Tag Archives: Moody Performance Hall

Preview: Bruce Wood Dance Harvest Performance

Loving Life

Bruce Wood Dance captures the lighter side of life in Bryan Arias’ new work Live, Love, Laugh, part of the company’s Harvest performance this weekend. 

Bryan Arias. Photo: Pablo Ramos Nieves

Dallas — “Palm, wrist, flip, wrist, palm change.” “Step back, front, down, up, step, arm, heel, heel.” Bruce Wood Dance (BWD) company members Olivia Rehrman and Seth York say this phrase under their breath as they review the corresponding movements while Choreographer Bryan Arias stands off to the side already figuring out where the movement will take the dancers next. Dubbed the hip-hop breakdown, this sequence of movement is the only time that the pair dances in unison. The rest of the time it’s almost like they’re playing an intricate game of tug of war.

“It’s really quirky and fun, and there’s a lot of partnering involved,” says Rehrman about the duet that I was able to see in its early stages at the Bruce Wood Dance Gallery back in September. “There are no counts so we are going off an internal rhythm that we both know really well. And knowing that the hip-hop part is kind of over the music instead of to the music. And because there are no exact counts we could then find where we want to spend more time or what felt good to hold onto longer.”

Photo: Brian Guilliaux
Bruce Wood dancer Jaime Borkan in Bryan Arias’ Live, Love, Laugh

As to the relationship the two are portraying in the duet Rehrman says Arias didn’t really give them any direction in that department. “It’s not like we are a couple or anything. And honestly I don’t feel like we are man and woman when we’re in it. We do a lot of back and forth weight sharing and so, for me, it’s more like two humans moving together as opposed to being in a relationship. But I also think it’s up to the interpretation of the viewer.”

This duet is one of three that lead up to the grand finale in Arias’s new work Live, Love, Laugh, which is part of BWD’s Harvest performance Nov. 15-16 at the AT&T Performing Arts Center’s Moody Performance Hall. The program also includes Bruce Wood’s nationally renowned Follow Me and the world premiere of Artistic Director Joy Bollinger’s In My Your Head.

This is Arias’s second time working with BWD. He created My Heart Remembers for the company’s 5 Years performance in 2015. When asked about the decision to bring Arias back, Bollinger says, “The first time Bryan Arias created on the company was our fall show in 2015. I was still dancing and I remember the growth I felt during the creative process. I wanted our dancers to have that experience and I wanted our audience to be reacquainted with his refreshingly authentic style. While creating incredibly intricate and detailed movement, Bryan’s work remains relatable, relevant and freeing.”

A native of Puerto Rico, Arias and his family moved to New York City at the age of 8. Growing up in NYC, Arias was exposed to many styles of dance, including ballet, modern, jazz and hip-hop. After graduating from La Guardia High school for the Arts, Arias went on to dance with Complexions Contemporary Ballet, Netherlands Dance Theatre (NDT) and Crystal Pite’s Kidd Pivot. He has also performed works by notable choreographers such as Jiří Kylián, Alexander Ekman, Lightfoot/Leon, Johan Inger and Ohad Naharin.

As a choreographer Arias has set work on the Juilliard School, Hubbard Street 2, NDT’s “Switch,” Ballet Vorpommern in Germany and most recently The Scottish Ballet. The Arias Company made its debut in 2013 and since then has performed internationally in festivals such as Siguientescena (Mexico), Pietrasanta Music Festival (Italy) and CICC Gala (Copenhagen). Arias is also a 2017 Princess Grace Choreography Awardee and a 2019 Jacobs Pillow Fellowship Honoree.

For many of the dancers, including Rehrman, this is their first experience working with the incredibly mindful and uplifting artist. When asked about Arias’s creative process, Rehrman says, “Instead of having us copy him exactly he’s more like let’s see if this works or is this isn’t working then let’s just scrap it because it’s your duet and it’s got to feel good of you. He’s more experimental in that way, which I like.”

Rehrman continues, “He’s also very kind and helpful when generating choreography. So if something’s not working then I felt comfortable going to him and saying this doesn’t feel good what can I do. He just has this way about him that even when it’s time to finish I feel like I want to keep going because I want to know what he’s going to do next.”

As far as what she has taken away from this experience Rehrman says it has helped her develop a deeper awareness for how her partner is feeling on any given day. “There’s a lot of weight sharing between Seth and I, and so you really have to be sensitive to where that person is at,” explains Rehrman. “Like today, for instance, there’s a part where I put my foot on Seth’s thigh and do like a deep lunge and my foot slipped off and he actually caught my foot in his hand. So he knew exactly where I was and was right there to catch me.”

She adds, “I think just being sensitive to the sensation of your partner is what I’ve taken away from this mostly. And because our group section doesn’t have counts either, it’s about sensing the group that you are dancing with even if you’re not touching them.”

>This preview was originally posted on TheaterJones.com.

 

Q&A: Emily Molnar, AD of Ballet British Columbia

The artistic director of Ballet British Columbia on starting conversations through dance and performing in Dallas as part of TITAS/Dance Unbound this weekend.

Emily Molnar working with members of Ballet British Columbia. Photo: Michael Slobodian
Dallas — TITAS/Dance Unbound’s 2019-20 season continues with the innovative, intelligent and dynamic Ballet British Columbia (BC), Nov. 8-9, at AT&T Performing Arts Center’s Moody Performance Hall. This is Ballet BC’s second time appearing in Dallas, the first occurring in June 2017, and the program looks to be just as bold, beautiful and strange as the last with the Company performing in Aszure Barton’s BUSK (2009) and Johan Inger’s B.R.I.S.A. (2014).

Ballet BC is an internationally acclaimed collaborative and creation-based contemporary ballet company that is a leader and resource in the creation, production and education of contemporary dance in Canada. The Company’s continuing success can be attributed to Artistic Director Emily Molnar who, since her start in 2009, has developed a repertoire of more than 45 news works by acclaimed Canadian and international choreographers, including William Forsythe, Cayetano Soto, Sharon Eyal and Gai Behar, Medhi Walerski, Ohad Naharin, Crystal Pite and Johan Inger, among many others.

