Recap from Joyce Theater Tour

Guest writer: Soloist Nao Kusuzaki

In New York, concrete jungle where dreams are made, oh
There’s nothing you can’t do, now you’re in New York
These streets will make you feel brand new
Big lights will inspire you, let’s hear it for New York
New York, New York
                                                -Empire State of Mind, Jay-Z

Principal dancer Melody Mennite at the Joyce.
Photo by Jessica Collado.

With an Empire State of mind, we arrived in New York. It was Houston Ballet’s return to the city after a 26 year break.  We had seven shows to be performed at the Joyce Theater.

 The program of Falling Angels, ONE/end/ONE, and Hush fit magically well in the intimate, 472 seat, art-deco theater. Personally, it was a joy to find my friend who drove down from Boston in the second row cheering me on. In the dressing room post-performance, dancers shared who they saw out there and the true, up-close reaction they witnessed as the show progressed.

View photos from the tour here.

This tour to NYC was a transcendental one, and it may be my imagination, but I sensed unusually strong curiosity from New Yorkers.  It was beautifully balanced with Houston patrons, friends, and families who took the time to visit the Joyce for this occasion.

Stanton also reminded us of the significance in his “chookas” card (a note he always writes to the company on opening night):

We are the first company to perform Kylian’s Falling Angels in Manhattan. Last time, the original Netherlands Dance Theater performed it at B.A.M in Brooklyn.  And the other two pieces, ONE/end/ONE and Hushare tailor-made to Houston Ballet personalities. This program is uniquely us…

The house was filled each night, and the response was extremely positive…minus a few critics, though strong opinions aren’t necessarily bad, in my opinion.  Through experiencing the audience on stage, I sensed it exceeded their Tex-pectations.

The Joyce staff was impressed with the quality and the consistency of our performances–a huge compliment.  And there is something very special about the Joyce.  After practically living there for a week, I’ve decided it was the lively staff.  They seemed thrilled to be working there and seeing us perform. Even though they’re exposed to dance companies from around the globe–over 270 companies since its inception in 1982–they welcomed us like their family.  The stage manager, Sharonica, was the first connection I made.  Not only was she more than excited to see the show, but she was always available.  Her response was “I can help you with that” followed by a huge smile.  As the days went on, I felt the same attitude from all. It was obvious they were proud to be working there.  After all, the Joyce was created by dancers for dance, and over the years it’s become one of the premiere venues for the art form.

I was charmed to find the Joyce was formerly the Elgin Theater, a 1941 movie house. It was then closed by the community when this revival movie house became a pornographic movie theater. The architect, Hardy Hugh, rescued the place, and after a two year renovation it became the Joyce we know today.

Now we’re back in Houston, tougher and more inspired.  We are in preparation for The Nutcracker and Jubilee of Dance. I’m especially looking forward to seeing this evolving group of artists in motion this holiday season.

Keeping in mind the Empire State of Mind, I go back to plié.

-Nao

Off to the Joyce!

Houston Ballet is currently performing for the first time at The Joyce Theater in New York from October 11-16. What will the lucky New York audiences get to see? Jorma Elo’s innovative ONE/end/ONE, Christopher Bruce’s Hush and Jiří Kylián’s Falling Angels. ONE/end/ONE and Hush were both created on Houston Ballet dancers and Falling Angels, set to Steve Reich Drumming, showcases the incredible talent of the women of Houston Ballet. It’s truly a must see. If you’ve had the opportunity to see these fantastic ballets, you know New York is in for a real treat!

And while there’s nothing like seeing Houston Ballet on stage, here are some clips that offer a little taste of the pieces on tour: Hush, ONE/end/ONE and Falling Angels.

 

My First Experience at Miller Outdoor Theatre

Guest writer: Lauren Ciobanu, demi soloist

When I joined Houston Ballet last year and was informed that the company performs annually at an outdoor theater, I was intrigued. Coming from Florida we had nothing of the sort. I had never performed outdoors, so images of ancient Greek amphitheaters came to mind. Comedy, tragedy, catharsis…fantastic! Theater in the open air, classic. Way to step it up, Houston!

Miller Outdoor Theatre. Photo by Ron McKinney.

