Tag Archives: Irving Arts Center

All Dolled Up

BET-Coppelia2016

Coppelia at Ballet Ensemble of Texas. Photo: Cathy Vanover Photography

Ballet Ensemble of Texas gets ready to present George Skibine’s Coppelia at the Irving Arts Center this weekend.

Irving — Watching Ballet Ensemble of Texas (BET) as they prepared for their upcoming performance of Coppéliaat the Irving Arts Center this past weekend it was easy to see why BET is one of the most sought after pre-professional companies for young, aspiring dancers in the Metroplex. In addition to the company’s expansive dance curriculum, which includes rigorous training in classical, contemporary, modern and jazz techniques, the dancers are also being schooled in technical continuity and precision as well as artistic self-expression and character portrayal. These are the skillsets audiences have to come to expect from the company, and they were the main focus of criticism during last Saturday’s four hour Coppelia rehearsal at the Ballet Academy of Texas studio in Coppell.

“Hit your fifth,” rehearsal director Thom Clower calls out to Masumi Yoshimoto (Swanilda) during one of her many petite allegro jumping sequences in Act I. “More luxurious with the expression,” he says later as Yoshimoto executes a series of side bend stretches on pointe. “Feel the dilemma,” he shouts to Aldrin Vendt (Franz) as he tries to decipher his true feelings between his fiancée Swanilda and the mysterious girl in the window named Coppelia. Clower’s vibrant personality and positive teaching methods were well-received by the dancers as was evident through the razor sharp focus and high energy levels everyone maintained throughout rehearsal.

Photo: Cathy Vanover Photography. Coppelia at Ballet Ensemble of Texas

For those needing a refresher, Coppélia (1870) is a romantic comedy ballet originally choreographed by Arthur Saint-Leon with music by Leo Delibes. Most modern day productions are derived from the revivals staged by Marius Petipa and typically feature only two of the ballet’s three acts. Based on a story by E.T.A. Hoffmann entitled The Sandman, the ballet follows heroine Swanilda as she tries to win back her fiancée Franz who has fallen in love with a girl named Coppelia who is actually a  doll owned by the mysterious Doctor Coppelius. Franz gets caught sneaking into Doctor Coppelius’ workshop and Swanilda comes to his rescue by deceiving the doctor into believing that she is his doll come to life. In the final act Swanilda makes amends with the doctor and a wedding celebrates ensures for Franz and Swanilda.

BET will be performing George Skibine’s version of Coppélia, which includes all three acts. Skibine was a former director of the Paris Opera Ballet and also the founder of Dallas Ballet along with his wife Marjorie Tallchief (sister of Maria Tallchief). Clower and BET Artistic Director Allan Kinzie both danced professionally under Skibine’s direction and guidance. Coppélia isn’t the first work of Skibine’s that Clower has restaged for BET. Two seasons ago he reworked Skibine’s The Firebird on the company which was warmly received by both audiences and critics.

Clower’s strong rapport with the company makes for a very productive and positive environment for the dancers to work in. “He is just so easy to work with,” Yoshimoto says. “He is so fun and engaging and we really feed off his positive energy.” When asked about the notes she was giving during and after the first act Yoshimoto just smiles and says she doesn’t take the criticism personally. “I take the notes as new ways to help me grow as a dancer.”

I first saw Yoshimoto perform three years ago when she nailed the role of the Dew Drop Fairy in BET’s annual Nutcracker production. And while her technique and performance quality have grown over the years, the one thing that has remained the same is her ability to deliver technically consistent performances no matter what the part. In this case Yoshimoto’s unique abilities are well suited to the role of Swanilda. Her infectious stage presence and innate lyricism showed during the many gestural phrases in the first half as well as the less technical and more reactionary moments, such as when Swanilda catches Franz flirting with Coppelia and later when Franz calls off their engagement in front of the entire town.

Another dancer who has shown immense growth over the last couple of years is BET alum Aldrin Vendt. Gone are his boyish looks and leaner musculature and in their place a more toned and confidant leading man. His technique and body control has also improved, which he proved with his cleaner lines and sounder take offs and landings during his double tours and entrechats.

