Tag Archives: Paul Mejia

Avant Chamber Ballet Announces 2018-19 Season

Avant Chamber Ballet’s 2018-19 season includes a new family program and new collaborations with local musicians and singers as well as works by Paul Mejia, Christopher Wheeldon and George Balanchine.

Avant_EmilyDixon_0543
Avant Chamber Company Member Emily Dixon. Photo: Will Graham

Dallas – What I admire most about Katie Cooper is her tenacity when it comes to the business end of running a ballet company. It is very easy for artistic directors to get lost in their own heads and lose touch with what is happening right in their own dance communities. But that has never been the case for Cooper. Her eyes have remained opened to the Dallas dance scene and the global ballet industry. Her company continues to thrive because of her industry know how and fresh ideologies when it comes choreographing and presenting ballet works. She is definitely someone that future choreographers and directors in the area should get to know.

For its 2018-19 season Avant Chamber Ballet (ACB) will be presenting David Lang’s the little match girl passion, Christopher Wheeldon’s Morphoses and world premieres by Cooper and by the soon-to-be-announced winner of the 2018 Women’s Choreography Project commission. And this is just the tip of the iceberg! The company will also be performing more works by George Balanchine and Paul Mejia.

The music for the season includes Vivaldi, Ragtime, George Gershwin, Astor Piazzolla local composer Quinn Mason and a collaboration with singers from the Dallas-based Verdigris Ensemble. And just like all of its performances ACB will be dancing to live accompaniment.

You better start marking your calendars now. You don’t want to miss any of these shows!

 

A copy of the official press release can be found below:

 

NEWS RELEASE

FOR IMMEDIATE RELEASE

Email: info@avantchamberballet.org


AVANT CHAMBER BALLET ANNOUNCES 2018-19 SEASON

DALLAS, TX (June 26, 2018)

 Avant Chamber Ballet’s artistic director Katie Cooper and music director David Cooper announce the company’s 2018-2019 season, featuring three subscription productions at Moody Performance Hall in the Dallas Arts District and the launch of the new Family Saturdays series. The season includes world premieres by Katie Cooper and Women’s Choreography Project, as well as works by Paul Mejia, Christopher Wheeldon and George Balanchine.

“Our seventh season is our biggest yet with five new works, collaborations, and touring,” says Katie Cooper. “We are also excited about starting the Family Saturdays program, which will expose new audiences to the joy of live music and dance.”

The subscription season opens with David Lang’s the little match girl passion, a collaboration with the Dallas-based Verdigris Ensemble. Together on stage, the dancers of Avant Chamber Ballet and the singers of Verdigris Ensemble will bring to life Lang’s Pulitzer Prize-winning setting of the famous Hans Christian Andersen story. This will be the first time a contemporary choral work will be staged with ballet in Dallas.

In February, Avant Chamber Ballet returns to Moody Performance Hall with Romance and Ragtime. The performances will encompass four ballets with live music: a company premiere of Christopher Wheeldon’s Morphoses, a world premiere by the soon-to-be-announced winner of the 2018 Women’s Choreography Project commission, and world premieres of Katie Cooper’s The Seasons with music by Vivaldi and Ragtime with music by Scott Joplin.

Closing the season will be Fascinating Rhythms – an exciting evening of dance and live music by George Gershwin, Astor Piazzolla, and local composer Quinn Mason. Returning to the repertoire will be George Balanchine’s Who Cares? – an audience favorite that perfectly pairs Gershwin’s toe-tapping melodies with Balanchine’s genius choreography. Paul Mejia’s Cafe Victoria, a company premiere, features Piazzolla’s alluring Contrabajissimo. The program closes with a collaboration between choreographer Katie Cooper and Dallas-based composer Quinn Mason. The performance will mark the world premiere of both Cooper’s choreography and of Mason’s String Quartet No. 2.

Family Saturdays is a subscription series for young audiences to experience live music and dance in an engaging and family-friendly environment. Each Family Saturdays performance will be one hour long and will feature the professional dancers of Avant Chamber Ballet accompanied by live music. The series will be held at 2:30 pm on December 8, February 23, and May 4 at Moody Performance Hall, and will offer area families a perfect introduction to the performing arts.

