LakeCities Ballet Theatre serves up another kid-friendly ballet with Coppelia, featuring special guest Steven Loch at MCL Grand Theater in Lewsiville.
Lewisville — As I watched LakeCities Ballet Theatre (LBT) rehearse Act 1 of Coppelia Artistic Director Kelly Kilburn Lannin leaned over and whispered how this particular section of music always reminds her about the time their Franz injured himself mid-performance and Steven Loch, who was 12 at the time, was asked to step in and danced the final part of show perfectly.
Later, when I mentioned this story to Loch in the breakroom where we sat down to talk he laughed and says he gets acknowledged quite often for his ability to jump into roles at the last second—a skill that he says he learned from Lannin and her team at the Ballet Conservatory in Lewisville.
“There is so much supply and not enough demand so the high level of excellence gets even more exaggerated,” Loch says about what it takes today to become a professional ballet dancer. “You have to be the most valuable worker to have the best shot, and I think one of the great things about here is Kelly knew that from the beginning. She knew that if you want to make it as a dancer than you’re going to have to learn to do it all.”
Photo: Pacific Northwest Ballet
He adds, “And also too, the standard that she puts on students are so high and you know have to hit those standards because there’s no forgiveness. Then, when you go the professional world you have good habits. You’re disciplined. You’re a good worker. You’re a professional and you’re a good human. And it’s actually surprising how valuable that is. And Kelly’s standard is such that even for understudies you have to be able to jump in and do it perfectly so that no one notices or you are going to be in trouble.”
But in the same breath Loch also says Lannin is very nurturing, which I saw firsthand during one of the company’s Coppelia rehearsals a couple of weeks ago. “She is so sweet and loving and gives so much of herself,” Loch says. “She gave me so much love and not only cared about me as a dancer, but also a person. She was my mentor growing up and she taught me everything in order to be ready for the professional world.”
After graduating from high school in 2009, Loch joined the professional program at Pacific Northwest Ballet (PNB). He joined the company in 2011 and was promoted to corps de ballet in 2012. He was promoted to soloist at the end of last season. Throughout his career with PNB Loch has returned home on numerous occasions to perform leading roles in LBT’s productions, including Dracula, Giselle, The Nutcracker and Coppelia.
As for his reasons for returning, Loch says, “This place is my home and it has given me so much so I definitely want to return the favor.”
He continues, “I also get called in to do the leading roles, which when I was younger I didn’t get the opportunities to do. It also gives me more practice and experience in these roles so when I start performing lead roles in Seattle I will be more ready.”
Regarding his reaction to the news of his promotion last season, Loch says, “When I got promoted to soloist it was really satisfying because I had put so much work into it and to see the fruits of your labor turn in to something like this just felt really special.”
He adds, “As dancers we are all perfectionists so earning this title has also definitely given me more confidence.”
Watching Loch jump into rehearsal after just stepping off a plane I couldn’t help but wonder what he does to help prevent injury and illness. On this topic Loch says, “Recovery is so important so anything that can help me speed up recovery is great. I do cryotherapy. I have Norma Tec boots. I do a lot of stretching and roll out using a roller. I also do massage and work with this lady who does Trager Approach in addition to neuromuscular therapy.”
Of all the recovery methods that he uses Loch says the cryotherapy has been the most effective for him. “It’s so much more efficient than icing because you are put in such a cold environment that the blood goes to your core instead of your extremities. So it’s more nutrient rich, and it only takes three minutes, and you are able to move afterwards, so you can do it before working out or after working out. And it makes you recover three times faster than you normally would so, for me that has been a huge game changer.”
You can check out Loch in LakeCities Ballet Theatre’s rendition of Coppelia, March 29-31, at the Medical City of Lewisville Grand Theater in Lewisville.
The American Ballet Theatre principal dancer on performing Giselle with LakeCities Ballet Theatre and guest teaching at Dance Planet 22 this weekend.
Lewisville — The image we have of ballet dancers today is changing thanks to professional dancers like Misty Copeland, David Hallberg and Sarah Lane. These dancers have done what many say is impossible and have brought classical ballet into households around the world with their artistic pursuits both on and off the stage. Copeland is the first African-American to reach principal status at American Ballet Theatre (ABT). In 2011, Hallberg became the first American to join the ranks of the Bolshoi Ballet of Moscow. And Lane is most recognized for her role as dance double for Natalie Portman in Fox Searchlight Pictures’ feature movie Black Swan (2010). But in the last year Lane has also been making some big moves on stage as well, if her promotion to principal dancer with American Ballet Theatre (ABT) in September 2017 is any indication. She also received positive reviews for her debut role in Giselle last spring at the Metropolitan Opera House (MET) in New York City.
Throughout her career with ABT, which started in 2003 as an apprentice, Lane has performed in numerous classical ballets, including Cinderella, Coppélia, Le Corsaire, Don Quixote, The Nutcracker, The Sleeping Beauty, Swan Lakeand Les Sylphide. She also created the Chinese dance in Alexei Ratmansky’s The Nutcracker, the Miettes Qui Tombent (Breadcrumb) in Ratmansky’s The Sleeping Beauty, Miranda in The Tempest, Princess Praline in Whipped Cream and a role in Demis Volpi’s Private Light. Lane has also performed in works by notable choreographers such as Sir Frederick Ashton, Antony Tudor, George Balanchine, Liam Scarlett, Jorma Elo, Marcelo Gomes, Mark Morris and Twyla Tharp.
