Texas Ballet Theater expands its stylistic range in Val Caniparoli’s new work Without Borders, part of the company’s First Looks Series in Dallas this weekend.
It’s not a coincidence that Texas Ballet Theater principal dancer’s Leticia Oliveira and Carl Coomer look like a pair of figure skaters just skimming the floor in a series of petite traveling lifts in American choreographer Val Caniparoli’s new work, Without Borders. “A lot of what I do has been inspired by ice skating or classical ballet or by working with African dance consultants in Lambarena and that has stuck with me over the years,” Caniparoli says.
Originally from Renton, Washington, Caniparoli opted for a professional dance career after studying music and theater at Washington State University. He received a Ford Foundation Scholarship in 1972 that allowed him to attend San Francisco Ballet School. He performed with San Francisco Opera Ballet before joining San Francisco Ballet in 1973. He became resident choreographer there, and later with Tulsa Ballet. Today, Caniparoli is one of the most sought after American choreographers in the United States and abroad, having set works on more than 35 dance companies, including the Joffrey Ballet. Caniparoli has also choreographed for many notable Opera houses in the U.S., including Chicago Lyric Opera, San Francisco Opera and the Metropolitan Opera.
Caniparoli’s musical background plays a pivotal role in his creative process and is one of the most appealing aspects of his work. “I have studied music and theater all my life and fell into ballet when I was 20 so, it’s natural for me to create movement that is being dictated by the music.” I saw this firsthand back in September when I sat in one of his rehearsals with Coomer and Oliveira and later the full company for his piece Without Borders, which will have its world premiere at TBT’s First Looks Series May 6-8 in Dallas and May 27-29 in Fort Worth.
Most of the critiques Caniparoli gave to Coomer and Oliveira during rehearsal pertained to their musical timing and movement quality. “You have to fill out every count of the music,” Caniparoli tells the couple on one adagio section. “You also have to be very specific when counting the eights. This is a fast eight counts that moves into a slower tempo.” This last note was in reference to a particularly tricky lift where Oliveira coiled around Coomer’s upper body coming to a stop with her hips settled into the crease of his neck before slowly sliding down his body. Caniparoli switched places a few times with Coomer and Oliveira in order to help them get the right feel of the movement, which he illustrated with subtle head and arm gestures as well as slight weight changes during lifts. I found out later from Caniparoli that it is not unusual for him to get up and demonstrate certain choreography and partnering skills with the dancers he is working with. “I like to be very hands on with the dancers because as a dancer myself I liked working with choreographers who did allow the dancers to have a voice in the process. I learned early on that if you respect the dancers then they will respect you back.”
The music Caniparoli has chosen for the piece, a blend of tracks from Yo-Yo Ma and the Silk Road Ensemble’s 2013 album entitled A Playlist Without Borders, features a number of ethnic sounds, including African, Irish and Arabic and was also inspiration for the name of the work. “I wanted music with a lot of variety that would then be reflected in the movement as well as the costuming and lighting.” While the work doesn’t follow a particular theme, Caniparoli says he did use the musical explanations included in the CD, which described how the composers felt about each piece of music, as a basis for the choreography and inspiration for the dancers’ personal performances. “You don’t have to understand what my intentions were to enjoy this piece. I just want people to love the dancers, music, costuming, lighting and such, and not get too wrapped up in finding the meaning in everything.”
He continues, “I was just so inspired by Yo-Yo Ma’s ability to connect with all these traditional ethnic instruments and combine them in a unique East meets West way in these ensemble tracks. Whereas Lambarena focused more on war and unrest in other countries, in Without Borders I am trying to connect countries through music in a very uplifting and positive way.”
You can experience the music and movement of Val Caniparoli’s new work Without Borders for yourself when Texas Ballet Theater performs it at Dallas City Performance Hall this weekend as part of the company’s First Looks Series. The program also includes Glen Tetley’s Voluntaries and the company’s premiere of Ohad Naharin’s Minus 16. TBT will repeat the program at Bass Performance Hall in Fort Worth later this month.