 

 

 

 

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Avant Chamber Ballet Announces 2017-18 Women’s Choreography Project Recipient

Michelle Thompson Ulerich Dance Photo 2
Michelle Thompson Ulerich

Dallas – It was announced this week that New York-based choreographer Michelle Thompson Ulerich is this year’s winner of Avant Chamber Ballet’s (ACB) Women’s Choreography Project (WCP), which will take place April 21-22 at Moody Performance Hall in conjunction with ACB’s spring performance. Never one to just stick with the status quo, ACB Artistic Director Katie Cooper started the project in 2015 with the objective of providing more opportunities for up-and-coming female choreographers to showcase their work. Since then the WCP has gained quite a following in Dallas thanks to Cooper’s insistence of live orchestration and her eclectic programming, which has included works by herself, Shauna Davis, Elizabeth Gillapsy, Emily Hunter, Amy Diane Morrow, Janie Richards and Hailey von Schlehenried. Cooper continues to enrich the Dallas arts landscape with her “dare to be different” attitude when it comes to the rules and traditions surrounding classical ballet and the expectations that come with being a choreographer in this particular genre. Cooper has also successfully brought live music and dance back together, which I think is putting positive pressure on other professional companies in the area to find creative ways to incorporate more live music in their performances. I can’t wait to see what Cooper and ACB have in store for us in the coming years.

Below is Avant Chamber Ballet’s press release in its entirty:

Avant Chamber Ballet Announces Women’s Choreography Project Winner

FOR IMMEDIATE RELEASE
August 30, 2017

Dallas, TX – For the last three years, Dallas-based Avant Chamber Ballet has broken stereotypes and glass ceilings with live music and new works. This season’s Women’s Choreography Project presented in April 2018 is no different.  “You might not notice the imbalance and sexism in ballet from the outside,” says Avant artistic director Katie Cooper. “There are more female ballet dancers than male by far, but there are very few female choreographers getting commissions from professional ballet companies. With Women’s Choreography Project, we give emerging women choreographers the opportunity they need to take their careers to the next level.”


Avant Chamber Ballet held an international search for the right choreographer to commission a new work for this season. Out of over 50 applicants, Michelle Thompson Ulerich was chosen to be this year’s winner. “I am thrilled to be choreographing for the artists of Avant Chamber Ballet,” says Ulerich. “Texas was my home for 14 years, and I am looking forward to coming back to create and to bring some of my New York experiences with me.”

Michelle is a choreographer, dancer, and teacher in New York. In 2017, she will present new works in New York; Austin, Texas; Napa, California; and Spartanburg, South Carolina. Prior to moving to New York, she was a professional ballerina with Ballet Austin for 14 years. Michelle has been teaching ballet at SUNY Purchase since September 2016. She has created works for Ballet Spartanburg, Ballet Austin II,  Ballet Zaida, MOTION Dance Theatre. Her work for Avant Chamber Ballet will be presented on April 21-22, 2018 at Moody Performance Hall on the program Moving Music alongside masterworks by George Balanchine, Christopher Wheeldon and Paul Mejia.

 

Also commissioned this year through the Project is a new work from Kimi Nikaidoh. As the artistic director of Dallas’s Bruce Wood Dance, Kimi has choreographed for her own company of modern dancers but this will be her first commission with a professional ballet company. “I’m beyond lucky that Dallas provides me with the opportunity to create work for high-caliber modern and ballet dancers,” says Nikaidoh. “Working with the lovely ACB company will be a delight!”

 

MOVING MUSIC

Women’s Choreography Project

George Balanchine’s Valse Fantaisie

Christopher Wheeldon’s The American pas de deux

Paul Mejia’s Serenade in A

April 21-22ND, 2018

Moody Performance Hall, Dallas, TX

 

Tickets available through TicketDFW.com

Soluna Review: Avant Chamber Ballet

Avant Chamber Ballet performs for the Soluna Festival. Photo: Amitava Sarkar
Avant Chamber Ballet performs for the Soluna Festival. Photo: Amitava Sarkar

Avant Chamber Ballet makes a rousing tribute to American Ballet at the Soluna Festival with guests from the Dallas Symphony Orchestra.

Dallas — There’s nothing like hearing live music at a classical ballet performance. It adds some spontaneity to an otherwise technically fixed art form as well as a layer of anticipation for both performers and audience members. It was this anticipation that had audiences on the edge of their seats as Avant Chamber Ballet (ACB) broadened their artistic range in a near flawless performance Tuesday evening at Dallas City Performance Hall in conjunction with the Soluna: International Music & Arts Festival. Staying within the margins of the festival’s theme “Destination America” Puder put together an exciting program that included some of her favorite American ballet choreographers, including George Balanchine, Christopher Wheeldon and Paul Mejia, and also showcased the company’s ever growing versatility and musical awareness.

