area the Eisemann Center for Performing Arts is hosting multiple Nutcracker performances the next two months, including Chamberlain Performing Arts, Dallas Repertoire Ballet and Tuzer Ballet. For Garland residents there is Dallas Ballet Company’s annual production at the Granville Arts Center and for Irving patrons Ballet Ensembles of Texas’ showing of the holiday classic at the Irving Arts Center. If you prefer live music, check out LakeCities Ballet Theatre, Allen Civic Ballet and Collin County Ballet Theatre’s Nutcracker productions. For those looking for something a little different there’s 8&1 Dance Company’s In The Spirit and Ballet Concerto’s Holiday Special.

Full list and ticket information below:

Nov. 21-22

Ballet Frontier of Texas presents The Nutcracker with choreography by Chung-Lin Tseng at Will Rogers Auditorium in Fort Worth. Tickets $40-50. Call 817.689.7310 or visitwww.balletfrontier.org

Nov. 22-23

Moscow Ballet return to Dallas with its rendition of The Great Russian Nutcracker at Southern Methodist University’s McFarlin Auditorium. Tickets $28-88. Call 800.745.3000 or visit www.tickmaster.com

Nov. 22

Colleyville Ballet’s production of The Nutcracker for one-night only at the Eisemann Center for Performing Arts in Richardson, TX. Tickets $35-40 Call 972.744.4650 or visitwww.eisemanncenter.com

Nov. 26

The Angelika Film Centers in Dallas and Plano screen Getting to The Nutcracker, a documentary about what it takes to produce a production of the Nut, at 2 p.m. in both locations. www.angelikafilmcenter.com

Nov. 28-30

Chamberlain Performing Arts annual showing of The Nutcracker featuring New York City Ballet Principal’s Maria Kowroski and Tyler Angle at the Eisemann Center for Performing Arts in Richardson, TX. Tickets $12-100. Call 972.744.4650 or visit www.eisemanncenter.com

Nov. 28-Dec. 27

Texas Ballet Theater takes the stage with Ben Stevenson’s version of The Nutcracker, with the same extravagant sets and effects that we saw last year. Call 877.828.9200 or visit http://www.texasballettheater.org

  • Nov. 28-Dec.7 at the AT&T Performing Arts Center, Winspear Opera House
  • Dec. 12-27 at Bass Performance Hall, Fort Worth
  • The Nutty Nutcracker is Dec. 19 at Bass Performance Hall

    LBT dancers in the snow scene section of The Nutcracker. Photo: Nancy Loch Photography
    LBT dancers in the snow scene section of The Nutcracker. Photo: Nancy Loch Photography

Nov. 29-30

LakeCities Ballet Theatre’s annual production of The Nutcracker features live music from Lewisville Lake Symphony and guest artists Sarah Lane of American Ballet Theater and Daniel Ulbricht of New York City Ballet. Tickets: $20-45. Call 972.317.7987 or visitwww.lakecitiesballet.org

Dec. 5-7

Dallas Ballet Company celebrates its 28th annual performance of The Nutcracker featuring guest artists April Daly and Miguel Blanco from Joffrey Ballet at the Granville Arts Center in Garland, TX. Tickets: $23-24. Call 972.205.2790 or visit www.garlandarts.com

Dec. 6-7

North Central Civic Ballet’s rendition of The Nutcracker at the Will Rogers Auditorium in Fort Worth. Tickets: $30. Visit www.nutcrackertickets.com

Dec. 6-7

Ballet Ensemble of Texas presents the holiday classic with guest artist Dallas Blagg and Gabriela Gonzalez from Tulsa Ballet at the Irving Arts Center. Tickets: $25-30. Call 972.252.2787 or visit www.irvingartscenter.com

Dec. 6-7

Rowlett Dance Academy presents its version of The Nutcracker at Garland High School. Tickets $10. Call 972.475.8269 or visit www.rowlettdanceacademy.com

Dec. 6-7

Royale Ballet Dance Academy offering of The Nutcracker at the Eisemann Center for Performing Arts in Richardson, TX. Call 972.744.4650 or visit www.eisemanncenter.com

DRB company member Megan Schonberg and guest artist Jamel White as the Sugar Plum Fairy and Cavailer. Photo: Courtesy of DRB
DRB company member Megan Schonberg and guest artist Jamel White as the Sugar Plum Fairy and Cavailer. Photo: Courtesy of DRB

Dec. 12-14

Dallas Repertoire Ballet brings its rendition of the beloved holiday tale to the Eisemann Center for Performing Arts in Richardson, TX. Tickets: $15-50. Call 972.744.4650 or visit www.eisemanncenter.com

Dec. 13-14

Festival Ballet of North Central Texas showing of The Nutcracker at Texas Woman’s University, Margo Jones Performance Hall in Denton, TX. Tickets: $11-36. Call 940.891.0830 or visit www.festivalballet.net

Dec. 20-21

Tuzer Ballet presents The Nutcracker at the Eisemann Center for Performing Arts in Richardson, TX. Tickets: $15-50. Call 972.744.4650 or visit www.eisemanncenter.com