Avant Chamber Ballet’s second annual Women’s Choreography Project features more dynamic works by international female choreographers and live music.
Richardson — If there is a need in the Dallas dance community especially if it pertains to ballet, then you can bet that Avant Chamber Ballet’s (ACB) Artistic Director Katie Cooper is already looking for a way to fill it. After all, Cooper started her company three years ago because she saw a need for more live music at local classical ballet performances. “When we started ACB no other professional dance companies were using live music in DFW and we are still the only ones who always have live music at every show,” Cooper says. “Musicality and the connection between the dancers, music and choreography to me is inseparable.”
So, when Cooper noticed so few female choreographers being represented on many local and national professional dance companies seasonal programs, she knew she had to do something about it. And that is how the Women’s Choreography Project came into being in 2015. “I know firsthand how hard it is to get commissions in such a male-dominated field. One of the reasons I started my own company was to give myself opportunities to create my own work and to also work with the dancers I wanted to work with. I wanted to try and give other female choreographers the same opportunities, which is why I started the Women’s Choreography Project.”
Last year’s inaugural event at the Eisemann Center for Performing Arts in Richardson featured the members of ACB in five diverse works produced by well-known regional choreographers, including Amy Diane Morrow, Elizabeth Gillapsy, Emily Hunter as well as two pieces by Cooper. Most of the pieces alternated between neo-classical and contemporary dance styles with the exception of Morrow’s String Theory, which had the dancers manipulating various strings stretched halfway across the stage.
This year Cooper says audiences can expect even more variety at the second annual Women’s Choreography Project which takes place May 7-8 at the Eismann Center. The program for this year’s event features two new classical works by Cooper, a musically inspired pointe piece by Canadian choreographer Janie Richards and a retrospective modern-based piece by New York choreographer Shauna Davis. While all four works are vastly different in terms of concept, costuming, music and movement style, what Cooper believes ties them all together is the choreographers’ fine attention to detail and the dancers’ technical execution of the steps in each work. All the works will be accompanied by live music under the guidance of ACB Musical Director David Cooper.
Shauna Davis is no stranger to the Dallas dance scene. She is a graduate of Southern Methodist University’s Meadows School of the Arts and also spent a season with Dallas-based Dark Circles Contemporary Dance, which also happened to be the same year the company performed Joshua L. Peugh’s jjigae at ACB’s fall dance concert in 2013. “That was the first time I had seen her dance and she was just really magnetic on stage. She has such a gregarious, outgoing and open personality and I think that you can really see that in her process. She brings a lot out of her dancers and makes them feel really comfortable, which is important because her piece is a little more modern, which is not many of the dancers’ primary style.” Davis’ piece, Untitled, set to Schubert’s trio op.100 features five dancers and focuses on the idea of technology and how it impacts our self-worth in this modern age, which she depicts on stage with the use of mirrors. “She has a very distinct idea behind what she is doing and uses a more modern vocabulary to describe the feelings and emotions the dancers are dealing with, which is quite different from Janie’s work which is more inspired by the music.”
During the selection process Canadian choreographer Janie Richards immediately caught Cooper’s attention with her very thorough application, which included an eight-page PowerPoint presentation highlighting every detail of the piece from costuming and lighting, and even a choreographic layout of the almost 20-minute work. Cooper describes Richards’ L’inverno as a very intense, intricate and high energy contemporary pointe piece set to Vivaldi’s Winter. “Her intent is to capture the crispness, brightness and hard edges of winter, but also then the melting of winter and the coming of spring. It’s a really cool piece with a lot of technically challenging material.”
Rounding out the program is Cooper’s full-length version of Harlequinade composed by Riccard Drigo and a solo Cooper created for company member Emily Dixon called Piros set to Brahms’ Hungarian Dances. “I knew we were going to do Harlequinade way before I saw anyone else’s pieces. I knew if I was going to commission new work it was not going to be a traditional tutu classical ballet. Harlequinade is just really fun and cute, and it showcases some of the dancers really well.” And as for working with Dixon on Piros, Cooper says, “I just love working with Emily. She is a beautiful person inside and out and that really comes across in her dancing. She lives for these moments on stage, so I knew she would be able to hold an audience for six minutes.”