Molnar’s illustrious dance career includes being a member of the National Ballet of Canada, a soloist with the Ballet Frankfurt under director Forsythe and a principal dancer with Ballet BC. Molnar is also a critically acclaimed choreographer and has created works for Alberta Ballet, Ballet Mannheim, Ballet Augsburg, Cedar Lake Dance, ProArteDanza, Morphoses/The Wheeldon Company and New York City Ballet’s Choreographic Institute.

Her numerous artistic accolades include being named The Globe and Mail’s 2013 Dance Artist of the Year, the 2016 recipient of the Vancouver Mayor’s Arts Award, BC Community Achievement Award and the YWCA Women of Distinction Award in Art Culture & Design. It was also recently announced that Molnar will be leaving Ballet BC to become the new dance director of Netherlands Dance Theater.

We ask Molnar about the journey Dallas audiences will take, the dancers’ daringness on stage and how she feels about the next phase of her career with Netherlands Dance Theater.

TheaterJones: When putting together a program like the one you will be presenting in Dallas what factors do you consider?

Emily Molnar: There are so many different people and levels of conversation that I keep looking at whenever I am trying to put anything together. One of the first things is that there is a choreographer that really has something to say. That is really investing in where dance is today. And I know they are going to bring that into the studio first, and work with our dancers on that conversation to help develop an artist, develop a performer and develop a comment through dance on society.

And then I look at the other side of it, which is when I put anything together what is the experience that our audience is going to go through. What can we offer them as a journey? What can we offer them as a reminder of our humanity or a conversation? But, of course, it’s not up to us to decide that because as you know the performing art is about a conversation. We all can enjoy dancing in and moving in our kitchen. That’s a beautiful thing and it’s very much about being alive. But once you ask someone to be on the other side of that and be in the theater with you then the responsibility you have as a dancer and a choreographer is to really say something with that. To really speak to the people and share ideas through dance with someone. And so I’m always looking at how the whole evening will create something that may raise questions or move an audience to a different observation.

The other gorgeous thing about dance is of all the art forms we are the least documented. The minute that show is over it is a residual. It’s something that echoes in each of us and that’s what’s left. And so that is also a very beautiful thing. A very unique thing about dance. So when I try to put an evening together I’m very aware of diversity. Of variations on ideas that will as a whole create an experience for our audience and create an experience for the artists within the work. And, one that will also help move a choreographer’s artistic vision forward as well.

Photo: Michael Slobodian
Ballet BC Dancer Kirsten Wicklund

For those coming to see Ballet BC for the first time how would you describe your dancers to them?

I can speak from the point of view of what I look for when I am hiring someone, which I do think is what the audience feels at the end of the day, and the responses I get from them. I hear things like generosity and daringness. They can absolutely see the training because we have a classical root that is evident in the type of virtuosity of the body and of the daringness within the way the dancers approach the work.

When we went to Europe last year, I kept hearing audience members say ‘You know, I see a lot of really great dancers, but what we don’t always see is a collective of people that are so clearly on the same path. That are so clearly with the same intention.’ And I think that is really the first thing people feel with our dancers is that they collectively are on the same page. That they are together with a clear intention and then each of them can rise to their own occasions as individuals within that.

I also think people appreciate the virtuosity. That we have a group of dancers who can walk through many different styles of work fluently, and that is very much the hallmark of what the company is about. That we can essentially, as much as possible, be a company that would be every choreographers’ company. That we could go deeply into each person’s process with this type of openness and a toolbox that’s wide enough that we can jump to a different style. And with each year we get stronger in that. Of course, it’s always a big learning curve, but I do think we have very opened and curious artists inside the company. Also, energetically the dancers break down that fourth wall. We really focus on the idea of who’s sitting on the other side is as important as those people that are on stage.

How would you describe Ballet BC’s dance aesthetic?

As far as stylistically what they will see, whether it’s ballet or contemporary, I will say that it’s all of it. It’s a woven tapestry of the very first of the training of that classical dancer, which is the person that’s in the company, but with a lot of training and contemporary aspects of dance. So, what you are going to see stylistically is really the appetite of contemporary ballet today or contemporary dance I would say.

There are so many different ways to go around it, but at the end of the day what you’re seeing more than ever is that the body is an enormous vehicle for expression and we have choreographers today who are able to tap into that. And we have dancers who can tap into that more than ever because every year in schools and companies and choreographic processes around the world we are getting wiser and more sophisticated each time we make a work. You can see that there has been an evolution from what we were able to do 30 years ago, and I think that’s very exciting and what I do like about what we are offering audiences is that we are still making the body the most important expression out on the stage.

At what point in your career did you begin exploring the business side of running a dance company?

It kind of came into my life as early as probably when I was still training in the National Ballet School. I started asking a lot of questions, and I’d often think I was the most challenged dancer in the room because I was fascinated with the creative process and making new work and all of the things that are involved in collaborating with a choreographer. So from the age of 12 I was hypnotized by working with choreographers, but at the same time when I started dancing in companies what I also started looking at was how are we coming together as a company? How are we coaching dancers? How are people being cast? How are we talking to audiences? How are we curating evenings? And I didn’t realize what I was doing, but I started to become very curious about the mechanics of a company. The mechanics of developing a dancer and developing work and I kept thinking ‘Hmm why do I find those as interesting as myself dancing’ and I used to use those questions to help me better myself as a dancer.

By the age of 26 I started to realize I needed other things to come into my life so I could still mature as a performer. I started teaching creative process classes at that point. I also started running a company for youth, and then I started to want to bite off different responsibilities. I just wanted more information, and I wanted to take on more responsibilities. And I went freelance at one point where I was writing all my grants and putting projects together and developing myself as a freelance choreographer. And that’s when all of the management side per say came in and I realized it was starting to complement those other questions I had about the mechanics of running things. That’s when I realized that I have always wanted to direct from a very young age, but I needed certain pieces of the puzzle to come together through my own various experiences in order to help me do the job I am doing right now.

Were there many females in leadership roles in other dance companies when you started working with Ballet BC a decade ago?