Lane began her dance training in Memphis, Tenn. under the direction of Pat Gillespie at the Memphis Classical Ballet. When her family moved to Rochester, N.Y., she continued her training with Timothy Draper and Jamey Leverett at the Draper Center for Dance Education. At age 16, Lane received a full scholarship to the Boston Ballet’s Summer Program. In 2000 and 2001, she was awarded first place and the Capezio Class Excellence Award at the North American Ballet Festival. In 2002 Lane became a U.S. Presidential Scholar in the Arts.
Lane will be pulling double duty this weekend as she reprises her role in LakeCities Ballet Theatre’sGiselle and guest teaches at Dance Planet 22. TheaterJones.com caught up with Lane after she returned from tour last week to discuss her rise through the ranks at ABT, preparing for the role of Giselle and participating in Dance Planet 22.
TheaterJones: Growing up, was becoming a professional ballet dancer with American Ballet Theatre (ABT) your main goal?
Sarah Lane: I have always loved dancing, but I never expected to be in a major ballet company because I just never felt that highly of myself. It wasn’t a goal I felt was obtainable for me until we moved to Rochester, New York, and I started at a more difficult school and was exposed to more teachers and guest teachers in the summers. I loved imagining myself as a professional ballet dancer because of the qualities these teachers brought to their classes and their teaching skills really rubbed off on me. So I kept working, and when I was 16 I came to New York City with a friend and saw ABT perform at the MET for the first time, and it made me think that maybe my dream is to be in ABT.
I always thought that NYC was too big of a city for me and being part of ABT would be too stressful, but then I thought of how beautiful the dancers looked on stage and I really wanted to be a part of that. And I think a lot of this had to do with the ballerina I saw that night, Amanda McKellow, who to this day is one of my favorite ballet dancers. She has such a sensibility when she moves and is so humble and she helped me a little bit with Giselle in the studio, which also happens to be the ballet I saw her perform in when I was 16.
You mentioned that you never saw yourself becoming a professional ballet dancer because you didn’t think that highly of yourself. How did you find the confidence to pursue your goal of joining a professional company?
Well, it’s something that I struggle with to this day. And I guess you can call it my Achilles heel because I have never been incredibly sure of myself. I love what I do and I get lost in it and I get lost in a certain feeling. It’s the feeling and the ideas I bring to what I do that drives me. And also the people that I work with and the processes that just make my performances whole rather than me coming out and thinking ok I can do this, this and this. So, instead of it being about me and myself and what I can do that drives me, it’s more about the artistry and what ideas I am trying to portray. So, in that sense I guess I don’t focus so much on whether I have confidence or not. I would say my confidence has gotten better over the years in that I’ve learned to appreciate the process more, and if I give more to the process then it distracts me when I go onstage so I can focus on the work more.
Looking at your career as a whole what advice do you have for the next generation of ballet dancers?
The most important thing is to have a really good work ethic because if you think you are too good to work or if you have one good show and you don’t think you have to work after that then that’s your downfall. Your whole career is going to be work and it’s not easy for anyone. Humility is also very important and having perspective in life and just keep working. I mean, perfectionism is great because that’s what keeps you working, but another point is you can’t judge yourself so much that you lose your love for what you do.
You were a soloist with ABT for 10 years before being promoted to principal last year. At any point during those years did you just want to throw in the towel?
I felt like I was just bashing my head up against a brick wall for many years. I wanted to go further and I wanted to develop and I wanted to do new and fresh works, but the thing is nothing is ever lined up so you can get what you want all the time. And that is how it was for me. I wasn’t lucky with the timing of how the company was going for a huge chunk of my career. But at the end of the day I learned a lot of things I wouldn’t have learned if I didn’t have to persevere through that time. I learned how to work for myself and drain as much as I could from a role, which I wouldn’t have been able to do if I was thrown into things faster. I wouldn’t have learned how to keep myself occupied and keep myself entertained with what I had. So, this taught me perseverance and how to motivate myself. I mean if you really love something than you have to keep working toward it. Even when you get discouraged you have to find a way to inspire yourself.
You had your debut in Giselle at the MET last May and received rave reviews. One critic even called you the Giselle for the Millennials. How did you go about making the role your own?
I really enjoy the depth of the story and the ethereal feel of the second half. This wasn’t a role I was thrown into. I have done so many peasant pas’s in my career that playing Giselle just felt like the next step for me. So, for me it wasn’t like all of the sudden I was on that night. It was more of a progression of so many years of continuing to be disciplined and continuing to love what I do. I have such fond memories of doing the ballet with LakeCities Ballet Theatre nine years ago that when I finally did it with ABT I just had such love for it that whatever judgements I had about myself I had to throw out the door because I felt like the ballet didn’t deserve any of that. And even though Giselle is one of the oldest ballets, it still contains emotions and storylines that people can relate with today such as love and betrayal. So, the ballet is still living and breathing the emotions that we have as human beings.