You can check out these new commissioned works by Katie Cooper, Shauna Davis and Janie Richards when Avant Chamber Ballet presents the Women’s Choreography Project May 7-8 at the Eisemann Center in Richardson.
Beckles Dancing Company demonstrates steady artistic growth and maturity in the company’s annual spring performance simply titled 21.
Dallas — Simple body lines. Subtle musicality. Intense emotional connections. These were the common threads that elevated Beckles Dancing Company’s spring show, 21, at the South Dallas Cultural Center last Friday evening. While there were some noticeable discrepancies among the works on the program mainly pertaining to the content and context or lack thereof in some of the pieces, it was an improvement from last year’s show which was a less consistent mix compared to this year’s more cohesive blend of professional and student-based choreography.
A few of the works that didn’t quite hit the mark in terms of concept and content, with content also pertaining to facial expressivity, were Loris Anthony Beckles’ group pieces Magical and Whispering Wolf as well as his solo Clifton-Bainbridge-Park set on long-time company member Tina Mullone. In Magical, dancers Lacy Brent, RoseMarie Sanders, Amaya Scoggins, Kaleb Smith, Angel Sparks and Taylor Townsend executed the Afro-Caribbean movements, including hip swirls, shoulder rolls and rhythmic foot stomping, with a natural ease and uniformity that comes from years of training and dancing together. And while the lively spirit of the dance was not reflected in the dancers’ expressions, which remained stoic throughout, the dancers fully embodied the steady drumming in Betty Carter’s composition with their playful gesturing (i.e. head bobs and open-close hand pulses) and deep leg lunges with swooping arms.
The dancers’ facial performances were also lagging in Beckles’ Whispering Wolf, but the dancers redeemed themselves with their competent technique, which featured rudimentary ballet steps layered with constantly changing arm movements and directional changes as well as luscious Graham torso contractions and weighted walks. One of things audiences can appreciate about Beckles’ choreography is that it never feels rushed. For him it’s about the journey, which is why when Mullone performed a series of simple plie tendues with proper epaulement in Clifton-Bainbridge-Park, viewers felt like they were seeing these well-known ballet steps for the first time. If the solo was meant to be ironic then the passive expression Mullone wore as Sam Cook crooned Nat King Cole’s I Love You For Sentimental Reasons was a clever choreographic choice.
Maria Fernanda Gonzalez, Alma Alvarado, Kyndall Ash, Kaleb Smith and Jacqueline Rea (members of Espie’s After School “Character Counts” Dance Company) did a phenomenal job of capturing the anxiety and urgency in Gonzalez’s Washed in the Blood with some dynamic movement choices and intense facial expressions. And while the lack of transitions between certain tricks (i.e. cartwheels to the knee, stag leaps, backward shoulder rolls and side leg tilts) minimized their shock value, the dancers’ intensity, both physical and emotional, stayed true throughout.
The other student piece on the program, Layla Brent’sStages, featured edgy pointe work and exciting partnering skills and a well-rounded structure. Both couples (Layla Brent and Jared Smith and guest artists Erin Brothers and Kade Cummings) displayed amazing control and technical fortitude throughout the fast-paced piece. Later on Layla Brent and Smith showed great stylistic diversity when they nailed the sustained movements and luxurious body contortions in Andre R George’s Du Lahka. When I saw these two dancers perform the piece at last season’s show I was enraptured with the couple’s beautiful lines and intricate counter balance poses. This time around I knew what to expect movement wise which gave me and others more opportunity to relish in the beautiful love story driving the movement.