Dec. 20-21

The Allen Civic Ballet presents its annual production of the holiday favorite with live musical accompaniment by the Allen Philharmonic Chamber Orchestra. Allen High School Performing Arts Center in Allen TX. Tickets: $15-30. Visitwww.allencivicballet.org/nutcracker

Dec. 22-23

Colin 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, TX. Tickets: $32-52. Call 972.744.4650 or visitwww.eisemanncenter.com

Other Holiday Dance

Dec. 5-7

Denton City Contemporary Ballet presents A Gift for Emma at Krum High School Performance Center in Krum, TX. Tickets: $12-18. Visit www.dentondance.com

Dec. 7

8&1 Dance Company’s annual In The Spirit holiday celebration at the Quixotic Word in Dallas. Visitwww.8and1dance.com

Dec. 12

Ballet Concerto presents its annual A Holiday Special, with school performances at 10:30a.m. and 12:15p.m., and public performances at 7p.m. at Will Rogers Auditorium in Fort Worth. Tickets: $5-20. Call 817.738.7915 or visitwww.balletconcerto.com

This list was originally published on TheaterJones.com.

Sometimes You Feel Like a Nut

Photo: Ellen Appel Texas Ballet Theater's The Nutcracker
Photo: Ellen Appel
Texas Ballet Theater’s The Nutcracker

The holiday season is upon us, and you know what that means: The Nutcracker. Here’s our round-up of local Nutcrackers, plus non-Nut holiday dance.

It’s the holidays, and in the dance world, that means nuts are about to be crackin’ all over the place. North Texas will be filled with performances of The Nutcracker, which means box offices will be singing, parents and grandparents will be thrilled at seeing their kids in the party scene, and little girls will see the Sugar Plum Fairy and be inspired to take ballet lessons.

Beginning this weekend, as the Moscow Ballet returns, you can see at least one performance of The Nutcracker each weekend if you like, right up through a few days before Christmas. We’ve also included some pretty different takes on The Nut, as the dancers call it, from theater outfits Dallas Children’s Theater (marionettes!) and MBS Productions (burlesque!).

And, because there are a few brave dance companies out there willing to do a holiday dance production sans the Snow Queen, we’ve also included the few non-Nut shows.


Denton City Contemporary Ballet presents A Gift for Emma Nov. 22 – 24 at Krum High School Performance Center in Krum, Texas. Ticket Office: www.dentondance.com

Contemporary Ballet Dallas presents a Boogie Woogie Christmas Carol, inspired by the Dickens tale, Dec. 7 at Southern Methodist University’s McFarlin Auditorium. Ticket Office:www.contemporaryballetdallas.com

Dallas Metropolitan Ballet presents The Night Before Christmas Dec. 14 – Dec. 15 at Southern Methodist University’s McFarlin Auditorium in Dallas. Tickets: $10 – $40. Ticket Office: www.ticketmaster.com or call 214-631-2787 or 817-467-2787

Epiphany DanceArts presents Christmas Memories Dec. 20-21 at the Eisemann Center for Performing Arts in Richardson, Texas. Tickets: $15 – $29. Ticket Office:www.epiphanydancearts.org or call 972-744-4650


Moscow Ballet brings back The Great Russian Nutcracker to Dallas Nov. 15 and Nov. 17 at Southern Methodist University’s McFarlin Auditorium. Tickets: $28. Ticket Office: www.nutcracker.com or call 800-320-1733

Ballet Frontier of Texas presents its rendition of The Nutcracker Nov. 22 – 23 at the Will Rogers Auditorium in Fort Worth, Texas. Tickets: $25. Ticket Office: www.balletfrontier.org

MBS Productions returns with its annual revival of the comedy The Beulaville Baptist Book Club Presents a Bur-Less-Q Nutcracker, in which a burlesque troupe saves the day in a small Texas town by performing the holiday classic. Nov 23-Dec. 29 at the Stone Cottage on the campus of the Addison Theatre Centere. Tickets: $18-$27. Ticket Office: www.mbsproductions.net

Chamberlain Performing Arts presents The Nutcracker featuring New York City Ballet principal dancers Tiler Peck and Tyler Angle Nov. 29 – Dec. 1 at the Eisemann Center for Performing Arts in Richardson, Texas. Ticket Office: www.eisemanncenter.com or call 972-744-4650

Texas Ballet Theater presents Ben Stevenson’s The Nutcracker which runs Nov. 29 – Dec. 8 at the Winspear Opera House in Dallas and Dec. 13 – 27 at Bass Performance Hall in Fort Worth. Ticket Office: www.texasballettheater.org

Kathy Burks Theatre of Puppetry Art’s presents its interpretation of The Nutcracker Nov. 29 – Dec. 22 at the Dallas Children’s Theater in Dallas. Tickets: $13 – $40. Ticket Office: www.dct.org or call 214-740-0051

Photo: Karen Almond Kathy Burks Theatre of Puppetry Arts' The Nutcracker at Dallas Children's Theater
Photo: Karen Almond
Kathy Burks Theatre of Puppetry Arts’ The Nutcracker at Dallas Children’s Theater