You performed in LakeCities Ballet Theatre’s (LBT) Giselle nine year ago, and you have also been playing the role of the Sugar Plum Fairy in the Company’s Nutcracker since 2014. What do you enjoy most about working with these young dancers?
It always helps to having someone older to look up too and learn from so I hope that there is something these dancers can learn from me and that I could be there to give them any tips or offer some encouragement. That’s what I enjoy about having these dancers around and watching and talking to them and just being a part of their productions. It’s really an honor for me to be there and to be a role model for them. LBT has a really good heart and lots of positive energy and they have kind of accepted me into their family and that just means so much to me.
While in Dallas you will also be performing and teaching classes at Dance Planet 22. How would you describe your teaching style?
I think I am a pretty fair type of teacher. I mean if someone doesn’t seem like they are really invested in my class I can be a little tough with them because if you’re not interested now then you are never going to be interested. But if a dancer is working hard, but still struggling with something I am more than happy to be gracious and give everything that I can to help them. The tough love side of me really only comes out when I feel like a student is being lazy or isn’t trying. I love coaching and being with dancers inside the classroom, so teaching is definitely something I see myself doing more of in the future!
You can see Sarah Lane in LBT’s production of Giselle April 6-7 at the Medical Center of Lewisville Grand Theatre and Dance Planet 22 April 7-8 at Booker T. Washington High School for the Performing and Visual Arts in the Dallas Arts District.
It has been another eventful year for dance in Dallas. TITAS brought a whopping 11 national and international dance troupes to Dallas in 2017, including Bridgman Packer Dance, Doug Varone and Dancers, Ballet BC and Malpaso Dance Company. Dallas dance institutions Texas Ballet Theater and Dallas Black Dance Theatre (DBDT) tie for second with five programs each. DBDT also experienced its first season without founder Ann Williams at the helm and as DBDT’s programs have shown new Artistic Director Bridget L. Moore is not afraid to take news risks while also respecting the company’s modern roots.
And as for the smaller companies, Bruce Wood Dance and Dark Circles Contemporary Dance both had stellar years with numerous premieres by special guests and their own company members. Avant Chamber Ballet is still pushing the boundaries of ballet with its Women’s Choreography Project while both Dallas Neo-Classical Ballet and Contemporary Ballet Dallas continue to build stronger and more consistent works.
We also saw the continued evolution of local dances festivals here in Dallas, including the fourth annual Dallas DanceFest, the fourth annual Rhythm in Fusion Festival and the second annual Wanderlust Dance Project. We have also seen many of the young dance professionals in the area forming their own dance companies, projects and movements, including Emily Bernet and Taylor Rodman of Bombshell Dance Project, Adrian Aquirre who is founder of Uno Mas Dance Company and Madison Hicks who is the founder of Moving Forward Dance Project.
So, you can see progress has been made in Dallas, but going into 2018 funding and tickets sales remain at the forefront of everyone’s mind no matter the size of your dance company. We have seen some companies cut costs recently by looking in-house for new choreographic ideas as well as seeking lesser priced venues for performances. I expect to see more of this happening in 2018 as well as companies getting more creative with their marketing, including social media, to promote their upcoming shows.
And as I reflect over the last year I can’t help but notice that once again most, if not all, of the dance premieres I got to preview were produced by some of my favorite local dance people, including Joshua L. Peugh (Dark Circles Contemporary Dance), Danielle Georgiou (Danielle Georgiou Dance Group), Sean J. Smith (Dallas Black Dance Theatre), Emily Bernet and Taylor Rodman (Bombshell Dance Project) and Albert Drake (Bruce Wood Dance). I love the uniqueness these artists bring from their training, travels and artistic influences to their own creative processes; but the one thing they all have in common is they all treated me to a truly memorable experience, which is why they, along with a few others, have made it on my list of favorite new works by local choreographers.
In no particular order, here are my favorite new works made locally in 2017:
Donkey Beach by Danielle Georgiou
Nothing made me laugh as much as Danielle Georgiou Dance Group’s (DGDG) Donkey Beach did back in June as part of the AT&T Performing Arts Center’s Elevator Project. Inspired by the beach movies of the 1960’s, Georgiou along with Justin Locklear (music and lyrics) and Ruben Carrazana (script) used live surf rock music, popular dance moves like The Twist and The Mashed Potato as well as a slew ‘60s slang to transport audiences to one amazing beach party. And as only DGDG can do, the cast kept us laughing with their catchy song lyrics and quick-witted comebacks while also drawing our attention to controversial topics such as sexual orientation and gender neutrality in subtle and thoughtful ways.
Meant to Be Seen by Emily Benet and Taylor Rodman
In their Dallas debut this fall, Emily Bernet and Taylor Rodman of Bombshell Dance Project showed audiences what they are all about in what I believe to be their signature work, Meant to be Seen. In this eight-minute duet the former Dark Circles Contemporary Dance members relied on their instincts and experimental partnering as well as classical and modern dance stylings to show audiences that female dancers are also capable of handling the more aggressive and robust dance moves generally associated with male dancers. Performing to text and music by their movie icons Marilyn Monroe and Aubrey Hepburn, Bernet and Rodman cleverly added a hip, feminine vibe to balance out the more powerful movements in the piece.