During a break in rehearsal I was surprised when Yoshimoto mentioned this was her first time playing a lead in a full-length ballet. She says the most challenging part of playing a lead in a full length ballet has been memorizing all of the choreography as well as building her stamina to keep up with all the dancing she is doing. When asked what she likes most about playing Swanilda Yoshimoto took a moment before replying, “I enjoy all the dancing and acting I get to do as well as all the playful pantomime my character gets to do.” Laughing a little she adds, “I see myself as a more reversed person so, it’s always fun when I get the chance to step outside myself and become someone completely different.”

Audiences will get two chances to see Ballet Ensemble of Texas’ presentation of Coppelia when it comes to the Irving Arts Center March 25-26.

This preview was originally posted on TheaterJones.com.

 

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Review: Nutcracker, Ballet Ensemble of Texas

Ballet Ensemble of Texas enchants audiences with its wonderfully musical and technically creative version of The Nutcracker in Irving.

BET-SnowQueenandKing
Masumi Yoshimoto and Brett Young as the Snow Queen and King. Photo: Cathy Vanover

Irving — Of the multiple pre-professional Nutcrackers I’ve been able to see this season, Ballet Ensemble of Texas’ (BET) annual production of the holiday classic, which they performed at the Irving Arts Center last Saturday night, contained some of the most complex and inventive choreography thus far, particularly in the cultural dances in Act II. BET Director Allan Kinzie and his choreographic team, including company advisor Lisa Slagle, Tammie Reinsch and Allison D’Auteuil Whitfield did a commendable job of showcasing the company’s ever-growing technical proficiency, athletic fortitude and personal expressiveness through creative dance sequences jam packed with fast pointe work, intricate petit jumping sequences with changing epaulement and visually exciting movement contagions and formation changes. Add in the vibrant décor, jewel-encrusted costuming and some exuberant performances from local guest artists from Texas Ballet Theater (TBT), and BET has another successful Nutcracker production to add to their books.

There were some minor discrepancies between the first and second half of the show. Act I started on a slower note with some timing issues and fluctuating energy levels in the children’s dances in the party scene, but the show gained momentum during the battle scene and ended with a spectacular snow scene featuring BET company member Masumi Yoshimoto  and TBT’s Brett Young in the coveted Snow Queen and King roles. The choreographers prevented overcrowding in the party scene with well-planned traffic patterns and minimal stage props. This in turn gave the well-played adult guests more room to waltz and the children more space to chasse around in a giant circle. And while occasionally musically out of sync during the adagio doll dance, viewers couldn’t miss the young girls’ beautiful presentation of the foot before each pique step and their high releves in the bourrees and soutenu turns.

Sheridan Guerin and Kinzie were both steadfast in their roles as Clara and Drosselmeyer. A former dancer with the Boston Ballet, Kinzie captivated audiences with his grandfatherly mannerisms and musical awareness when presenting Clara with her Nutcracker doll. Guerin drew us in with her angelic demeanor, but she held our attention with her clean lines and super-flexible feet, which were most pronounced when she executed an arabesque hold or bourrée step. One of the sweetest moments in the party scene came when Guerin and Kinzie fed off each other’s energy in one of the partner dances.

Yoshimoto and Young handled the complicated choreography in the Snow pas de deux with dignity and boundless energy. The movement showcased their expert facility and amazing body control through numerous assistedpirouettes, sustained arabesque balances, opposing body angles and no more than five press up lifts and shoulder sits. There were a few instances where the couple’s movement felt rushed especially in some of the assisted turns, but both dancers quickly adjusted their tempos to stay in time with Tchaikovsky’s driving score. The 16 snowflakes perfectly captured the nuances in the music with their springy footwork and sequential arm movements as well as their creative use of space and opposing rhythms.

The second half of the show was more consistent in terms of technique and performance quality and featured some exceptional dancing from certain company members and TBT guest artists Paige Nyman and Paul Adams as the Sugar Plum Fairy and the Cavalier.