Another highlight of the night was Beckles’ Benchmarks. Broken into five sections, the work featured a variety of dance styles from ballet and modern to African improvisation at the end, as well as various moods that were represented through the dancer’s bodies and the different colored fabrics the dancers peeled off the ever present bench. Beckles cleverly incorporated the bench in every section of the work by having it act as a physical support and in one section a barrier for the performers. In the first section Lela Bell Wesley and Mullone used the bench to accentuate their reactions to one another such as when Wesley bent Mullone backwards over the bench. Lacy Brent used the bench as a home base during her more balletic solo, while Sanders used the bench as barrier as she slowly revealed different body parts. The African dance jam at the end was engaging and gave each company member a moment to shine.
The local Dance for Parkinson’s Disease troupe prepares for its first public performance in collaboration with the Dallas Museum of Art’s Jackson Pollock exhibition.
Dallas — Dance educator Misty Owens has devoted most of her career to discovering fun and creative ways for people with mental and physical disabilities to get involved in the art of dance. Her first experience working with adults with disabilities was with Joanie Carlisle’s dance troupe, Buen Viaje, in New Mexico where Owens also earned her B.F.A in dance at the University of New Mexico.
“I was literally in the classroom with them every week learning how to work with people with cerebral palsy and Down syndrome and anything in between,” Owens says.
This experience would later come in handy when Owens started teaching at the New York-based Mark Morris Dance Group where the Dance for Parkinson’s Disease (PD) program was founded back in 2001.
“Mark Morris had just started his dance company in 2001 when Olie Westheimer, the founder of the Brooklyn Parkinson Group, approached him about classes for members of the group. The classes consisted of six people and were taught once a month by Mark Morris dancers John Heginbotham and David Leventhal. I was invited to teach a few months later when they began holding the classes on a more weekly basis and that was the beginning of this program building.”
Currently in its 15th year, the Dance for PD program offers specialized dance classes to people with Parkinson’s, their families, friends and care partners in six locations around New York City and through their network affiliates in more than 100 communities in 13 countries around the world.
Dallas is lucky to be among one of these 100 communities thanks to Owens, who took the initiative and reached out to the Dallas Area Parkinsonism Society after moving back home in 2010. “It took a little while to get people following the program, but I started Jan. 4, 2011, with my first class and I had about nine students,” she says. “We would meet once a week at Texas Health Presbyterian Dallas and over the summer we changed to twice a week because of the demand. And since August 2010, the Dallas program is the only one in the nation that consistently meets twice a week.”
Through the use of imagery and storytelling Owens is able to get her students to open their minds up to new ways of moving no matter how well their bodies are working. “The essence of dance is joy and there is nobody on the planet who dances that doesn’t experience some sort of release while doing it. For someone with a movement disorder 99.9 percent of their day is about navigating symptoms, but when they step into my class they become this entity who can be anything from a bird soaring to the swimmer Esther Williams. Using the imagination and creativity to immerse ourselves in an alternate world, which for me is the vocabulary of dance, that sort of possibility about an unknown discovery has so much potential.”
Owens has been wanting her students to perform for a while, and they get will their chance this Friday thanks to an artistic collaboration with the Dallas Museum of Art (DMA) facilitated by Amanda Blake, the DMA interim director of education and head of family, access and school experiences. The performance concludes a four-month long pilot program in which members of the local Dance for PD and Movement Disorders classes were brought into the DMA for gallery discussions followed by interactive dance and movement workshops.
“Amanda Blake has been an absolute champion and the creative force behind inviting me to come to the museum and do this access program with my Dance for PD students. Together we crafted out a four-month venture for people with Parkinson’s to come into the museum and experience a completely new world.” She adds, “One of the reasons many of my students agreed to perform was because they actually felt more liberated, and safe and free to express themselves in a completely new context in the DMA.”
About 19 Dance for PD students (some standing and some seated) ranging in ages from mid 50’s to early 90’s will perform a new piece choreographed by Owens and inspired by works of art in the Jackson Pollock: Blind Spotsexhibition which runs at the DMA through March 20. “The piece is comprised of three sections of movement and each section is inspired by different parts of the Jackson Pollock exhibition.” She adds, “And before that we are presenting an excerpt from the Mark Morris piece Falling Down Stairs from The Bourree Project. The entire performance is probably about 35 minutes long, but it’s their first venture into performing and I am excited to see what happens at the final presentation.”
