Tag Archives: Mejia Ballet International

Preview: Alice in Wonderland, Avant Chamber Ballet

Avant Chamber Ballet puts its classical technique and acting skills on trial in Alice in Wonderland at Dallas City Performance Hall this weekend.

The 2014 production of Avant Chamber Ballet’s Alice in Wonderland. Photo: Sharen Bradford/The Dancing Image

Dallas — One by one the eight dancers place their hands on the waist of the person in front of them as they step into a wide second position. After a slight pause, the group slinks off stage as one using small, synchronized steps. If you are familiar with the characters in Lewis Carroll’s 1865 novel Alice’s Adventures in Wonderland, which follows a girl named Alice after she tumbles through a rabbit hole into a fantasy world populated by peculiar creatures than you can probably tell that the eight dancers are personifying Absolem, the Hookah-smoking caterpillar.

It was clever of Artistic Director Katie Cooper to use multiple dancers to depict the caterpillar in Avant Chamber Ballet’s (ACB) presentation of Alice in Wonderland which comes to Dallas City Performance Hall Feb. 11-12. Not only do the dancers get to show off their exemplary adagio skills, including sustained balances, graceful arm placements and fluid movement transitions, but the human-made caterpillar also gives Cooper the opportunity to play around with the dancers’ musical timing, something that Cooper is well known for along with her meticulous attention to technical details and imaginative use of space and movement patterns.

A prime example of Cooper’s artistic attributes can be found in the Flower dance, which resembles the Waltz of the Flowers from The Nutcracker both in costuming and the dancers’ fluid movement quality. But unlike most traditional ballets Cooper doesn’t like to use the corps as stage ornaments; instead she prefers to have them moving on the sides of the stage at all times. She also likes to feature the corps in in various geometric traveling patterns and opposite movement sequences that pay homage to Cooper’s Balanchine roots.

Photo: Sharen Bradford/The Dancing Image

Cooper’s balletic interpretation of the classic children’s tale sticks close to the original story with Alice chasing the White Rabbit into Wonderland where she encounters a host of eccentric beings, including Tweedle Dee and Tweedle Dum, the Cheshire Cat, the Mad Hatter and of course the Queen of Hearts, who sentences Alice to death after she insults the Queen during a game of croquet. Cooper puts her own spin on the story with the addition of a human-made caterpillar, dancing mushrooms, a tea party gone haywire and a Greek chorus representing jurors in the trial scene.

While Cooper says little has changed choreographically since ACB first presented Alice in Wonderland back in 2014, she points out that viewers will notice substantial changes in both the venue and cast size. “Dallas City Performance Hall is quite bigger than Bank of America Theater in the Eisemann Center for Performing Arts,” Cooper says. “This allows us to have larger casts and do a few effects and stagings the way I really wanted to do last time, but there just wasn’t enough space.” She adds, “The Company has also grown so there will be more professional dancers and children in the show this time around.”

Today, ACB has more than 15 company members from all across the U.S., including California, Illinois, Kentucky, New York, Texas and Virginia as well as a few international members hailing from Russia, Ukraine and Japan. The production also feature 60 young dancers from studios across the Metroplex, including Park Cities Dance, Mejia Ballet and Legacy Dance Center.

Company members Madelaine Boyce and Yulia Ilina will reprise their lead roles as young Alice and the Queen of Hearts, which not only suit their physical appearances, Cooper says, but also their individual personalities and technical tendencies. “Physically Madelaine looks like the almost perfect Disney Alice, but I also choreographed it just for her so it is very suited for her. And I can’t picture anyone else doing the Queen as well as Yulia Ilina. She is tall and long limbed so she literally towers over Alice. But Yulia is also a great comedian and actor, which might surprise you if you’ve only seen her in tradition ballerina roles.”

I got to see Boyce in action when I sat in ACB’s rehearsal of Alice in Wonderland at Park Cities Dance in Dallas last week. (Ilina was unable to attend this rehearsal). Boyce was very quiet and focused as she stretched her limbs before practice. Even the way she adjusted her hair and tightened her ballet skirt was accomplished in a calm lyrical manner. Cooper has wisely chosen movement phrases for Boyce that complement these individual traits, including long, sustained reaches, smooth shifts in epaulement, complex foot work and thoughtful gesturing.

Like the rest of the company Boyce also exhibits an excellent ear for music, a skill Cooper put to the test in rehearsal by switching out the musical recording for one with a slightly faster tempo. Boyce barely blinked an eye before speeding up her turns and battements to match the new tempo. The score is written by Chase Dobson (now Mikayla Dobson) and features the piano and strings, and will be performed live by members of the Dallas Symphony Orchestra led by conductor Brad Cawyer.

Working on this ballet has also given Cooper the opportunity to reflect on her own artistic growth and that of her dancers over the last three years. “When we did Alice the first time I spent almost half a year on it. I still have my big binder of all the steps I wrote out and meticulously planned. At this point, I trust my own ability and creativity more. I don’t go into each rehearsal for a new ballet with quite so much structure.” She adds, “My dancers have also grown tremendously. At a small company like ours everyone has opportunities in casting that are sometimes few and far between in large groups. That can push you as a dancer in a very good way.”