Raquel Gamboa, Lisette Hotz, Hannah Menchu and Melynda Phillips performed the musical fan flicks and sharp leg lifts in the Spanish variation in perfect unison while Ryan Nemmers executed a series of double pirouettes and touren l’airs. The young men of BET which included Joseph Dang, Michael Fass, Nemmers, Adam Phillips and Akihiro Yoshimoto showed off their athletic dexterity and genuine charm in the widely popular Russian piece with multiple toe touches, double knee jumps and round houses. And while Helena Cerny and Phillips struggled with some of the hand holds and foot placements in the Dewdrop Fairy pas de deux, the couple pushed through to deliver some stunning moving pictures. Soloists Jordan Carter, Ana Denton, Menchu and Juliana Yu are proving themselves worthy of future leading roles with their exacting pointe work and beautifully controlled body positions in the Waltz of the Flowers.

BET is also the only pre-professional company that includes the Hungarian dance in its Nutcracker production. The repetitive rhythmic foot stomping and staccato arm placements were quite simple, but the steadily building tempo added a layer of anticipation of which none of the other dances could match.

BET-SugarPlumandCavalier
Paige Nyman and Paul Adams as the Sugar Plum Fairy and Cavalier. Photo: Cathy Vanover

The stars of the night were Nyman and Adams in the grand pas de deux. Both dancers are rising through the ranks of Texas Ballet Theater and have shown steady improvement both technically and artistically speaking over the last year. The couple executed the tricky counterbalance holds and multiple reverse promenades throughout the piece without a stumble. Adams pushed his stamina to the limit with consecutive turning jetes, double tours to the knee and multiple front and back cabrioles while Nyman performed the delicate pointe work and fast-paced fouette turns at the end with swan-like poise.

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.

Review: Ballet Ensemble of Texas Spring Concert

Breanne Granlund and Brett Young in The Firebird. Photo: Cathy Vanover
Breanne Granlund and Brett Young in The Firebird. Photo: Cathy Vanover

Ballet Ensemble of Texas delivers a near-flawless Firebird (and more) at the company’s Spring Concert

Irving — Luscious scenery, elaborate costumes, catchy compositions, authentic storytelling and proficient dancing: Ballet Ensemble of Texas’ restaging of George Skibine’s Firebird had something for everyone Saturday afternoon at the company’s Spring Concert at the Irving Arts Center.

Firebird, danced of course to the music of Igor Stravinsky, tells the tale of Prince Ivan’s encounter with the mystical Firebird. In the first scene he tries to capture the marvelous creature, but fails; the Firebird offers him one of her feathers instead. Next Ivan meets the beautiful Tsarevna and they fall in love. A battle ensues between Ivan and the evil Kostchei, and the Firebird is called upon to help defeat him. In the final scene Ivan and Tsarevna are wed and everyone lives happily ever after.

Firebird is a challenge that calls for dramatic flair and daring dancing—and the dancers responded with commitment and consistency, a tribute to stager Thom Clower’s passion and BET director Lisa Slagle’s training. Breanne Granlund thrived in the role of the Firebird. Her commanding stage presence, innate musicality and clear-cut pointe work were a match for Skibine’s detailed choreography and Stravinsky’s quick staccato composition. Even her smallest movements—fluttering arms, twitching head—seemed to entrance the audience. Texas Ballet Theater’s Brett Young excelled as Prince Ivan. He made the transition from hunter to lover appear effortless, though his solo in the opening scene must have tested his endurance with its multiple grande jetes and tours.

Young proved also to be a solid partner, executing the tricky over the head lifts and counter-balance holds with ease during the pas de deux, but softening his movements when dancing with his love Tsarevna (Abby Granlund). Abby exuded tranquility, creating the illusion that her movement never stops even when she is standing still. The surprise performance of the evening came from Aldrin Vendt, who played Kostchei. Under heavy makeup and layers of clothing, he compensated with exaggerated gestures and a sense of tension that radiated from every part of his body.

Fernando Bujones’ Splendid Gershwin and Marius Petipa’s Paquita, both restaged by American Ballet Theatre’s Susan Jones, rounded out the rest of the show. The company showed off its aptitude for more traditional ballet movement in Paquita. Yuki Takahashi sparkled in this role. Her beautiful breathing technique, inhaling as she elongates and exhaling into balance holds, added texture and anticipation to her performance. Soloists Masumi Yoshimoto, Natalie Tsay, Jimena Flores-Sanchez and Breanne Granlund gave solid performances that highlighted their musicality and poignant pointe work. Guest Artist Shea Johnson ate up the stage with his gravity-defying leaps and turning sequences. While at times his movement appears labored, he can execute a triple pirouette with ease.