I’ll speak specifically to Canada because our ballet companies were founded, most all of them I think, by women — ironically, [they were] not run by women all of the time. We are a female-dominated profession so you would think if anywhere in any profession you would be seeing more female leaders it would be in dance. That was definitely something I was aware of when I started, but I am a person in the way I live my life where again I tend to not put boxes around anything. I am eager for the day where we don’t have to identify ourselves as male or female or anything. Where we can literally be a unique version of ourselves and so I look forward to fewer labels and not more.

So, I never really saw myself as a female or a female trying to be a leader. I just thought I have an idea. I want to try to do this. I do know that the roadblocks getting there were different for me not just because I was a female, but I also didn’t walk out of a ballet company as a principal dancer. So, there are certain politics around directing and I knew I was asking very important questions and I didn’t have the solutions, but the fact that I was even asking them I would hope would make me a positive young leader. But whether I’d ever get an opportunity to exercise those I was absolutely very aware that may never happen. Unless I was willing to start my own company from scratch, which I questioned for many years, because if what I want to build already exists then it shouldn’t be built. There needs to be a need for what I would be building and I didn’t want a company that was just about my own work. I wanted a company that was about many peoples work. And so I felt already that Ballet BC existed and I felt there were other companies that existed in that manner. So it wasn’t about me making a company. It would have to be about me coming into a company that needed a new director.

What can we do to help nurture female leaders in dance going forward?

I think this issue is more prevalent in the ballet world than the contemporary dance world. We have a lot female choreographers and female directors at their own companies in the contemporary dance world. But in the ballet world I would agree there’s an enormous intelligence in the female voice that is, thank goodness, now being more observed. But I also think it starts much earlier if you ask my opinion, which is how are we as leaders using our platform to really make this an initiative. I don’t think it’s a lack of talent. We need to start at a very young age at addressing people’s questions. So, when you see a young person whether they’re male or female if they have a desire we need to start to give them opportunities much earlier on. And allow them to build confidence so that when they do develop in their careers that they feel like they can try.

Congrats on your new role as dance director of Netherlands Dance Theater. What prompted this move?

I am definitely in the early stages of this transition and so what I can say is it’s a great time for a new director to come in to Ballet BC. We’re healthy and things are much different than they were 10 year ago so I feel very excited for the company. There’s also a lot of directors that have an interest in the company, so I think it is also a beautiful opportunity for a new leader to come in. I wasn’t searching this out to be completely honest. I did know that if I was going to do my job well as a leader I need to look at just not what I do within an organization, but also how I leave an organization. So, I was aware that in the next few years it would probably be a positive choice for me to move on so that someone else can come in and refresh the button, and just bring me a new point of view within the organization and also for our audiences.

My decision has nothing to do with not wanting to stay at Ballet BC. This opportunity with Netherlands Dance Theater was just something I couldn’t turn down. It is also an opportunity for me to take a new step and I am excited about that. It is a gorgeous company and it still falls in line with a lot of the things that I’ve been working on and I am excited to see what I can bring to that beautiful legacy of the company and also to their future potential. And I am also excited to see what’s going to happen Ballet BC.

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

 

Avant Chamber Ballet: Morphoses

Transforming Ballet

Avant Chamber Ballet kicks off its season with a triple bill featuring Christopher Wheeldon’s Morphoses and two works by Katie Cooper at Moody Performance Hall.

Photo: Dickie Hill
Avant Chamber Ballet presents Morphoses

 

Dallas — It has been a busy summer for Avant Chamber Ballet (ACB). In addition to preparing for its 2019-20 season, which kicks off with Morphoses Sept. 7-8 at Moody Performance Hall, the company also moved into its own studio space in the Dallas Design District in July. ACB Artistic Director Katie Cooper says that having their own space has been transformative for the company.

In previous years, Cooper says that the company would not have been able to put on a fall show because of the limits of renting or being lent space owned by ballet schools. “We had to wait till summer intensives and summer classes were over for us to have daytime hours.” This meant either rushing to put a performance together in late September or competing with a busy October arts month.

She adds, “So for us to find this weekend, and it worked for everyone involved, including musicians and everything, I am super happy and lucky that everything aligned for our fall show.”

Even though the company is heading into its seventh full season, Cooper says that in many ways this feels like their first year as a real company. Cooper explains, “We’ve transitioned to paying the dancers weekly, which is huge. And it makes sense for the dancers be paid weekly because every week that they’re working is actually a good work week now that we have a home.”

This weekend’s triple bill includes Christopher Wheeldon’s Morphoses, Cooper’s Sisterhood and the world premiere of Cooper’s Brahms Trio.

Regarding the program, Cooper says, “It feels like my miracle repertory because there was so many different puzzle pieces that had to come together and I am just so excited about it.”

One of these puzzle pieces was when the schedules of musicians Alexander Kerr (Dallas Symphony Orchestra Concertmaster), David Cooper (ACB Musical Director and Chicago Symphony Orchestra Principal Horn and Cooper’s husband) and Fei-Fei Dong (international piano soloist) aligned so they could perform alongside ACB in Cooper’s Brahms Trio, which is named after the work composed by Johannes Brahms.

Cooper says that she has always wanted to choreograph to the Brahms Trio and describes the music as very danceable, beautiful and romantic. She also says she wanted to do the classical music justice by only using classical choreography.

“I really wanted to do it well because it is a very classical piece of music and classical ballet,” Cooper says about the choreography for the piece. “And unless you do classical ballet right then it’s not good. It’s almost easier to pull off something really contemporary and new because when it’s classical it has to be well-rehearsed, interesting and clean.”

She adds, “The choreography has to be really good because there’s no bells and whistles or quirkiness that’s going to keep the audience’s attention. It really has to be beautiful, musical and interesting in its purity and the reflection of the music.”

Also on the program is Wheeldon’s Morphoses. As Cooper proudly states, ACB is only the third ballet company to perform the work after New York City Ballet and Washington Ballet. For those unfamiliar with the ballet, Morphoses is a complex and athletic ballet for four dancers set to György Ligeti’s String Quartet No. 1. ACB’s cast includes Juliann McAloon, Kara Zimmerman, Alexander Akulov and Marlen Alimanov. The music will also be performed live by Cezanne Quartet.