The Dance for PD students of Dallas will take the stage for the first time in Mark Morris’ Falling Down Stairs and an original work by Owens at 2 p.m. on Friday, Feb. 19 at the DMA.
Dallas Youth Ballet channels The Rockettes in its highly entertaining Rockefeller Christmas Spectacular at Dallas City Performance Hall.
Dallas — While most pre-professional dance companies in the area are focusing solely on their balletic form during this time of year the Dallas Youth Ballet, comprised of students at Park Cities Dance (PCD) and The Dallas Conservatory, is honing a wide range of skills from acting and singing to Broadway, contemporary and ballet dance stylings, which the company efficiently and enthusiastically put on display at its seventh annual Rockefeller Christmas Spectacular at Dallas City Performance Hall on Sunday.
The Rockettes-inspired dances and festive Christmas caroling in the first half were a welcomed reprieve from the multiple Nutcrackerproductions currently being offered across Dallas-Fort Worth. Choreographer and PCD Artistic Director Jacqueline Porter and her band of Santas, soldiers, elves, ballerinas and candy canes set the pace for the show with a fun and flashy opening number entitled A Rockefeller Christmas. Dressed in sparkly red dresses edged with white faux fur and donning black character shoes, the 10 Santa dancers did a commendable job of channeling the Radio City Music Hall Rockettes with their regimented formations, clean upper body lines and clear foot work as they mined classic tap moves, including time steps, drawbacks and Shirley Temples (also known as Broadways). Audiences actually felt like they were at Rockefeller Center thanks to a vibrant backdrop Porter was able to rent, thus completing the overall effect of a New York Christmas.
The acoustics in the Dallas City Performance Hall did a nice job of picking up the Dallas Conservatory’s Children’s Singing Ensemble sweet harmonies and distinct enunciation as they charmed audiences with some fun holiday ditties, including “The Man with the Bag,” “All I Want for Christmas” and “White Christmas.” Music Director Lynn Ambrose also incorporated some basic tap steps in “The Man with the Bag” and cutesy gesturing in “All I Want for Christmas.” Student Allyson Guba also showed dynamic range and stage presence as she sang a hauntingly beautiful version of “Christmas Lullaby.”
In “Santa Claus is Coming to Town,” the 10 dancers’ showcased an abundance of shakes, shimmies and sass so as to not be outdone by the song’s energetic pace and bold musical accents. In today’s dance world where tricks and flexibility are taking priority over strength building and technical foundation work, audiences were pleased to see simple jazz walks, sharp flicks and kicks and a variety of beveled foot poses scattered throughout the routine.
In Cool Yule 10 dancers performed an exuberant 42nd Street-inspired number complete with shimmery dresses and character taps and featuring classic tap steps, including running flappes, wings, drawbacks and time steps. And while slightly darker than the other numbers with its aggressive contemporary movements and relentless running patterns, Clair Culin’s Pursuit kept inside the Christmas genre with a fast-tempo instrumental version of “Carol of the Bells.”
Choreographers Porter, Culin, Haylee Bargainer and Olga Pavlova had the daunting task of blending multiple skills levels into the second half of the show, which started with Act 2 of The Nutcracker where Clara enters the Sugar Plum Palace and ended with the Sugar Plum Fairy (Rachel Rohrich) and Cavalier’s (Arron Scott, American Ballet Theatre) grand pas de deux. Bargainer accomplished this feat with simple tendues, plies, and epaulement arm gestures for the itty bitty dancers in the Spanish, Arabian and Chinese corp roles. The result was a darling mass of clumsy cuteness adorned with sparkly costumes and tiaras.