I was also excited because I was given a chance to perform one of the pas de deux from Stanton Welch’s Falling, which is a beautiful ballet, and a big opportunity for me as an artist.  So, curious as to what I should expect, I asked around, and the other dancers quickly informed me that although spectacular, the Miller Outdoor Theatre was not the classic dramatic venue I envisioned. I was told that you can sit on the lawn and have a picnic, bring the dogs, kids, bikes, anything you like, and oh yeah, it’s free to the public year-round.   Turns out it’s better than a grand amphitheater with Greek columns and elegant seating. It’s a laid back venue where you can have a good time with your friends and family while watching a great show (plus you can leave the formalwear at home!).  Hmm…lawn seating for a ballet. This could be something!

As the time grew closer to performing, I felt those little butterflies tingling. When the day finally came, it was thrilling. We got to the Miller Theatre and promptly set up camp for the next three days. Having dress rehearsal onstage for the first time was exciting and strange. It was still light outside so the stage lighting felt differently than it does in a dark theater. It was odd to look out and see everything in daylight, but fortunately the performances take place around dusk so the lights act a little closer to normal by that time of night. The backstage area is very cozy so all the dancers crowd around the wings waiting to get out there. There are lots of “Merdes!” and “Toi Toi Tois!” (ballet terms for good luck) whispered from the wings, and then you go on stage, and then lots of “Great Jobs!” and pats on the backs as you finish. It’s a real family experience on and off stage. But the best part of the night is being able to perform in a relaxed atmosphere knowing that most of the people watching were lounging on the lawn, kiddies in their laps, ready to be entertained, which set a different mood than our normal set up at the Wortham. Not that it made us perform any less than our best, but with the breeze blowing and birds chirping it not only relaxes the patrons, but the dancers too.

Lauren Ciobanu with Ian Casady in Stanton Welch's Tu Tu. Photo by Ron McKinney.

The performance went well, and after I performed Falling I snuck out to the lawn to meet some friends and watch the rest of the show. Looking around and seeing kids dancing on the grass, dogs relaxing next to their owners, people smiling and genuinely happy watching the company was such a reward. Knowing that you are reaching a wider audience and that someone out there just might think differently, or take something away after seeing a ballet performance, is really rewarding.  Looks like a bit of catharsis after all…

So now that I’ve got a year under my belt and am wise to the workings of the Miller Outdoor Theatre, I’m even more excited about performing this year. I am privileged again to be featured in a principal role in Stanton Welch’s Tu Tu (you can watch a clip of me dancing this role on HB’s YouTube page). It’s visually stunning. Set to Ravel’s music it’s as beautiful to watch as it is to listen to—a  masterpiece. It’s a role I dearly love and can’t wait to perform again. Also on the bill is Christopher Bruce’s Hush. A Houston Ballet staple, it’s based around a family of clowns and set to music by Yo-Yo Ma and Bobby McFerrin. And last but not least, Stanton Welch’s The Core is set to music by Gershwin. It includes the entire company and really showcases the heart of Houston Ballet. It’s fun and exciting and great for the whole family (especially mom!).

So my advice is to head out to the Miller this Mother’s Day weekend and stake your claim on the lawn (covered seating available if you don’t like to get dirty). Bring some snacks, kids, dogs, friends, or family and sit back, soak in the outdoors, and enjoy the world class program that Houston Ballet has to offer. Believe me, you won’t be disappointed.

-Lauren

Houston Ballet performs May 6-8 at 8 PM all three days at Miller Outdoor Theatre (6000 Hermann Park Drive in Hermann Park).  Additional information can be found on the Houston Ballet website, or call 281.373.3386.

Mark Your Calendars

We’ve got two great events coming up in Houston Ballet’s season, so save the date!

Academy Spring Showcase: April 29-30

See the rising stars of Houston Ballet’s professional training school as they showcase their talents.  The Spring Showcase is always a great look at future company members “before they were famous”.  The repertoire for this year’s showcase will include Stanton Welch’s Brigade, a pas de deux from Le Corsaire, and a pas de deux from Ben Stevenson’s staging of Don Quixote.

HBII, Houston Ballet’s second company, will also perform Jane Weiner’s Bloom Where You Are Planted, which was created especially for HBII. Ms. Weiner currently serves as executive director of Hope Stone Dance in Houston.

There will be two performances of the Academy Spring Showcase: Friday, April 29 at 7 PM and Saturday, April 30 at 1:30 PM.  Tickets start at $25 and may be purchased by calling 713.227.ARTS.