Rounding out the evening is Cooper’s Sisterhood, which the company premiered last May. The work features music by composer Quinn Mason and is a nice departure from Cooper’s classical roots. Instead of tutus and pointe shoes the dancers perform in trendy sportswear and sneakers.

When asked about these particular choices Cooper says, “I wanted to challenge myself with something different with the sneakers and clothing. Sneaker ballets are such a specific modern American thing. Just think of Jerome Robbins and Justin Peck does a lot of them now. I just wanted to explore something new, and that music I just loved.”

Cooper adds that putting Sisterhood on this program just made sense because it creates a nice balance with the other works. “The three ballets are so incredibly different and that’s what you always hope for in a triple bill. That they all have their own internal world and they’re all radically different.”

Looking back on the last several years Cooper says the company has really developed into what she wanted. “I always said I wanted a company that I would have wanted to dance to in. That every show there’s good stuff that’s fulfilling for the artists both physically, mentally and emotionally.”

“To me, being able to present this season that we have going is really finally the culmination of a lot of years of work.”

>This preview was originally posted on TheaterJones.com.

 

Dallas Dances 2019: BWD

Dallas Dances Profile: Bruce Wood Dance

Company member Olivia Rehrman on learning Bruce Wood ‘s movement and performing a section of Garrett Smith’s Forbidden Paths at Dallas Dances this weekend. 

Photo: Sharen Bradford/The Dancing Image
Olivia Rehrman, center, in Garrett Smith’s Forbidden Paths, performed by Bruce Wood Dance

 

Dallas — Even though she never knew him Olivia Rehrman says she feels a strong connection with the late Bruce Wood through his movement aesthetic and those who knew the choreographer well, including Bruce Wood Dance (BWD) artistic staff members Kimi Nikaidoh, Joy Bollinger and Gayle Halperin.

“I really connected with the technical aspect of his movement,” says Rehrman who is celebrating her fourth season with the company. “I think I’m a pretty clean technical dancer, and his movement is very technical, strong and powerful.”

She adds, “What didn’t click right away was the partnering. All the transitions in his work are so smooth and the partnering I did before didn’t involve a lot of overhead lifts so the hardest part for me was learning how to come in and out of the floor with a partner.”

A Dallas native, Rehrman grew up training at the Academy of Dance Arts. She continued her training at The University of Arizona where she graduated in 2012 with a BFA in dance. Before joining BWD in 2016, Rehrman spent four seasons with the world-renowned jazz company, River North Dance Chicago.

During her time with BWD Rehrman has gotten to perform in works by Wood, Yin Yue, Kate Skarpetowska, Bridget L. Moore, Nikaidoh, Bollinger and Albert Drake III. When she’s not in the studio with BWD Rehrman can be found teaching ballet and modern at Tuzer Dance Center.

Rehrman says her favorite Wood work is the crowd pleasing RED. “It is so powerful and so exhausting to dance, but it is so rewarding when you push through it to the end.”

BWD actually performed RED at Dallas Dances 2017 at Moody Performance Hall, which is presented by the Dance Council of North Texas. At this year’s Dallas Dances BWD will be performing the third section of Garrett Smith’s Forbidden Paths, which the company premiered at its June performance.

In the last section of his piece, which was created in protest of an Iranian law that prohibits people from dancing in public, Smith has the dancers strip off their baggy clothes to reveal skimpy black shorts and tops. When asked about the costume choice Rehrman says, “I am not a modest person so the costume didn’t really bother me.”

She continues, “If anything, the affect the costume had on me is when I was wearing baggier clothes I felt like it was easier to make my movement look grounded or grungier almost. And being stripped down at the end you kind of want to physically come out of the floor, but you can’t do that because his movement is so grounded and you have to use your plie so much. So, I think physically the costume changed my movement and I had to kind of fight against that.”

As for what it was like working with Smith on this piece Rehrman says, “This experience has taught me to not take for granted what I do every day. So on those days that I am tired and don’t really feel like dancing I remind myself that not everyone has the luxury to dance the way I do.”

BWD will be performing Forbidden Paths as part of Dallas Dances’ Saturday program at Moody Performance Hall.

>This profile was originally posted on TheaterJones.com.

 

 

Dallas Dances 2019: DBDT

Dallas Dances Profile: DBDT

Dallas Black Dance Theatre’s Xavier Mack on his second season with the company and performing Darrell Grand Moultrie’s Execution of a Sentiment.

Photo: Avitava Sarkar
Xavier Mack in Execution of a Sentiment

 

Dallas — Xavier Mack began his dance training with Divine Dance Institute in Capitol Heights, Maryland. He went on to attend the University of Maryland-Baltimore County where he earned a BA in Modern Language and Linguistics. Mack’s says his dance journey with the Dallas Black Dance Theatre (DBDT) organization started at one of the company’s summer intensives.

“I met Nycole Ray, the director of DBDT: Encore!, when I attended DBDT’s 2016 summer intensive,” Mack says. “From there, we stayed in contact while I was completing my college studies. Mrs. Ray offered me a contract upon graduation.”

Mack spent one season with DBDT: Encore! before he was asked to join DBDT in 2018. When asked about the move from DBDT: Encore! to DBDT Mack says the transition wasn’t a difficult one. He explains, “The standard of excellence is high for both companies. The warm environment of the established DBDT dancers also helped make my transition painless.”

Mack also credits DBDT Artistic Director Melissa M. Young for creating an environment where the dancers feel comfortable taking risks, which, in the long run, helps them become better artists and individuals. “Since being under Melissa’s leadership, I am better at managing my goals, instead of letting my goals manage me. She often reminds us to take things one step at a time (literally and figuratively), one hour at a time, and one day at a time.”

Mack adds, “With the advice of this peaceful approach I’ve noticed that I have been able to meet more of my personal marks.”

For this year’s Dallas Dances, DBDT will be presenting Darrell Grand Moultrie’s Execution of a Sentiment set to music by Ezio Bosso. The company premiered the piece at its 2019 Spring Celebration Series.  Talking about the concept of the work Mack says that the piece does not have a general feeling. Instead it has many different feelings sprinkled throughout its three sections.