The Snowflakes’ movement in the opening number of the second half lacked some of the bounciness and rhythmic nuances typically associated with this dance segment, but the dancers made up for this with some lovely cascading arms gestures and interweaving pathways and alternating circular formation changes. And while her pointe work came across clunky at times, particularly in the landings of her jumps, Julie Shilling did display impressive musical timing and technical fortitude in her consecutive pique and chaine turns in her Snow Queen solo.
Kali Kleiman’s nimble feet and angelic features made her an ideal choice for the role of Clara. Her natural grace and childlike giddiness showed through her fluttering bourrées and springy petit jumps and jete leaps.
The Arabian, Russian and Chinese variations were clean, yet not as choreographically imaginative as some of the other dances in the show. Margot Tortolani (age 14) did an admirable job as the Dew Drop Fairy, drawing out the musical phrases with slow descending arms in her tour jetes and travelling balances as well as her leg lines inarabesque. The flower corp, including company members Claira Russell, Dani Van Creveld, Eden Ryder, Emma Odom, Michelle Arriaga, Summer Sexton, Taylor Waller and Shilling executed some of the most challenging technique of the night with multiple turning sequences and constantly changing epaulement positions to complement their crisp pointe work.
The biggest surprise of the night was 14-year-old Rohrich’s professional-quality interpretation of the Sugar Plum Fairy. Rochrich’s airy arm movements and punctuating pointe work were enhanced by Scott’s trusting presence and strong hand holds in the partnering sections. And while Rohrich could have used her breath more to release some tension in the shoulders, she stayed rhythmically invested in the movement even after her music cut out during her solo.
Avant Chamber Ballet gets into the holiday spirit with Nutcracker: Short and Suite at Dallas City Performance Hall this Thursday.
Dallas — Audiences disappointed in the fact Texas Ballet Theater will not be bringing its Nutcracker production to the Winspear Opera House this season can find some solace in Avant Chamber Ballet’s (ACB) equally skillful, yet a little less traditional take on the holiday classic this Thursday at the Dallas City Performance Hall. Boasting a 35-minute running time, ACB’s Nutcracker: Short and Suite features some of our favorite dance segments from the second half of the beloved production, including Spanish Chocolate, Arabian Coffee, Chinese Tea, the Marzipans, Russian Trepak, Candy Canes, Waltz of the Flowers and the grand pas de deux with the Sugar Plum Fairy and Cavalier. And with live accompaniment provided by Bishop Arts Brass and Saule Garcia on piano there is really no other Nutcracker production like this one being offered in North Texas.
With her long, lethal legs, regal stature and precise point work, Yulia Ilina seems designed to play the role of the Sugar Plum Fairy. During last week’s rehearsal at Park Cities Dance in Dallas I looked on as Ilina and Artistic Director Katie Cooper make some tiny changes to her solo in order to keep everything musical according to Cooper. This phrase becomes Cooper’s mantra when she is giving notes in between each dance section. In Ilina’s case it means taking out the little arabesque half turn before a bourrée or adjusting the timing of arm gesture to more closely match the nuances in Tchaikovsky’s well known score. Cooper also tweaks Ilina’s epaulementplacement in certain spots to draw more attention to her lines. Cooper puts Eugene Barnes and Ilina’s endurance levels to the test with two rock solid press up lifts in the grand pas de deux, with the last one ending in a fish bowl dip with Ilina’s legs wrapped around Barnes’ middle. Newcomer Barnes demonstrated great strength and extension in his rotating jete series and sautés while veteran Ilina hit every move in her part, including the 16 downstage progressing fouettes, with melodic fervor and refined execution.
From here on out it was one technically enchanting and visually exciting dance after another. Most choreographers have a hard time working with odd numbers, particularly trios, but Cooper is always finding new ways for the dancers to interact with one another and her signature circling patterns and linked arm movements were present in both the Spanish Chocolate and Marzipan numbers. Madelaine Boyce and Kaitlyn McDermitt showcased their amazing stamina and unbreakable form in their roles as Chinese Tea and Trepak while Megan Van Horn will mesmerize viewers with her fluid body isolations and lingering floor splits in the Arabian dance.