LakeCities Ballet Theatre’s rendition of The Nutcracker runs Nov. 30 – Dec. 1 at Marcus High School in Flower Mound, Texas, and Dec. 14 – 15 at Little Elem Recreation Center. Ticket Office: www.lakecitiesballet.com

Momentum Dance Company does The Nutcracker with guests Michele Gifford, Shea Johnson and Bruce Coleman. Nov. 29-Dec. 1 at the Irving Arts Center. Tickets: $15-$25. Ticket Office: www.irvingartscenter or call 972-252-2787

Dallas Ballet Company will be celebrating its 27th annual performance of The Nutcracker Dec. 6 – Dec. 8 at the Granville Arts Center in Garland, Texas. Tickets: $23. Ticket Office: www.garlandarts.com or call 972-205-2790

The Dallas Youth Ballet presents The Nutcracker Dec. 7 at the new Dallas City Performance Hall in the Dallas Arts District. Tickets: $15 – $35. Ticket Office: www.thedallasconservatory.org or call 214-357-8888

The Ballet Ensemble of Texas brings its rendition of The Nutcracker to the Irving Arts Center Dec. 7 – 8. Tickets: $21-$26. Ticket Office: www.irvingartscenter or call 972-252-2787

The Dallas Repertoire Ballet presents The Nutcracker Dec.13-15 at the Eisemann Center for Performing Arts in Richardson, Texas. Tickets: $15 – $50. Ticket Office: www.eisemanncenter.com or call 972-744-4650

Festival Ballet of North Central Texas will be performing The Nutcracker Dec. 14 – 15 at the Margo Jones Performance Hall at Texas Woman’s University in Denton, Texas. Tickets: $11 – $36. Ticket Office: www.festivalballet.net or call 940-891-0830

For a more adult Nutcracker performance Texas Ballet Theater offers The Nutty Nutcracker, a collaborative work between artistic staff and dancers featuring hot topics of the past 12 months. The performance is slated for Dec. 20 at Bass Performance Hall in Fort Worth. Ticket Office: www.texasballettheater.org

Tuzer Ballet presents The Nutcracker Dec. 21-22 at the Eisemann Center for Performing Arts in Richardson, Texas. Tickets: $15 – $50. Ticket Office: www.eisemanncenter.com or call 972-744-4650

The Allen Civic Ballet presents its 15th anniversary production of The Nutcracker Dec. 21 – Dec. 22 at the Performing Arts Center at Allen High School. Tickets: $15 – $30. Ticket Office: www.allencivicballet.org

Collin County Ballet Theatre presents The Nutcracker Dec. 23-24 at the Eisemann Center for Performing Arts in Richardson, Texas. Tickets: $15 – $75. Ticket Office: www.eisemanncenter.com or call 972-744-4650

This roundup was originally posted on TheaterJones.com.


In Your Face

Dallas Dance Company in Visual Outburst. Photo: Don Morris Photography

Dallas Dance Company brings commercial dance styles to the forefront in Visual Outburst.

Dallas Dance Company gave an eclectic and entertaining performance Saturday night at the Granville Arts Center in Garland, with its ninth annual showcase Visual Outburst.

The two-part show was jam-packed with the latest commercial dance trends, including jazz fusion, funk, hip-hop and contemporary. While some of the two-to-three-minute numbers left us wanting more, others gave us a good punch in the gut.

Don Morris Photography

One of these numbers was a contemporary solo choreographed and performed by DDC Executive Director Brandi Evans. The piece started with Evans deliberately removing her wedding ring and walking away in silence. When Adele’s “First Love” came on it was like watching a piece of ribbon unwinding from a maypole; continuous and effortless. Evans’ movements were very circular: a lot of turning, spiraling and rolling using all parts of the body. She has a knack for layering movement into music without oversaturating the piece.

Don Morris Photography

Another memorable piece was Emulation with choreography by Ashley Armstrong and music by Philip Glass. Again, this group number played to the company’s stronger contemporary side. The performers seemed more confident with controlled leg extensions and arching movements than they did with the looseness of some of the hip-hop numbers. Armstrong also created some intricate weaving patterns and notable individual moments.

While some of the jazz funk and hip-hop pieces appeared somewhat dated, the company did bring something new to the table with Louder than Silence and the show’s final number Up! Louder than Silence, to “Drumming Song” by Florence + the Machine, really captured the dancers’ athleticism, strong jazz technique and fierce spirit.

Don Morris Photography

Up! was a unique take on the 90s’ hit song “Jump Around” by House of Pain. Instead of putting together a cliché hip-hop piece, choreographer Carla Rudiger created a well-rounded modern-influenced piece. Dressed in black shorts and tight flannel shirts, the company performed a series of uniform linear and robotic movements, which amplified the heavy beats in the music.

Like the other numbers, Up! was a short piece, yet it had a beginning, a middle and an end, fading to black as the last three performers continued jumping in synch. It was also an effective way to end the performance, reminding the audience after 15 varied numbers that DDC has a voice and is at its best when its modern and contemporary traits are on display.

This review was originally posted on TheaterJones.com.