“There are moments of somber stillness. Then, there are contrasting moments buzzing with intensity. In fact, the mission of the movements is to physicalize emotions that are normally communicated verbally.”

As far as what he feels when performing the work, Mack says, “I feel electrically charged. Especially during the third section. There is something about the dramatic music and the dazzling work of my beautiful team that gets me going!”

DBDT will be performing Execution of a Sentiment as part of Dallas Dances’ Saturday program at Moody Performance Hall.

> This profile was originally posted on TheaterJones.com

 

Ballet North Texas Announces 2019-20 Season

BNT

The first time I spoke to Nicolina Lawson, the artistic director of Ballet North Texas (BNT), was last winter when I interviewed her about the company’s first Nutcracker production, which the company performed at venues in Dallas, Terrell and Palestine. She impressed me with her drive and clear focus regarding her plans for the company as well as her ability to multi-task with two young kids in tow. And I believe she is expecting baby #3 this fall.

Lawson also knows her way around a sewing machine. I know this because I  recently talked to her about making BNT’s Nutcracker costumes for a piece I wrrote for the Dance Council of North Texas’ DANCE North Texas publication.

During this conversation Lawson told me she had some big news to announce in the next couple of weeks. The big news turned out to be the lineup for BNT’s second season, which runs from Sept. 2019 to July 2020.

Leading off the season will be BNT’s annual production of Night on the Trinity. It will feature Associate Artistic Director Anna Sessions’ Mélange d’épices, Arthur Saint-Léon and Fanny Cerrito’s classic La Vivandière, two world premieres by Lawson and Cindy Michaels as well as a guest performance by Ballet Frontier of Texas. Performances will be held Sept. 19-20 at Moody Performance Hall in Dallas and Oct. 12 at the Scott Theater in Fort Worth.

BNT’s Nutcracker will return to the stage for two productions on Nov. 24 and Dec. 20-21. Close to 60 children’s rolls are cast to join BNT’s Nutcracker, which is choreographed by Lawson to Tchaikovsky’s famous score.

In April 2020 BNT will present Cinderella at the Irving Arts Center. The Company will venture into Prokofiev’s haunting score to transport the lonely heroin from her wistful fireside dreams to a dazzling palace ball where she will meet her prince.

The season will conclude with Shakespeare’s comedic romance of A Midsummer Night’s Dream at Moody Performance Hall in July. The ballet follows the quarrels of King and Queen of the Fairies and the mayhem of mismatched lovers, abetted by mischief-maker Puck. All coming to a resolve with the infamous “Wedding March” by Felix Mendelssohn.

Tickets will be available soon. For more information visit www.balletnorthtexas.org.

Join Ballet North Texas as we embark on our next step to becoming one of the top tier ballet companies Dallas/Fort Worth has to offer.

We are holding this fundraiser to secure assets for the construction of our brand-new facility. When this new space is complete, we will be introducing North Texas Conservatory to serve as the premier school of Ballet North Texas. North Texas Conservatory will offer world class dance and music lessons for students of all ages and abilities. It is with your commitment and dedication that enables us to take this next step towards building the conservatory as our founders have envisioned.

All funds from this event will benefit Ballet North Texas and North Texas Conservatory in the buildout and furnishing of the Conservatory, outreach and special needs programs, as well as the upcoming 2019-2020 season.

Avant Chamber Ballet Announces New Company Home

Avant Chamber Ballet Summer Intensive
Student summer intensive at ACB’s new studio space. Photo: Courtesy of ACB.

After years of borrowing space from other dance studios in the area Avant Chamber Ballet (ACB) has taken the leap and found itself a home base in the Dallas Design District where the company is currently holding its summer intensive series.

ACB is the second professional dance company to settle down in the Design District. The Bruce Wood Dance Gallery is just a couple miles south of ACB’s new home. Since opening its doors about five years ago, the Bruce Wood Dance has held many classes, fundraisers and choreographic sneak peeks at this location.

To celebrate this grand accomplishment, ACB will be hosting an open house and mini performance at the newly named Avant Chamber Ballet Center, 2408 Farrington St., on Aug. 25 at 3:30p.m.

The performance will include excerpts from the season opening mixed repertoire program Morphoses, which the company will present, Sept. 7-8, at Moody Performance Hall in the Dallas Arts District.

The full press release is included below:

 

AVANT CHAMBER BALLET ANNOUNCES NEW STUDIO HOME

DALLAS, TX (July 16, 2019)

Avant Chamber Ballet Artistic Director Katie Cooper announces the opening of the new Avant Chamber Ballet Center in the Dallas Design District. The studio space will be the rehearsal home for the professional company but will also house a new training program for young dancers this fall.

“This is an incredible step forward for the company. Having our own home studio means that we will be able to rehearse and train consistently for performances, but also have a pipeline for training young dancers who may eventually join the company,” says Katie Cooper.

To celebrate the new studio, the company will host an open house and mini performance at the Avant Chamber Ballet Center, 2408 Farrington Street, Dallas Design District, August 25th at 3:30pm. The performance will be excerpts from the season opening mixed repertoire program “Morphoses” which ACB will perform at Moody Performance Hall September 7-8th.

“I am so proud of where the company has gone in the last 7 seasons,” says Music Director David Cooper. “The new studio represents Avant Chamber Ballet establishing itself firmly in the future of arts in Dallas.”

Subscriptions for the full Avant Chamber Ballet season are now at TicketDFW.com. Single tickets go on sale August 1. Subscribers will receive a 40% discount on all four productions.

Avant Chamber Ballet Announces 2019-20 Season

Avant Chamber Ballet goes bigger and bolder for its 2019-20 season with an added mixed rep in the fall, its first full-length Nutcracker production and new works and company premieres by George Balanchine and Christopher Wheeldon.
Romeo & Juliet
Avant Chamber Ballet presents Romeo & Juliet. Photo: Dickie Hill.

ACB will open its season in Setpember with Morphoses, a mixed repertoire program featuring Wheeldon’s Morphoses, Katie Cooper’s Sisterhood and a world premiere by Cooper to the famous Brahms Horn Trio. David Cooper, ACB’s musical director and the newly appointed horn of the Chicago Symphony Orchestra, will be lending his talents to the Trio alongside musicals Anastasia Markina and Alexander Kerr.