Hillside by Joy Atkins Bollinger
Bollinger proved not to be a one hit wonder with her second visually moving work, Hillside, which premiered at Bruce Wood Dance’s RISE performance back in November. Like her first work Carved in Stone, in Hillside Bollinger relied heavily on her artistic eye, including stunning lighting effects and three-dimensional architectural shapes as well as a large cast to bring to life her narrative of a woman’s journey through the ups and downs of life. Bollinger accomplished this feat with long, swooping body movements, authentic human connections and a sloping 32-foot-long 5-foot-wide replica of a hillside. Kimi Nikaidoh also gave a masterfully performance as the lead character with her unyielding body control and raw display of emotions.
HALT! by Joshua L. Peugh
Peugh returned to his light-hearted roots with plenty of finger jabs, pelvic thrusts and leg twitches in HALT!, part of the Dark Circles Contemporary Dance’s Spring Series: Bleachers last May. Inspired by watching the fencing competition at the 2016 Summer Olympics in Brazil, Peugh took common fencing techniques such as lunges, attacks and advancements and added in his signature loose-limbed jumps, heavy walks and primal positions to put a modern spin on this centuries old sporting event. The matching white outfits and fencing masks added an air of mystery, which only heightened the viewers’ anticipation.
Chasing Home by Albert Drake
The Bruce Wood Dance company member has found his groove as a choreographer if his latest work, Chasing Home, which was part of the company’s Journeys performance last June, is any indication. With an original score by Joseph Thalken, the work focused on the communal acts of a wedding, including the after party featuring the dabke, a Middle Eastern dance, as well as a friendly game of soccer to represent the day-to-day activities of those currently living in refugee camps. Drake incorporated a slew of dance styles, including Graham technique, soccer drills, B-boying, classical ballet and Irish step dance. The most poignant moment in work came from Emily Drake and David Escoto. The couple’s swooping arm and leg movements and nuanced gesturing were clearly in Wood’s style, but the vulnerability and sensuality present in the couple’s partnering was uniquely Albert Drake.
Interpretations by Sean J. Smith
Last February, Dallas Black Dance Theatre (DBDT) company member Sean J. Smith was tasked with putting together a work highlighting the company’s 40 years of dance innovation and community outreach, which was then presented at DBDT’s annual Cultural Awareness Series. With a dancing background that includes jazz, tap, ballet, modern and classical, Smith incorporated all of these styles along with video and audio recordings that featured DBDT alums and faculty members to create Interpretations. The choreography flowed seamlessly from slow and methodical to fast and daring with an emphasis on musical accents and individual showmanship. I personally enjoyed the big band dance section at the end in which the men of DBDT defied gravity with numerous leaps, turns and foot slides.
Somewhere in Between by Shanon Tate
Shanon Tate’s depiction of the relationship between sisters in Somewhere in Between at LakeCities Ballet Theatre’s Director’s Choice last spring resonated strongly with me. Tate beautifully captured the complex nature among sisters in a number of poignant duets against a three-dimensional floral stage setup designed by Tom Rutherford. The familiar chords of Antonio Vivaldi played through the speakers as the three couples pulled, twisted and fell away from another while also engaging in a number of tender embraces.
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.
LakeCities Ballet Theatre offer up a visual feast of vibrant dancing and stellar guest artists in honor of its 25th production of The Nutcracker.
Flower Mound — With stunning sets, exquisite dancing and live musical accompaniment provided by the Lewisville Lake Symphony, it’s no wonder LakeCities Ballet Theatre’s (LBT) annual production of the Nutcracker is one of the top items on people’s to do list every holiday season. This year’s Nutcracker performance was especially festive as it not only marked the company’s 25th anniversary of the holiday classic but was also the first time LBT sold out both showings at Marcus High School in Flower Mound this past weekend. This Nutcracker production also marks a transitional year for the company as many of its senior members graduated last spring, including Sydney Greene, Ali Honchell and Mackenna Pieper, giving members the opportunity to set up to the plate.
For those needing a refresher, the Nutcracker ballet is divided into two acts. The first includes a large party scene where our heroine Clara receives a Nutcracker doll from her Uncle Drosselmeyer. When Clara goes to sleep that night she dreams of a battle between the Rat King and her Nutcracker Prince and also the Kingdom of Sweets where couple’s from different nationalities, including Russia, China and Spain perform for the reigning couple. After the climactic Sugar Plum Fairy and Cavalier pas de deux, Clara returns to her bed where she awakens from this wondrous dream.