Cooper breathes new life into the Waltz of the Flowers ensemble piece with dynamic crisscrossing jete passes, petitallegro jumps incorporating multiple beats and directional changes with epaulement as well as brain teasing formation changes. The section where all ten dancers morph from a circle into a star-shape that they then rotated clockwise while performing quick-moving waltz steps was particularly impressive. The group’s meticulous timing and Juliann McAloon’s zealous fouette turns near the end are also sure to leave you feeling breathless.
The evening will also include Cooper’s Sleigh Ride which is comprised of shorter dances performed to Chris Coletti’s Bach’s Bells and instrumental versions of classic holiday songs, including “O Tannenbaum,” “Hark the Herald Angels Sing,” “What Child Is This” and, of course, “Sleigh Ride.”
» Avant Chamber Ballet’s Holiday Celebration takes place Dec. 10 at 8 p.m. at Dallas City Performance Hall. Tickets are available at www.ticketdfw.com
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
UGH! I am behind in posting some articles here. Parsons Dance was in town last weekend and they were simply amazing. You can find out more about the man behind the company, David Parsons, below. Even over the phone the man has a commanding presence.
The contemporary choreographer on his inspirations, his famous solo Caught, and performing for TITAS.
Dallas — David Parsons is no stranger to Dallas. In fact, his solo work Caught which uses strobe lights to create the illusion that the dancer is flying has been featured at the annual TITAS Command Performance twice in the last five years. It’s one of those pieces you never get tired of seeing which is great since it will be making its third appearance in Dallas this weekend as TITAS presents Parsons Dance at the Winspear Opera House. This company is known for its physical and visual prowess so you definitely don’t want to miss them.
Raised in Kansas City, Parsons moved to New York City at 17 to begin his dancing career. He joined the Paul Taylor Dance Company in 1978 where he danced many leading roles in works such as Arden Court, Last Look andRoses. Parsons has also appeared as a guest artist with the Berlin Opera, MOMIX, New York City Ballet and the White Oak Dance Project. He founded Parsons Dance in 1985 with lighting designer Howell Binkley who went on to win a Tony Award for best lighting design of a musical for Jersey Boys in 2006. Parsons and Binkley are currently working on a new project together which they will premiere in Kansas City this June.
Over the last three decades Parsons Dance has toured 30 countries and five continents and has performed in world class venues, including the Kennedy Center for the Performing Arts, Maison de la Danse, Teatro La Fenice and Teatro Muncipal. His works have also been performed by Batsheva Dance Company of Irsael, Hubbard Street Dance Company, Nederlands Dans Theatre and Paris Opera Ballet just to name a few. Parsons is also a recipient of the 2000 Dance Magazine Award, the 2001 American Choreography Award and the 2011 Dance Master of America Award.
Parsons Dance will be in Dallas at 8 p.m. Saturday, April 25 at the AT&T Performing Arts Center’s Winspear Opera House. The evening’s program includes Parsons’ Caught(1982) Bachiana (1993) and Whirlaway (2014) as well as pieces by Robert Battle, Trey McIntyre and Natalie Lomonte.
TheaterJones asks David Parsons about breaking into the world of contempororay dance, developing his choreographic voice and the creative process for his phenomenal work, Caught.
TheaterJones: How did you enter the realm of contemporary dance?
David Parsons: I started out as a gymnast and I specialized in trampoline. So you can see where Caughtcomes from. Basically my mom didn’t know what to do with me during the summer so she would put me in arts camp and that’s where I was introduced to contemporary dance. In my mind it was incredibly challenging because dance isn’t just about moving around. It’s colors, lights, choreography, costumes and business, and it was a huge revelation for me. Then I started learning technique and you find freedom in technique. I then saw the Paul Taylor Dance Company and I knew I wanted to be in that company. I actually went to New York because I received a scholarship from Alvin Ailey, but once I got into Paul’s studio and he said I could hang around and understudy I knew I wasn’t going to leave.