I will miss Cooper’s clever take on a holiday classic like she had done previous years with A Ballet Christmas Carol and Little Match Girl Passion, but I am eager to see how she manages her first full-length Nutcracker. With choreography by local ballet legend Paul Mejia and a live orchestra, this Nut is already at the top of my list to see this year.

Mejia’s name appears again on ACB’s February program with his rendition of Romeo & Juliet. The company will also present Balanchine’s Raymonda Variations (a first for the company) in addition to a world premiere collaboration between Cooper and local Composer Quinn Mason. Mason also composed the music for Cooper’s Sisterhood.

The program I am most looking forward to is ACB’s Beauty and Beyond in April because of these three names: Cooper, Kimi Nikaidoh and Jennifer Mabus. Their voices and disciplines may be different, but I feel they share a common thread when it comes to storytelling and choreographic intent. Can’t wait to see what they do!

You can view the full press release below:

NEWS RELEASE
FOR IMMEDIATE RELEASE
Email: info@avantchamberballet.org

AVANT CHAMBER BALLET ANNOUNCES 2019-20 SEASON

DALLAS, TX (June 25, 2019)

Avant Chamber Ballet’s artistic director Katie Cooper and music director David Cooper announce the company’s 2019-20 season, featuring four subscription productions at Moody Performance Hall in the Dallas Arts District and the return of the Family Saturdays series. The season includes four world premieres by choreographers Katie Cooper, Kimi Nikaidoh, Jennifer Mabus, as well as five company premieres by Paul Mejia, Christopher Wheeldon, and George Balanchine. “This season is an incredible expansion for us in so many ways,” says Katie Cooper. “We are adding a fall mixed repertoire program and for the first time presenting a full-length Nutcracker with live music!”

The subscription season opens with Morphoses in September, a mixed repertoire program of three ballets: Christopher Wheeldon’s Morphoses, Katie Cooper’s Sisterhood and a world premiere by Katie Cooper to the famous Brahms Horn Trio. The Trio will be performed by internationally known musicians Anastasia Markina (piano), Alexander Kerr (concertmaster of the Dallas Symphony Orchestra) and David Cooper (principal horn of the Chicago Symphony Orchestra).

In December, Avant Chamber Ballet presents a full-length production of The  Nutcracker for the first time designed and choreographed by Paul Mejia with live orchestra accompaniment conducted by Brad Cawyer. This holiday classic is designed to take the whole family on a magical trip to the Land of Sweets through Clara’s eyes with Tchaikovsky’s rich score and ACB’s professional production.

Paul Mejia’s romantic and tragic Romeo & Juliet is the perfect way to celebrate Valentine’s Day. The performance features live music which brings the famous Tchaikovsky score and this timeless story to life. Opening the performance is George Balanchine’s beloved Raymonda Variations (company premiere) which celebrates the beauty of classical ballet and the sparkling score by Glazunov.  Next is a world premiere collaboration between ACB director Katie Cooper and local composer Quinn Mason. The ballet marks the 100th anniversary of women’s right to vote and is inspired by the women who made it happen. Also featured will be a guest company appearance by Ballet Frontier from Fort Worth.

Closing the season will be Beauty and Beyond featuring four ballets with live music: the company premiere of Christopher Wheeldon’s Five Movements, Three Repeats which includes the famous “This Bitter Earth” pas de deux, world premieres by Kimi Nikaidoh and Jennifer Mabus- commissions of the  2020 Women’s Choreography Project, and Katie Cooper’s staging of  Aurora’s Wedding: Sleeping Beauty Act III.

This season also marks the return of the Family Saturdays Series. This year all four performances are free. The shows are a family-friendly one hour designed to introduce the performing arts to kids of all ages.

Subscriptions go on sale now at TicketDFW.com. Single tickets will go on sale August 1. Subscribers will receive a 40% discount on all four productions.

THE 2019-2020 SEASON OVERVIEW

SUBSCRIPTION SERIES:

Moody Performance Hall, Dallas, TX

 

MORPHOSES

September 7th, 2019, 7:30pm

September 8th 2019, 2:30pm

Morphoses  – Christopher Wheeldon/Ligeti, Company Premiere

Brahms Horn Trio – Katie Cooper/Brahms, World Premiere

Sisterhood – Katie Cooper/Quinn Mason

 

THE NUTCRACKER

December 20th, 2019, 7:30pm

December 21st, 2019, 7:30pm

December 22nd, 2019, 2:30pm

Paul Mejia/Tchaikovsky, Company Premiere

 

ROMEO AND JULIET

February 14-15th, 2020, 7:30pm

Romeo and Juliet – Paul Mejia/Tchaikovsky, Company Premiere

Raymonda Variations – George Balanchine/Glazunov, Company Premiere

New Katie Cooper/Quinn Mason

Guest company Ballet Frontier

 

BEAUTY AND BEYOND

April 17-18th, 2020, 7:30pm

Five Movements, Three Repeats – Christopher Wheeldon/Richter, Company Premiere

Kimi Nikaidoh – Women’s Choreography Project Commission, World Premiere

Jennifer Mabus – Women’s Choreography Project Commission, World Premiere

Aurora’s Wedding: Act 3 Sleeping Beauty – Katie Cooper after Petipa

 

FREE FAMILY SATURDAYS SERIES:

Moody Performance Hall, Dallas, TX

 

Peter and the Wolf

September 7th, 2019, 2:30pm

 

The Nutcracker Suite

December 21st, 2019, 2:30pm

 

I Heart Ballet

February 15th, 2020, 2:30pm

 

Aurora’s Wedding: Sleeping Beauty Act III

April 18th, 2020, 2:30pm

 

Additional performances:

NUTCRACKER: SHORT AND SUITE

November 21, 2019, 7:30pm

White’s Chapel, Southlake, TX

Presented by Apex Arts League

Programming and casting for all productions are subject to change without notice.