In LBT’s version, audiences are immediately pulled into the story as families heading to the Silberhaus’ annual Christmas party marched down the aisles and up onto the stage. Former English National Ballet dancer Kenn Wells (Herr Drosselmeyer) keeps the audience connected as he gestures to us to help him find the location of the party. Artistic Director Kelly Lannin’s fine eye for details, imaginative choreography and quirky sense of humor are on display throughout the party scene from the inventive adult and children dance sequences to Wells’ well-timed practical jokes and Mayor Silberhaus’ (Chuck Denton) over-the-top facial expressions especially after he ingests one too many holiday spirits. Not everyone may have noticed, but Denton also smoothly orchestrated almost every transition in the party scene from the lighting of the tree and the puppet show to the presentation of the Ballerina and Cadet dolls. Madeline Hanly and guest artist Ruben Gerding perfectly captured the doll’s unyielding forms with their pursed lips, angular arm gestures and jerky upper body movements.
Carly Greene shone in the role of Clara. Her natural grace and infectious personality were enhanced by her poignant pointe work and passionate character portrayal. Unlike other productions where Clara does very little after the first half, Lannin gives Greene many opportunities to flex her technical muscles throughout the show, much to the viewers delight. The only instance I am on the fence about is Lannin’s decision to feature Greene and guest artist Jack Wolff (Nutcracker Prince) at the beginning of the Snow Scene, a spot that is typically reserved for the Snow Queen and King pas de deux. Don’t misunderstand, Greene and Wolff nailed every singlearabesque hold, assisted pirouette and various sustained body movements, but their performance just couldn’t match up to the exciting lifts and complex pointe work that Mackenna Pieper and Shannon Beacham have perfected over the years in their roles of Snow Queen and King. Pieper, who graduated last year, has left some hard shoes to fill and it will be interesting to see who rises to the challenge. Adult member Faith Jones’ super long legs and penchant for beautifully controlled movements would fit the role nicely as would Carley Denton’s commanding stage presence and regal posturing.
The cast carried the party vibe over into the second half with more lively and technically brilliant performances by both LBT company members and special guests Sarah Lane (American Ballet Theatre) and Daniel Ulbricht (New York City Ballet) as the Sugar Plum Fairy and her Cavalier. Denton was fun and flirty as the lead of the Spanish dancers, deftly guiding the rest of the corp, including Chloe Davis, Ashleigh Eaton, Kelsey Rhinehelder and Mikaela Seale through a series of rhythmic hands claps and fast foot work. Jones and Beacham displayed amazing control and dexterity in the Arabian dance especially when Jones bent backwards and held onto her foot while Beacham rotated her in a circle. Guest Artist Andre Harrington got the audience up and cheering with his consecutive back handsprings, while a surprise appearance by former Dallas Cowboys player Isaiah Stanback in the role of Mother Ginger sporting a Cowboys jersey and helmet on top of the large colorful skirt housing eight tiny dancers had the audience in stitches.
Lane and Ulbricht were sublime in the grand pas de deux at the end of the show. They executed the controlledpromenades, ponche arabesques and shifting epaulement phrases in a calm and fluid manner. Lane’s breathy exhales during her multiple pirouettes and various jumping sequences made her moves appear bigger and bolder. Ulbricht’s incredible artistry and athleticism are well known in the ballet world. He eats up the space with his gravity defying jetes and barely makes a sound when he drops to his knee after performing consecutive toursen l’air.
Lannin and her team should be proud of the whimsical and welcoming Nutcracker production they have diligently fostered over the last 25 years. I’m looking forward to seeing how the younger dancers progress into the ballet’s more challenging roles in the coming years.
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
This was the first ballet I brought my daughter to and she did great. She is 2 1/2 and sat through the whole first half. The second half was a little scary so my husband took her into the lobby. I recommend this show for anyone with little kids.
LakeCities Ballet Theatre sucks audiences in with brilliant dancing and dramatic special effects at its 10th annual Le Ballet de Dracula in Lewisville.
Lewisville — After a decade, it’s natural for a ballet to start to lose some of its luster. But that’s not the case with LakeCities Ballet Theatre‘s Halloween spook-tacular, Le Ballet de Dracula, which played to a sold-out crowd for the troupe’s 10th-anniversary show on Saturday at the Medical Center of Lewisville Grand Theatre.
Having seen this production many times before, I can honestly say the ballet gets visually and technically stronger every year thanks to Artistic Director Kelly Kilburn Lannin’s fine choreographic detailing and continous production enhancements, including set designs, costuming and special effects that always seem to bring audiences to the edge of their seats.
The show’s popularity can also be attributed to Tom Rutherford’s well-conceived narrative and creative mash-up of characters including Ratcliff (the quirky sidekick), weolas (batlike creatures) and a dozen vampire brides.
Loosely based on Bram Stoker’s novel Dracula, LBT’s version illustrates the love triangle between Aurelia, Marius and Dracula in two well-balanced acts. In the first half the villagers, gypsies and Romanians all come together to celebrate the engagement of Aurelia (Carley Denton) and Marius (guest artist Steven Loch of Pacific Northwest Ballet).
The company members demonstrated great animation and agility in the specialized group dances, which featured various movement styles, including soft-shoe ballet, pointe, jazz, modern and even some folk dance. The Romanian dancers’ rhythmic foot stomps and traveling shuffle steps were accompanied by simple arm gestures and crisp formation changes.