Having been brought up on the Balanchine style it came as no surprise that ACB’s restaging of Balanchine’sValse Fantaisie paralleled the technical fortitude of the original. Glinka’s driving composition, arranged by ACB’s composer in residence Chase Dobson, guided the five females and one male through this whirlwind that can only be called pure dancing. As was Balanchine’s custom, leg beats and rises on and off pointe were accentuated with subtle head tilts and arm changes. Natalie Anton, Madelaine Boyce, Kristen Conrad and Kaitlyn McDermitt performed the springy corp steps without hesitation and beautifully captured the musical nuances with their elongated arabesques and breathy arm transitions. Christy Martin was a spitfire in the lead role with fellow dancer Peter Kurta. Martin showcased exquisite control as she stepped into a lengthyarabesque hold after completing a vigorous entrechatvariation.

Kurta ate up the stage in his traveling jump sequences and maneuvered Martin through a series of assistedpirouettes and rotating body positions without qualm. Musicians Miika Gregg (violin), Lydia Umlauf (viola), Jennifer Humphreys (cello), Kara Kirkendoll Welch (flute), David Cooper (horn) and Saule Garcia (piano) partnered beautifully with the performers on stage with changing tempos, volumes and styles generating the same energies in the dancers.

Paul Mejia’s Serenade in A challenged ACB’s Natalie Anton, Emily Dixon, Yulia Ilina and Rachel Meador with its musical intricacies and scrupulous technique. Choreographed in four parts, each section uses a different part of the body to highlight the nuances in this illustrious Stravinsky composition. The long-sleeved white leotards and matching ballet belts enhanced the dancers’ lines and did not detract from the detailed movements seen in the work. Right away the eye is drawn to the dancers’ upper bodies as they contract and release on different counts.

These constantly changing counts made the simple plies with wrist flicks and back arches appear fresh and exiting. In the third section the fast tempo was accented by the dancers’ hips as they quickly tip-toed on the balls of their feet around one another. Pianist Garcia slowed the tempo down in the final section as the dancers focused on raising and lowering their arms to different counts and rhythms.

Just as the title states, Puder’s new work Endless Arc was a continuous array of wide arcing movements, contracted torsos and explosive leg extensions. By breaking the piece into five parts the audience could fully appreciate Puder’s interweaving formation changes, complex petite allegro sections and push and pulling partnering skills. In the first section, Sarah Grace Austin set the tone when she performed a series of slow side bends and tendue steps with an inverted hip swivel. As Bela Bartók’s String Quartet No. 4 picked up tempo Austin and the other five dancers on stage exploded into a number of running jetes which led them off stage.

In the second and fourth sections, Madelaine Boyce, Kirsten Conrad and Christy Martin made easy work of the traveling chaine turns and double pirouettes that came in between their running patterns, which had them circling close to one another before shifting directions. The simple rotating bourrees and slow walks which spread the group across the stage in the third adagio section was one of the most visually arresting moments of the whole piece. The audience was also pleased to see Tagir Galimov handling the classic partnering skills (i.e. rotatingarabesques, pirouettes) with more assertiveness and continuity.

The piece came to a satisfying conclusion as the entire company executed a series of high powered traveling jumps and alternating battements before ending in diagonal spanning the stage. As they pivoted to the front with one arm curved up and the other down the stage went dark. Throughout the piece Charlton Gavitt’s bold color choices and abrupt lighting cues meshed with the sharp changes in the music and helped round out the work.

These more traditional works were separated by two contemporary duets choreographed by Christopher Wheeldon. In The American pas de deux Michele Gifford clung to Shea Johnson as he manipulated different parts of her body. Flexed feet, broken arms and a contracted torso made up most of Gifford’s movements as Johnson swept her across the floor in a number of over the head lifts. The counterbalance holds and sustained lifts, which made up a bulk of the work, tested Johnson’s control and consistency with positive results. WhereasThe American was light and buoyant, Wheeldon’s There Where She Loved was grounded and tense with Gifford desperately reaching and arching away from Johnson as he dragged her across the floor on the tops on her feet. Soprano Corrie Donovan’s soul stripping rendition of Kurt Weill’s Je ne t’aime pas as well as her physical presence on the stage gave the couple courage to fully let themselves go which in turn made their performance more dynamic and believable.

This review was originally posted on TheaterJones.com.