Tickets on sale this fall through TICKETDFW.COM

About Avant Chamber Ballet:

Avant Chamber Ballet’s mission is to bring exceptional live dance and chamber music together for audiences in the Dallas/Fort Worth Metroplex. Our ensemble of classically trained dancers presents a diverse repertoire of classical and contemporary works from local choreographers, as well as internationally acclaimed artists. Since our inaugural season in 2012, ACB has presented over twenty world premiere ballets. The organization is in its eighth season, and is led by artistic director Katie Cooper and music director David Cooper.

Additional information is available on Avant Chamber Ballet’s website at www.avantchamberballet.org

Preview: Bruce Wood Dance’s Embrace Showcase

Forbidden Dance

Garrett Smith pays homage to those living in countries where dancing is banned in Forbidden Paths, part of Bruce Wood Dance’s Embrace concert.

Garrett Smith’s Forbidden Paths is part of Bruce Wood Dance’s Embrace Concert. Photo: Brian

Note: This preview was written in April after a private viewing of the work at the Bruce Wood Dance Gallery.

Dallas — Unmoving, the nine Bruce Wood Dance (BWD) company members sit on their haunches with their heads bowed and wrists locked behind their backs. The longer the dancers remain in this pose, which continues for about a full minute, the more overwhelming the moment becomes as my mind shuffles through similar images I have seen in the news recently. It brought up the images of people praying outside the burning Notre Dame Cathedral as well as images of those in mourning after the bombings in Sri Lanka on Easter Sunday.

This poignant section occurs in the middle of Garrett Smith’s new work, Forbidden Paths, which premieres at BWD’s Embrace showcase, June 14-15, at Moody Performance Hall in Dallas. The program also includes Joy Bollinger’s critically acclaimed Carved in Stone and the Dallas premiere of Bruce Wood’s Dark Matter, previously only seen when the company was in Fort Worth.

Smith’s powerful use of imagery is one of the many reasons that BWD’s Artistic Director Bollinger wanted him to come work with the company in Dallas. “The first time I saw his work I immediately fell in love with the musicality, powerful imagery and incredible partnering,” Bollinger says before the viewing.

Originally from Utah, Smith began his dance training with the Utah Regional Ballet and performed in the 2002 Salt Lake Winter Olympics Opening Ceremony. He later studied at the Houston Ballet Academy and created five works for Houston Ballet II’s repertoire. As a dancer with Houston Ballet, Smith got to perform works by Stanton Welch, Jorma Elo, Nicolo Fonte, Christopher Bruce, Ben Stevenson and Christopher Wheeldon.

It was only after seeing the piece that Smith told us about the concept, which started when he became aware that dance is prohibited in the country of Iran. “For me, this is the image of being detained,” Smith says about the section mentioned above. “There was a group of seven individuals in Iran that had danced to Pharrell Williams’ ‘Happy’ and they were detained for a month.”

He continues, “So I tried to imagine myself in that position and how extremely scary that would be for doing something that is not wrong. It is wrong according to their Islamic Constitution, but everyone should have that right to express themselves through dance and that is really the driving force for this piece.”

Whereas Wood’s gesturing is usually viewed as light-hearted and comical, the gesturing in Forbidden Paths comes across as more celestial. A prime example is when the dancers appear to be cupping a precious ball of energy between their hands, which they then manipulate aggressively and rhythmically around their bodies and outward.

Smith credits his use of gestural images to his time spent with the great Czech choreographer Jirí Kylián at the Norwegian National Ballet. Smith has also worked personally with Nacho Duato and Alexander Ekman and has also performed multiple pieces by William Forsythe.

Another striking moment in Forbidden Paths is Megan Storey’s opening solo. Her balletic lines melt into contorted shapes and weighted walking patterns, which she breaks up with flex-footed jumps and textured gesturing. Frustration is evident in her expression as her eyes follow an unknown source.

We found out later that the movement in Storey’s solo depict certain feelings and emotions that were stirred up by specific questions Smith had asked the group at the beginning of the process. “I asked the dancers’ questions such as what does dance mean to you? And how would you feel if you could not dance? The dancers then created solos based off their word choices, which I later sculpted into the piece,” Smith says.

At this point Smith asked Storey to step forward and show us some of the gestures she had crafted from these questions. She described an open-chested pose as her moment of discovery and expressed her anger through an unexpected jump with flexed-feet and fisted hands.

When talking with Storey about her solo later on she says, “I based the choreography off of the words I had chosen for my ‘paper phrase’ as Garrett called. He had given us several questions asking us various things about our relationship to dance, how we would feel if it was taken away from us, etc. From our answers, we chose words that stuck out to us and created gestures for each of them.”

She continues, “Some of the words represented in my solo are ‘music personified,’ ‘transcend,’ ‘conduit,’ ‘express,’ ‘angry’ and ‘can’t.’ From that starting point we, Garrett and I, adjusted certain transitions and gesture intentions to then reflect the objective of the piece and that worked with the musicality of the track.”

Reflecting on her time with Smith, Storey says, “It was truly a wonderful experience for me. Not only was his movement and musicality natural to me, but I also loved the purpose of the piece. It really opened my eyes to how other cultures view dance and performing arts, and how blessed I am to have the opportunity to pursue it as my career.”

She adds, “I try to channel all of those feelings when doing his piece and I’m honored to perform this work for those who aren’t able to.”

> This preview was originally posted on TheaterJones.com.

 

Q&A: Daniel Ezralow

The world-renowned choreographer on breaking dance traditions using movement and visual arts and his company’s Dallas debut on the TITAS Presents series.

Daniel Ezralow’s Open. Photo: Angelo Redaelli/Ezralow Dance

Dallas — Since its inception in 2014, Ezralow Dance has garnered a reputation both in the U.S. and abroad for its explosive physicality, original thought and playful humor, which all stem from the mind of artistic director and choreographer, Daniel Ezralow. The Los Angeles-based company is comprised of nine dancers performing works that mingle contemporary dance with humor, provocative ideas and impressive video projections. The company also aims to collaborate with performers, composers, visual artists and filmmakers to transport audiences to new dimensions, exploring and questioning the ideas of dance and humanity, according the Company’s website.

Ezralow’s performance résumé reads like a who’s who of contemporary dance. He has danced with 5×2 Plus, MOMIX, the Lar Lubovitch Dance Company and Paul Taylor Dance Company. Throughout his career Ezralow has created 15 original dance theatre plays, including PearlFlying Bodies, Soaring Souls and a reinterpretation of Igor Stravinsky’s The Rite of Spring.