The gypsies, led by Denise Clarkston, used an array of hip isolations and open-armed twirling phrases to depict their rebellious nature. Aurelia’s friends (Chloe Davis, Kristina Lorelli, Carly Greene, Julie Fenske, Madeline Hanly and Julia Tiller) proved why LBT is one of the most sought after pre-professional ballet companies in the Dallas area with their exacting pointe work, beautiful musicality and commanding stage presence.
One of the newer additions to the show was a musically enchanting pas de deux with company member Michelle Lawyer and guest artist Dan Westfield pf Ballet Frontier of Texas. Lawyer’s lithe frame and nimble point work balanced out Westfield’s wider frame and explosive jump sequences.
In the partnering sections each pulled from the other’s strengths and suddenly Lawyer’s sautés were as high as Westfield’s, and his arms placement and fourth lunges were just as soft as Lawyer’s. The exchanging of the tambourine throughout the pas de duex was perfectly timed and added a new musical layer to the dance.
Carley Denton’s role as Aurelia was well-earned. Her flexibility and stamina has improved over the last year, demonstrated through her various sustained body positions and lightning-quick pique turns. She has also found the key to releasing the tension in her shoulders with the help of certain breathing techniques.
Steven Loch continues to breathe new life into the role of Marius with his limitless energy and technical fortitude. The couple’s pas de deux was a lovely display of unending lines and counterbalance poses topped with Denton’s six continuous pirouettes into a luxurious body dip at the end.
The maypole dance that Lannin incorporated about six years ago remains one of the highlights of the first half. In this scene 12 dancers frolicked around a 15-foot pole, creating an intricate weaving pattern with the brightly colored streamers they carried. Rhythmic clapping accompanied the dancers’ spritely skips and gallop steps.
The mood changed drastically when Dracula (Shannon Beacham) and his minion Ratcliff (Asia Waters) arrived to lure Aurelia away from her family and Marius. Over the years Beacham has perfected the role of Dracula, from his menacing walks and nuanced cape flicks to the overly dramatic facial expressions.
Smoke machines and special lighting techniques succeeded in creating the illusion of Dracula appearing out of thin air. The dim lighting, ominous music and ghostly appearance of Dracula’s brides in the second half evenly matched the dancers’ loose, hanging arms, soundless bourrees across the floor and vacant expressions.
Julia Tiller (Marcela) set the tone at the beginning of the scene with her solid pointe work and expansive arm-gesturing. The fight scene between Loch and Beacham started off spotty with some lengthy pauses between their physical exchanges, but they quickly found their rhythm. Mindful of the young ones in the audience, the really heavy moments were lightened by Waters’ constant wandering and clumsy interactions with the brides.
Wildly creative, meticulously produced and cleverly choreographed, LakeCities Ballet Theatre’s Le Ballet de Dracula is sure to continue entertaining audiences for the next 10 years.
LakeCities Ballet Theatre closes its season with fresh moves and dexterous classical technique during its spring performance.
Lewisville — Don’t let the name fool you. LakeCities Ballet Theatre (LBT) is much more than a pre-professional ballet company, and they proved that Saturday night with Music In Motion at the MCL Grand Theater in Lewisville, ending their season on a high note. Known for their exuberant story ballets and exquisite technique, it may have surprised some to see the company attacking other dance styles such as modern, jazz and contemporary with the same boldness they do classical ballet.
The show opened with a flirty, baroque-fashioned pointe number choreographed by LBT staff member and Juilliard alum Deborah Weaver called Les Oiseaux de Ville. Weaver’s trained ear picked up on all the instrumental nuances in Aram Khachaturian’s composition which added new vigor to the art form’s unchanging technique. For example,pique arabesques finished with flexed palms and bourrees executed with fluttering hands drew attention to the music’s various instrumental phrases. The gold-laced, fingerless gloves which matched the 12 dancers’ gold and white knee-length tutus boosted the visual appeal of these movements. Weaver’s expanding and contracting formation changes and explosive cotangent sequences were also visually stunning.
Shannon Beacham’s Urban Perfume was the biggest surprise of the evening. Set to music by Sven Helbig this contemporary jazz number, performed in soft shoe, featured daring leaps, aggressive runs and simultaneous head and body isolations. The piece started with the six dancers stepping into second position with a contracted torso and arms thrusting down and away from the body. The phrase was repeated as the dancers switch places. As the music built the running became more frantic till the dancers exploded into fouette arabesque leaps and head-whackingbattements. Beacham’s time with Texas Ballet Theater and the Bruce Wood Dance Company showed through his quirky, yet controlled body movements and the opposing tempos he assigned each dancer during certain sections. The dim lighting and shimmering biketards added to the suspense of the piece. Even through the ending was a little underwhelming with the dancers simply running off stage, the core material of the work was still edgy and inspiring.
Pulling double duty as choreographer and performer, Beacham and his wife Christa were phenomenal in their roles as Romeo and Juliet in the ballet’s balcony Pas de Deux. Every caress and assisted lift exuded passion. The trust between the two was undeniable as Christa catapulted herself into Beacham’s arms only to be pressed up into a standing position above his head. The traveling steps for the pair may have been simple but the assisted pirouetteturns and alternating ponchearabesque holds were anything but. Sergei Prokofiev’s heart-wrenching composition only enhanced the couple’s star-crossed love for one another.