FREE Performances at Miller Outdoor Theatre: May 6-8 at 8 PM

Houston Ballet will give three free performances on May 6, 7, and 8 at 8 PM at Miller Outdoor Theatre in Hermann Park.  The repertoire will include Christopher Bruce’s Hush and Stanton Welch’s Tu Tu and The Core. 

Performances are free and open to the public, but tickets must be picked up from the Miller Theatre Box Office to sit in the covered reserved section of the theatre.  Learn more about how to obtain tickets by visiting our website.  We hope to see you there!

Q&A with New First Soloist Danielle Rowe

Guest writer: Lori Lang, PR intern

We are so excited to introduce the newest member of our company, first soloist Danielle Rowe! Danielle joins Houston Ballet from The Australian Ballet just in time to perform in Stanton Welch’s Marie. Onstage, critics have praised her “seductive assurance” and “transfixing vigour”. Here, Danielle tells us a little more about herself, offstage:

When did you start dancing?
I began dancing at the age of four. I was a rather hyperactive child so my mother thought ballet might be a good outlet for my energy. She was right, and not only did I expel some of my excess energy, I also discovered a life-long passion!
 
What was the first ballet you ever saw?
The first ballet I ever saw was The Australian Ballet’s The Sleeping Beauty. I was eight years old, and I still remember falling in love with the beautiful costumes and music. My mum said I couldn’t stop dancing all the way home.

What is the most exciting thing about joining Houston Ballet?
Mostly, I’m looking forward to the varied repertoire Houston Ballet performs. I’m used to doing up to forty performances of one ballet, so the thought of performing a ballet for only one or two weeks and then moving quickly onto the next ballet is quite appealing and refreshing to me.
 
What are you most looking forward to dancing in the spring?
I have heard such wonderful things about Stanton Welch’s Marie. I can’t wait to see the production and anticipate witnessing some divine costumes and sets. I’m also looking forward to the Raising the Barre program.  I have not yet seen a work by Christopher Bruce or Jorma Elo, so I am intrigued to see what their choreography is like. 
 
What do you love most about dancing professionally?
I love the sense of fulfillment I experience when I know that I have invested all of myself into a performance. When I step out on stage and allow my nerves to dissipate, I can be whoever or whatever I want to be. 
 
Do you have a favorite moment in you dance career?
I was fortunate enough to perform on opening night in Graham Murphy’s Swan Lake at the Théâtre Du Châtelet in Paris. It will always be a night that I remember fondly. To dance in a theatre so beautiful and rich in history is every ballerina’s dream, and I feel so lucky to have experienced that.
 
Any embarrassing or funny moments from the stage you’d like to share?
I have had so many embarrassing moments on stage, it’s hard to know where to begin! Possibly the funniest moment was when I was dancing the Snow Fairy in The Nutcracker and my tiara got caught on the wing. I was completely stuck and had to thrust my head around like a mad woman to release myself. Not a very elegant look! After freeing myself from the tiara (and the wing!), I only then realized that the corps de ballet were already in their final position and the curtain was coming down. Needless to say, there were a lot of suppressed giggles on stage that night!
 
What do you like to do when you are not dancing?
I love reading, listening to records, sewing, going to the theatre, sifting through vintage stores and sleeping!
 
What is your favorite…
               
Role?
I would love to dance Odette/Odile in Swan Lake again.       

Ballet?
Manon
              
Movie?
Labyrinth
               
TV Show?
Damages
               
Book?
The Secret Garden by Frances Hodgson Burnett 
               
Food?
Fresh seafood

Photo by Jo Duck.

Houston Ballet will receive $50,000 grant from the National Endowment for the Arts!

Rocco Landesman, Chairman of the National Endowment for the Arts, today announced that Houston Ballet  has been approved for a grant of $50,000 to support the world premiere of a new work by the celebrated Finnish choreographer Jorma Elo and the American premiere of Christopher Bruce’s Grinning in Your Face, two works featured as part of the spring repertory program Raising the Barre, running May 26 – June 5, 2011.

Houston Ballet is one of 1,057 not-for-profit organizations recommended for a grant as part of the federal agency’s first round of fiscal year 2011 grants. In total, the Arts Endowment will distribute $26.68 million to support projects nationwide.  An independent agency of the federal government, the National Endowment for the Arts advances artistic excellence, creativity, and innovation for the benefit of individuals and communities. 