Avant Chamber Ballet presents Alice in Wonderland Feb. 11-12 at Dallas City Performance Hall in the Dallas Arts District.

<< This preview was originally posted on Theaterjones.com.





Flamenco Fanfare

Dallas Flamenco Festival's Artistic Director Delilah Buitron
Dallas Flamenco Festival’s Artistic Director Delilah Buitron

Artistic Director Delilah Buitrón discusses the Orchestra of New Spain and Dallas Flamenco Festival collaboration, The Rise of Flamenco, as well as the art form’s origins.

Dallas — The Dallas Arts District gives local arts groups a bigger platform to share their talents. A prime example is this weekend’s event “The Rise of Flamenco: Lorca, Falla, Sorolla, Andalusia, 1920-39,” Feb. 14-15, 2014, at Dallas City Performance Hall.

The event is presented under the umbrella of the Orchestra of New Spain, in collaboration with Dallas Flamenco Festival, Mejia Ballet International, DGDG (Danielle Georgiou Dance Group) and Dallas Ballet Folklorico. The showcase will bring to life the international influences of poet and playwright Federico García Lorca, composer Manuel de Falla and painter Joaquín Sorolla. The festival also features choreographer Antonio Arrebola, singers Cristo Cortes and Chayito Champion, guitarist Ricardo Díaz and Dallas Flamenco Festival’s Artistic Director Delilah Buitrón.

A native Texan, Buitrón received her BFA in Theatre and T.V. Communications from Hofstra University in New York. After graduation she moved to Spain where she studied Spanish Classical and Flamenco at the Isabel Quintero Conservatory and the Amor de Dios School of Flamenco. Since then Buitrón has performed in Mexico City’s touring production of Carmen, The Dallas Opera’s production of La Vida Brave and portrayed the Cuban Salsa Legend La Lupe in Martice Enterprise’s musical production La Lupe: My Life, My Destiny. Buitrón opened up Estudio Flamenco Dallas in 2011. Along with teaching she is also the founder of The Flame Foundation and The Dallas Flamenco Festival Inc.

TheaterJones asks Delilah Buitrón to share her Flamenco background, what motivated her to start the Dallas Flamenco Festival and what audiences can expect at this year’s event.

TheaterJones: What motivated you to create the Dallas Flamenco Festival?

Delilah Buitrón: We [the festival’s organizers] wanted to bring forth what has already been established here in Dallas in terms of Flamenco. We have been doing the festival since 2009 and little by little it has been growing. Now, we have our resident artist, Antonio Arrebola, who is a famous Flamenco dancer from Málaga, Spain. We are also collaborating and influencing other genres of dance to help the Flamenco art form to grow. We are planting seeds because there hasn’t been a very strong Flamenco following for a long time. There are communities, but they are small and we want to help them grow. And by putting on this festival and bringing in the best possible guest artists to work with our great groups of dancers and artists we can broaden people’s awareness of Flamenco.

Can you tell me a little bit about the origins of Flamenco dancing?

Sure! Flamenco is a fusion of many different cultures that originated in Andalusia in southern Spain, and it’s a beautiful art form. We call it an art form because it continues to thrive today and continues to evolve. Flamenco dancing is also accompanied by live music, including the singers and the guitar. The dance itself contains rhythmic patterns of hand clapping and heel articulation and our elbows are always up. Flamenco is not a social art. You have to take it and do it for a while and really make it part of your life.

When did you make Flamenco dancing part of your life?

I have been dancing Flamenco since I was really young. My mom put me in a dance school to take ballet like every little girl, but she also wanted me to take Spanish Classical and Flamenco classes. I would say my passion for Flamenco didn’t happen till I went to Spain in 2000 and lived there and really immersed myself in the art form.

Have you worked with the Orchestra of New Spain before this festival?

Oh yes, as an actor, singer and Flamenco dancer. I did a show with them in 2006 at Southern Methodist University and I have stayed in contact with them. So, I have known the orchestra for quite a while now and this year marks their 25th anniversary and we wanted to do something special for them.

What can the audience expect to see at this year’s Dallas Flamenco Festival?

This year’s festival is more like an Operetta. So, it’s like going to the Opera but with the best Flamenco singers, dancers and actors bringing Manuel de Falla’s El Corregidor y la Molinera to life. We want to transport the audience to 1920’s and 30’s Spain through the best of Federico García Lorca and Manuel de Falla, a composer at that time, as well as the best Flamenco and Spanish stylizations that they have ever seen. And it’s not just Flamenco. There is Spanish folk dancing as well. Flamenco will come at the end of the show. You will see the rawest most purist Flamenco you will ever see. And that’s why the show is called The Rise of Flamenco. Everything leads up to this explosion that is Flamenco.

This Q&A was originally posted on TheaterJones.com.