LBT 2 Director Shannon Tate’s Where the Sun is Silent challenged the dancers with its modern verbiage and dramatic storyline. Dressed in black liturgical dresses the 10-member group started clumped together arching back and reaching in different directions. The movement encompassed various modern dance techniques, including Martha Graham’s signature contractions and back hinges as well as Lester Horton’s lateral T’s and general ferocity.
The first act ended with LBT Assistant Director Nancy Loch’s rock ballet Move It! which the company premiered in 1998. Dressed all in black with music by Church of Rhythm this funky pointe number transported the audience back to the 90s’. This 17-person ensemble moved with The Rockettes precision as they shifted into a straight line and moved clockwise around the stage on pointe. The walking which made up a majority of the piece was accompanied by hand gestures resembling Madonna’s 1990 Vogue video.
In the second half LBT revealed what they do best in Joseph Mazilier and Marius Petipa’s Paquita. Known as one of the most technically challenging 19th century ballets, Paquita demanded serious control, technical brilliance and unending endurance from the LBT dancers. The first thing audience members noticed was that in many sections the corps mirrored the movement of Principal Dancer Mackenna Pieper. While one or two arabesque holds where not quite aligned with the rest overall the corp gave a strong unified performance. Ali Honchell, Michelle Lawyer and Beacham excelled in the multi-tempoed Pas de Trois. The female’s solos were filled with complex entrechats (a weaving jump from fifth) with multiple beats, double pique turns and grand jetes which they handled with poise. And Beacham seamlessly maneuvered both dancers through a series of composed arabesque and attitude holds.
Guest Artist Steven Loch was a powerful force in the pas de deux, but the shining star of the evening was Pieper as Paquita. Tall and leggy Pieper gave each slow developpearabesque its due. Pieper also managed the quickpirouettes and cabriole soutenu sections with exemplary control and fiery spirit. Overall Paquita was a great match for LakeCities Ballet Theatre. The ballet’s detailed classicism, specifically the proper epaulement (upper body positioning), is one of the many skills Artistic Director Kelly Lannin has drilled into her dancers’ bodies with great results.
LakeCities Ballet Theatre delights audiences with its whimiscal rendition of The Nutcracker accompanied with live music.
Lewisville — As critics sometimes it seems like we are always looking for the weak links in a performance. So it’s always a pleasant surprise when that task proves difficult, as it did Saturday night at LakeCities Ballet Theatre’s (LBT) 24th annual production of The Nutcracker to a sold-out audience at Marcus High School in Flower Mound. In keeping with its family-focused tradition, LBT’s Nutcracker weaved intricate storytelling with spectacular set designs and fanciful choreography that all audience types could appreciate.
The audience was instantly pulled into the action as the families attending Mayor Silberhaus’ Christmas party entered the scene through the aisles acknowledging us as they passed by. Our eyes were then drawn to the richly-decorated stage where the Silberhaus family (Mayor, Frau, Clara and Fritz) are preparing for the festivities. Artistic Director Kelly Lannin’s quick wit and discerning eye kept the story moving and prevented clutter on stage. Traffic jams were avoided with subtle stage entrances/exits and regimented formations. With so many performers onstage, movement was kept to clean chaines, piques and traveling triplets. The adult couples performed tricky waltz steps and nuanced arm movements with a grace you don’t typically see from these characters. Special Guest Ken Wells (Herr Drosselmeyer) got the audience involved as he almost fell into the orchestra pit while seeking out the Silberhaus’ house. He was more senile than mysterious in his actions which suited the younger audience just fine. The festive atmosphere in the auditorium was heightened by Adron Ming and the Lewisville Lake Symphony’s competent rendering of Pyotr Ilyrich Tchaikovsky’s classic score.
What stood out in the first act was the performers’ commitment to their roles. While Claire (Julie Fenske) and her friends danced a sweet adagio number with their dolls the adults stood in the background gesturing to one another while the maids discreetly drank from the wine glasses and the nanny chased Fritz and his friends. Mayor Silberhaus’ (Chuck Denton) over-the-top facial expressions and spirited gesturing set the bar for the other individuals on stage. However, while the heavily layered petticoats and colorful dresses were authentic of the time period, they also made it difficult to see the young dancers’ feet.
LBT’s battle scene is one of the best in the area. Cheeky mice carrying wounded comrades off in stretchers, Drosselmeyer chasing a mouse with rodent repellant and a diva Rat King (Robert Stewart) requiring a plush couch for his death bed are just a few memorable moments. Newcomer Jack Wolff as the Nutcracker Prince was another pleasant surprise. This 14-year-old from Houston is the whole package. Great flexibility, stamina and a commanding stage presence, Wolff is definitely going places. He and Fenske also made a darling couple.
With extremely supple feet, pliable back and innate body movements it’s hard to believe Mackenna Pieper (Snow Queen) is only 15 years old. The energy exuding from her fingertips in a ponchearabesque and the ease in which she executes a one-arm assisted slow pirouette is not something you expect from one so young. With a trusting partner such as Shannon Beacham the Snow pas de deux processed seamlessly. And while the snowflakes fast pointe work was exacting and exciting it was sometimes overshadowed by the powerful sounds of the orchestra chimes.