What did you discover about your artistic self while dancing with Paul Taylor?
Paul Taylor is a genius and he was a great teacher for me. His work is so profound and I was totally attracted to the physicality of his work. I mean that is dance and we do the same thing at Parsons. You can’t come into this company and not be able to do a mild sprint I can assure you. It was probably a year after I joined Paul’s company that I knew I wanted to be a choreographer. I had done trampoline routines and other choreographic ventures, but I knew I needed to learn about music and lighting design and so I studied Paul like a sponge. I would study the tools and structures he used in his choreography as well as his business model. The experience turned out to be Taylor University for me.
The Dallas program includes Caught (1982), Bachiana (1993) and Whirlaway (2014). Looking back at what point would you say you found your choreographic voice and how does your work reflect this?
I really found my voice when I made three pieces within two years. They were Caught;The Envelope, set to Rossini, which was a comedy; and Brothers, which was done to Stravinsky and looked at sibling rivalry. Those three pieces kind of set the pace for me because they were all so different. I am somebody who pushes to have a huge variety in my program. Brevity is important too. But for me it was really about making the audience feel like they are on an emotional rollercoaster. Meaning that we would do humorous and dark works all in one evening. So it’s like your day. You wake up and throughout the day you’ll laugh or maybe cry or be sad. We really like to take the audience through an emotional, visual and physical roller coaster. We also communicate well with the audience. I like to touch things that we’ve all experienced like The Envelope for instance. It’s about an envelope and the performers just can’t get rid of it. It keeps coming back on stage. Then there’s Sleep Study which is done with only the movement of sleeping and then Caught which connects you with flying and that inner dream that we all have. Then there’s just beautiful pieces like Whirlaway which connects you to New Orleans. It takes you on an actual trip somewhere.
Caught is always a crowd pleaser wherever you go. Can you talk me through the process you went through to put this work together?
I created the solo at a very young age. When I first came to New York at age 17 I worked a lot of odd jobs including being a stunt model. And on these jobs I worked a lot with photography and that’s how I found out that Caught could be done. That there was a way for me to connect with people’s primitive need to fly. We all dream of flying and that’s the connection I was interested in. Again, when I make dances I’m interested in touching everybody in personal way. I look for those things that we all have in common. So, once I understood that I could catch myself in the air on a dark stage and take the same shape and move it around it’s really like looking at a live photo shoot all, of course, hovering over the ground. It really was just trial and error and fun to put together this journey of a man who starts in a room in conventional lightening preparing himself to fly and then he takes flight. This is a little contemporary gem that people love to see over and over again with different casts, sometimes it’s a woman, and it’s quite an astounding piece.
From the get-go did you know you wanted to use strobe lights?
Yes, the whole piece was wrapped around me finding the idea of working with a strobe light like that. Some people say it’s a gimmick, but I say it’s a darn good one.
Do you have to adjust the timing of the strobe lights or the dancer based on the size of the venue you are using?
Yes, depending on the size of the stage the dancer does have to change his timing. I mean this is millisecond timing we are talking about here. We also do this piece outside and sometimes there is extraneous light like there was in Rome and I went around and put garbage bags over every lamp on this pedestrian walkway. In this instance you have to flash the strobe lights a little bit faster when there is ambient light so that the audience can’t see the dancer moving in between shots. On a totally dark stage we don’t have that problem. So, there are a lot of things we have to do for an outdoor venue compared to indoor venue compared to a small stage or an Opera house. It’s all constantly changing.
You and your lighting director, Howell Binkley, have known each other for more than 30 years. How did you two meet?
Howell was brought in as the lighting supervisor for Paul Taylor so we toured together and became buddies. And one time when we were sitting on a bench in France I told him I was thinking about starting a company once we got back to New York and he said he was right there with me. Now he is one of the major lighting designers on the planet. He did the lighting design for Jersey Boys and [Lin-Manuel Miranda’s] Hamilton. We are currently working on a piece that will premiere in Kansas City at the [Kauffman Center] this June.
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.