The men stole the show in Splendid Gershwin with their Fred Astaire-like grace and personality. Dressed in tuxes and top hats, Samuel Chadick, William Sheriff, Aldrin Vendt and Johnson glided across the stage in a series of turns punctuated with pivots and drag steps in “Embraceable You.” Roman Mejia charmed the audience with his consecutive toe touches and cheeky air as he attempted to impress four female dancers in “Ladies & The Tramp.”

After seeing Ballet Ensemble of Texas deliver on consistency, authenticity and versatility with this Spring Concert one has to wonder, is there anything BET can’t do?

This review was originally published on TheaterJones.com.

 

Can’t Be Tamed

BET company member Breanne Granlund as the Firebird. Photo: Cathy Vanover
BET company member Breanne Granlund as the Firebird. Photo: Cathy Vanover

Ballet Ensemble of Texas’ production of George Skibine’s The Firebird gets ready to take flight at the Irving Arts Center this weekend.

Coppell, TX — She moves confidently and uninhibited almost to the point of falling off pointe or missing a step, but she doesn’t. Hands twitching, body pulsating with unrestrained energy, Ballet Ensemble of Texas company member Breanne Granlund is the quintessential Firebird. Granuald’s feisty footwork coupled with Igor Stravinsky’s fast staccato composition made for a delightful Tuesday evening at the Ballet Academy of Texas in Coppell.

The Firebird is based on Slavic folklore and tells the story of Prince Ivan’s encounter with the mystical Firebird. In the first scene he tries to capture it, but the firebird offers him one of her feathers instead.  In the next scene Ivan wanders through the forest until he meets the beautiful Tsarevna. They fall in love and a battle ensues between Ivan and the evil Kostchei. Ivan uses the feather to call upon the Firebird and together they dispose of Kostchei. Ivan and Tsarevna get married and everyone lives happily ever after.

The Firebird is a physically demanding role, something Granlund found appealing from the start. “I love the physicality of the role,” Granlund says. “The movement is a lot harder on your body, but I like challenging myself like this. It’s not often that you get to portray a bird and, I think mentally the role really suits me.” Granlund is right. Her penchant for quick footwork, dynamic body positions and overall vigor makes her well-suited for the part.

Coincidently the other female lead in the ballet is being performed by Granlund’s twin sister Abby. She is dancing the role of Tsarenva, a character Granlund says matches her sister’s dancing style really well. “Abby is really great in these types of roles. She’s a very expressive dancer.” Abby’s movement does have a softer quality to it. Her feet hardly make a sound when she bourrees and she’s able to emote feeling from every muscle in her body.

And the man caught in between the Granlund sisters is Texas Ballet Theater Corps dancer Brett Young. His athletic physique and unyielding core strength make him an admirable partner and confident soloist. The pas de deux between Ivan and the Firebird contains multiple lifts in addition to alternating handholds for lengthy balances and turning sequences. With a little more fine tuning this pas de deux will surely be a scene stealer.

What makes Ballet Ensemble of Texas stand out from other pre-professional companies in the area is the consistency you see throughout the company in terms of technique and performance quality. There is no weak link in this production of the Firebird. All seven male company members showcase high jumps, long lines and controlled tours. All the ladies display proficient pointe work and authentic stage presence. “You must act or it’s just going to look like another recital,” says Thom Clower, the person responsible for restaging George Skibine’s Firebird on BET.

All the talk about Clower’s eccentric approach to teaching is completely true. While giving notes it’s common for him to use sounds effects and vivid imagery to describe what he wanted. For example, when telling the princesses how they should be peeking out from behind the apple tree he said, “The movement needs to have more resistance. I don’t want it slower, just thicker.” He is also not opposed to shouting things out during the run through like “I need more!”, “Slow down!” and “Yes, that was lovely!” His knack for blending corrections with compliments has a very positive effect on the students. After a long evening of rehearsing, the students leave laughing with their heads held high. “Thom is really great with the students,” says BET Director Lisa Slagle. “He really inspires them to work harder and give their all every time.”

Ballet Ensemble of Texas’ spring concert takes place April 4-5, 2014 at the Irving Arts Center. In addition to Firebird the company will also be performing the revival of Fernando Bujones’ Splendid Gershwin and the classic ballet Paquita, staged by American Ballet Theatre’s Susan Jones.