Guest Artists Sarah Lane (American Ballet Theatre) and Daniel Ulbricht (New York City Ballet) breathed new life into the roles of the Sugarplum Fairy and Cavalier which has previously been performed by ABT’s Julie Kent and Sascha Radetsky. Lane and Ulbricht executed movement with a powerful punch that kept audiences in suspense. Lane’s incredible control and meticulous arm placement made her lines and spins appear unending. Ulbricht is a fireball on stage. His exploding grande jetes are unworldly and his double tour en l’air into a double pirouette down to the knee was perfection.
The other LBT couples in the second half did a commendable job of matching Lane and Ulbricht’s energy and poise. Ali Honchell and Guest Artist Ruben Gerding (Spanish Chocolate) were a whirlwind of petite jumps, spins and assisted lifts. The Arabian dance was everything viewers have come to expect. Beacham contorted Faith Jones into various shapes before slowly rotating her in a circle. Jones’ Gumby-like frame enabled her to pull her extensions behind her head and practically bend her body in half when arching back in Beacham’s arms. Andre Harrington once again displayed his acrobatic prowess in a number of back handsprings and forward tucks as the Russian Baba. The Chinese were sassy and forceful with their pointe work while Mother Ginger (George Redford) and the Polichinelles were lighthearted as they danced rudimentary steps in soft shoes.
The Walt of the Flowers coupled delicate pointe work with continuously shifting patterns and lively performances by three pairs; Julia Tiller and Beacham, Michelle Lawyer and Blaine Quine and Honchell and Gerding. The group’s movements appeared blurry at some points due to the red lighting reflecting off their pink costumes, but that can be adjusted. The overall effect was still dreamy and ornamental.
Artistic Director Kelly Lannin on LakeCities Ballet Theatre’s upcoming performance, Treasures: 30 Years of Dance, and the company’s influence on the Lewisville community.
Lewisville — “My goal has always been to build a ballet company that the City of Lewisville can be proud of,” says LakeCities Ballet Theatre Artistic Director Kelly Lannin. Now with 30 years under its belt, a number of students going on to dance professionally, and a Nutcracker production that draws large crowds every year, LBT has surpassed even Lannin’s expectations. “I can’t believe it has been 30 years. Time just flew by.”
Originally from El Paso, Lannin trained at Ballet El Paso before attending Texas Woman’s University where she was the recipient of the Mary Agnes Murphy and the Anne Duggan Dance Scholarships. While at TWU Lannin performed with Dance Repertory Theatre and the DRT Touring Ensemble. After graduating with a Bachelor’s degree in dance in 1983, she moved to Lewisville to begin her teaching career. Lannin was a charter member of the Lewisville Dance Ensemble (1984) before taking over as artistic director in 1989, and changing the name to LakeCities Ballet Theatre.
The name change was done to give the company a more professional aire, according to Lannin. Instead of an ensemble she wanted to create a regional ballet company that would one day present multiple full-length ballets. A feat, she says, that took a lot of time and patience. “The first decade was about training the dancers and getting the community excited. The second decade we decided to contract with the Lewisville Lake Symphony for The Nutcracker and for the last decade we have been working hard to challenge our dancers in a variety of ballets and dance styles.” Today, Lannin has successfully directed and staged a number of productions, including The Nutcracker, Le Ballet de Dracula, The Sleeping Beauty, Giselle, Coppelia, The Little Humpbacked Horse, Cinderella, Alice in Wonderland,Peter and the Wolf and Carmina Burana, just to name a few.
And while Lannin says the dancers’ level of commitment hasn’t change over the years the level of competition within the ballet field continues to rise. “The level of training has just gotten better. Taking class three days a week isn’t cutting it anymore.” She adds that today’s ballet dancers also have to compete with dancers from other countries for those coveted ballet jobs. “These dancers from other countries like China, Japan, and Cuba are incredibly talented and have really upped the ante.”
Another challenge Lannin continues to face deals with funding. “Finding money and then figuring out where to spend it will always be a challenge. Thankfully we have a great parent base that we can always count on whenever we need volunteers. We have some parents who continue to volunteer even after their kids graduate and for me that is the biggest reward.”
Lannin says the arts scene in Lewisville has also come a long way over the last 30 years. “Before LBT Lewisville didn’t really have a dance community. I think there were two local dance studios and that’s it. We basically had to build an audience base from scratch.” The Greater Lewisville Arts Alliance, Lewisville Lake Symphony and LBT all came into being around the same time and continue to support one another today. “We remain very close as we are still run by the same group of people. And when the Medical Center of Lewisville Grand Theater opened in 2011 it gave all of us a place to call home.”
It’s at the MCL Grand Theater where LBT will be celebrating its 30th Anniversary April 25-26, 2014 with a Spring Gala performance entitled Treasures: 30 Years of Dance. Lannin will present some of her favorite works from past years, including Carmina Burana, Pas de Deux from Le Corsaire and Satanella. The program also features new works by choreographers Shannon Beacham, Deborah Weaver and Shannon Tate as well as an alumni number.