His work has also been seen in Julie Taymor’s film Across the Universe, Cirque du Soleil’s Love and in the opening ceremony of the 2014 Winter Olympics in Sochi.

His most recent show Open, had its U.S. premiere at the Wallis Annenberg Center in Los Angeles in 2016 and is also the program the Company will be presenting in Dallas, March 29-30, at the Moody Performance Hall. Described as surprising, comical and fun, Open is a series of dynamic vignettes that are woven together using classical music, inventive concepts, playful movement and striking visuals

TheaterJones asks Ezralow about creating movement for film and theater, collaborating with his dancers and what audiences can expect to see this weekend.

 

TheaterJones: How would you describe Open, the work you will be presenting in Dallas this weekend?

Photo: MSA
Daniel Ezralow

Daniel Ezralow: You’re obviously going to see movement. You’re going to see fun concepts paired with classical music. And you’re going to see a fun show that is available to everybody. So I try to in a sense demystify the work and not put it up on a pedestal. I think it has to really play for everyone. Those who love dance and those who have never seen dance before as well.

 

So many contemporary choreographers today choose to go deep and heavy with their work. What made you want to create something light and humorous?

Generally speaking, choreographers today take themselves too seriously. Everyone is important in this world, including the janitor, the trash collector and the street sweeper. Everyone is important and they’re as important to appreciate your work as a well-developed artist who has been around the world or someone whose graduate summa cum laude from a university. I think it’s really important that we pay attention to everybody because as artists our responsible is to somehow have a positive effect on the world.

So, sometimes I get a little fed up, as you do, with the doom and gloom and the seriousness and the politicization of contemporary work. And I say you know what? I would just like everyone to really get their money’s worth. In other words, they have to come to the show and reach into their pocket to buy a ticket and spend 75 minutes of their life watching what I do on stage. I would like them to walk out feeling inspired. Feeling happy. Feeling a sense of joy. And I say this a lot and it’s a silly thing, but just that they want to live another day of their life because what’s important is that we inspire. And this work was very much meant to be that. I was meant to be accessible and that pretty much anybody could come a watch it and they wouldn’t have to say ‘oh, what does that mean?’ I just want them to accept it and get it.

 

There’s a fine line between comical and cheesy. In Open how did you keep from going over the top with the humor?

I think of it as more ironic than anything else. In my life I feel like I am very respectful of everybody, but I am respectful in a way to the rules in order to break them. So there is a big part of me that wants to look at something and if the rules are not working then I want to show people that it can be broken. I want to show that there is irony behind the rule. So a lot of the humor that I play with it really comes from my childhood. In my childhood I felt capable of joking around. There’s times that I do see my work and I think ‘Oh my God’ that’s just too silly. And then other times I see the dancers uplift the choreography to the point where I say “Wow they pulled it off!”

You see, I get overjoyed when I see someone walking down the street and they start jumping up and down on the sidewalk. Usually children and puppies do that, but adults never do that. So to see someone so overjoyed that they jump up and down is a very unique ironic break our society. And I think that is an important thing to see all the time. In a way I am very serious with the humor I use. But I believe also there is a very powerful thing that you can say once you make someone laugh.

 

Do you typically collaborate with the dancers during the creative process?

I am always collaborative. I come in with a strong idea, but I don’t actually believe that I can make anyone believe anything or do anything. So, both with the dancers and the audience I let the audience have the final word. I don’t want to tell them they’re supposed to believe what I am saying. If they believe it I am really happy and if they don’t then I need to work on my work.

It’s the same with my dancers. You see, I never believed that the dancer was just a color that the artist paints with. I think the color has an energy to it. I think dancers have their own unique energy. Ultimately, I think from a long time ago when I founded MOMIX with Moses Pendleton the whole belief system was that the dance is greater than the dancer and the dancer is greater than the choreography. Meaning to say that inside of our bodies we have dance. We are born with it. We keep moving our bodies because moving your body is what keeps you young and what keeps the flow of life going through you.

So, I believe that the dance is inside of you. The choreography is designed for which to hold the dancer or which to hold the dance. The dance is like a Greek spirit. It’s beyond all of us. And then the dancer takes that energy into their body and then the choreographer takes the energy of the body of the dancer and decides to organize it in a certain way.

So, I don’t really feel that at any point choreography should be stronger than the person performing it. In that sense I try to involve the dancers from a very early stage.

 

What type of dancers do you like to work with?

For a long time when I did commissions on companies and I tended to gravitate toward the black sheep. I wanted the dancer that the director told me was trouble and to not work with them, but that was the person I wanted to work with. Because they always had some unique issues right under the surface and that gave me fantastic material to work with.

And with my own company there is a lot of turnover, but only because my company is a project-based company. So, when we have a show we get together, but they all work commercially as well. I tend to like dancers who can do a music video or T.V. show and then they come and do concert work. I feel those dancers are very well-rounded. But the dancers I am working with, I call them all the time and some of them have been working with me for more than 10 years.

 

How hard is it for you to switch gears from concert work to commercial work?

Even when we were doing MOMIX, David Bowie would call or U2 would call us because they liked the work we were doing. So I wouldn’t call it commercial. You could come at that work from a commercial point of view or you could come at it from an artistic point of view. And I always come at it from artistic even when I did films like The Grinch with Ron Howard. That still is an artistic project for me. All the commercial things I do like Television even in Italy. Though seemingly it looks like just a TV show, I always try to change the dynamic and change the parameter to feel more artistic and that’s what I love about it.

So I kind of hop skip and jump between film, TV, Broadway, commercial work and artistic work, and because I am flexible in my mind I don’t see that it’s a problem. I’m sure for some people it would be a big problem. But my mind is flexible and these are very different worlds. The timing on an artistic project is not at all the timing on a Television project. In Television you have to move fast. You have to change fast. And you have to be willing to give up your idea and compromise all the time. Whereas with an artistic project you’re really backing your idea. So, I just shift with the projects and I don’t see that it’s difficult.

This Q&A was posted on TheaterJones.com.