This feature was originally published on TheaterJones.com.

 

Review: The Nutcracker, Ballet Ensemble of Texas

Going Nuts!

Ballet Ensemble of Texas delivers delicious dancing and sumptuous surprises in its production ofThe Nutcracker

Irving — Oh, the weather outside was definitely frightful, but thankfully Ballet Ensemble of Texas’ (BET) presentation of The Nutcracker was worth the perilous drive that many performers and audience members surely braved. The company gave an engaging performance on Saturday to a packed house at the Irving Arts Center, complete with little girls in cute mice costumes, an abundance of young male dancers, a poetic Waltz of the Flowers and a dynamite grande pas de deux by guest artists Michele Gifford and Shea Johnson.

The production began at the Silberhaus’ annual Christmas party where their daughter Clara receives her beloved Nutcracker doll from her Uncle Drosselmeyer (Allan Kinzie). While the stage dressing was a little bare (a couch, chair and clock were the only props) it did provide the children and adult party guests with plenty of space to dance. Choreographers Lisa Slagle (also BET director), Allan Kinzie, Tammie Reinsch and Allison D’Auteuil Whitfield kept the party scene moving with basic yet visually pleasing ballet steps for the youngsters and clean pointe work for Clara (Kristen Wright) and the life-size dolls (Alise Newman, Victoria Pardo and Jimena Flores-Sanchez).

Even though she kept the same facial expression for most of performance, Wright is the most technically proficient Clara I have seen this season. Her strong, supple feet enabled her to execute multiple turns and pique arabesque holds with pizazz. Newcomer to BET William Sheriff was a pleasant surprise as the Nutcracker Prince with his great control over his long, limber body; as he becomes more mindful of his feet, Sheriff will be one to watch for.

The battle scene had everything you’d expect, from well-rehearsed sword play, bright lighting and smoke machines to twenty or so little dancers scampering across the stage in cute mice costumes. The action was quick-moving and transitioned smoothly into the snow scene. Snow Queen Natalie Tsay’s pointe work was a little clunky in some parts, but she made up for it with her captivating stage presence. Her Snow King (Blaine Quinn) was a solid and trustworthy partner. He executed those tricky traveling lifts with grace and confidence. The Snowflakes really stole the scene with their breezy movement, uniformed arm and leg placements and exquisite technique.

The second act displayed more of the company’s versatility especially in the Arabian, Chinese, Hungarian and Russian sections. Melissa Anderson, Kendall Glasgow and Sam Chadick showed they could handle the slower, more controlled movements required in the Arabian dance. Anderson and Glasgow also got to display their flexibility with their alternating floor splits. It was a challenge for power jumper Adam Rech to control himself in the Chinese dance, but he did it and even managed to get his heels down when he landed. While the timing was off in some parts of the Hungarian number it did show the company’s understanding of folk dancing which includes a lot of unified stomping and clapping.

Now, what BET has that a other companies don’t is a strong group of young male dancers. This was made abundantly clear in the crowd pleasing Russian dance. Roman Mejia, Aldrin Vendt, Akihiro Yoshimoto, Adam Phillips and Kei Jay Takahashi pulled off an exhilarating number filled with double tour en l’airs, turns in second and round houses.

Like the snow scene, the Waltz of the Flowers was truly poetic. The dancers simply skimmed across the floor in a series of bourrees. The choreography was packed with constant direction changes and opposing head and arm movements; giving off the illusion that we were watching moving snapshots. Masumi Yoshimoto (Dew Drop Fairy) and demi-soloists Abby Granlund, Breanne Granlund, Ripley Mayfield and Yuki Takahashi gave solid and soulful performances.

The highlight of the show was the technically flawless performance Michele Gifford (Sugar Plum Fairy) and Shea Johnson (Cavalier) gave in the grande pas de deux. Gifford and Johnson nailed every turning arabesque hold and difficult shoulder lift without a qualm. Gifford’s unending extensions and Johnson’s boundless amounts of energy in his turning grande jete section earned applause from the audience. It was a great night for both these seasoned professionals.

This was originally posted 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.

LET’S START WITH THOSE:

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

AND NOW, THE NUTCRACKERS:

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.