The National Endowment for the Arts has a generous two-decade history of supporting projects at Houston Ballet with substantial gifts.  Most recently in 2010, the NEA awarded Houston Ballet $50,000 for the company premieres of Jerome Robbins’s Fancy Free and George Balanchine’s Ballo della Regina.  For more information on the National Endowment for the Arts, visit their web site at http://www.nea.gov/.

Update from St. Louis Tour

Guest writer: Jim Nelson, general manager (blog written on Saturday, October 9)

The company is here in St. Louis performing a triple bill featuring Stanton’s Falling, George Balanchine’s Apollo, and Christopher Bruce’s Hush.  We’re performing at the Touhill Performing Arts Center on the campus of the University of Missouri St. Louis.

Over the past decade, we’ve really focused on deepening the impact our tours have on the cities we travel to through the addition of master classes, pre-performance lectures, student performances, and direct interaction with local dance communities.

In conjunction with the three public performances here in St. Louis, we have presented a student matinee, a master class led by ballet mistress Louise Lester, pre-performance talks with company dancers, and we are participating in a three week teaching residency.

Yesterday’s student matinee was the culmination of the multileveled outreach effort.   Many of the students attending the performance are also participating in the residency program.  Former Houston Ballet soloist Sandra (Sandy) Organ-Solis and former Houston Ballet principal dancer Kristine (Krissy) Richmond are the featured teaching artists in the three-week residency that began two weeks before the company’s arrival and will continue through next week.

The program reaches more than 300 under-served middle and high school students at urban schools and community centers.  Krissy and Sandy have been teaching five days per week and have focused on dance technique relating to our performances as well as the history of modern dance, improvisation, collaboration, and healthy life styles for dancers.  

At yesterday’s student matinee, I was backstage with the dancers, and at one point during Hush the students in the audience exploded in spontaneous rhythmic clapping to the music—something we’ve never experienced in performances of Hush.  It was a great moment of connection between our dancers and the children in the audience, and it’s a perfect example of the magic of live theater.   After the performance, I met a few of the students as they were heading back to their busses and I asked one little girl what her favorite part was, and without hesitation her face lit up and she said “everything was my favorite!” 

The company’s opening performance was brilliantly danced and was received with screams of bravos and extended curtain calls.   It’s such a pleasure to share our beautiful artists with audiences outside of Houston—I have such a gratifying job!

This morning, the company is taking class with Dance St. Louis’ artistic director Michael Uthoff.   We have two more performances today and return to Houston tomorrow.

You can see photos from the tour on our Flickr site.

-Jim

Company Departs for Spain Tour Tomorrow

Guest writer: Brian Walker, production manager

Today is the final day of preparation before we leave for Spain.  We’ve been working on this tour off and on for about a year.  We started with a different promoter that ended up having to back out of the project after having some organizational problems.  We thought the tour had fallen through at that point, which was in August.  In late October another promoter picked up the project and after some negotiations and concessions, we were able to sort out a two week tour.  We start the tour in Vigo, then travel to A Coruna, Santander, Pamplona, Murcia and end in Oviedo.  We perform back-to-back in Vigo and A Coruna, then Santander and Pamplona.  It will mean very long days for the crew since we will have to travel to the new city and finish the load-in the day of the show.  Fortunately we are bringing an extra person from Houston who will be traveling ahead with a lighting designer from Spain. 

This is what the schedule looks like –
Vigo – April 21
A Coruna – April 22
Santander – April 24
Pamplona – April 25
Murcia – April 28
Oviedo – April 30

We are performing two different programs while we are in Spain.  Our main “full” program consists of Stanton Welch’s Nosotros and Divergence and Christopher Bruce’s Hush.  Due to the size of some of the venues, we weren’t able to do Divergence in all of the cities, so we came up with a “gala” alternative program.  That will consist of Stanton Welch’s Mediaeval Baebes, Han van Manen’s Solo, Hush, and  a modified version of Stanton Welch’s Nosotros.  We do the “gala” program in Vigo, A Coruna and Oviedo.  The full program will be in Santander, Pamplona and Murcia.  To give you a little perspective on the scale of things, the stage in Vigo and A Coruna are about 33’ deep by 37’ wide.  Our normal set up at the Wortham in the Brown is 55’ deep by 48’ wide.  Vigo also happens to have a 4% rake to the stage. 

This is going to be a very new touring experience for most of the company.  We generally take more time to get into the theater and rehearse.  This is going to be much more like the touring that Houston Ballet did in the past where one-night engagements were more common and the approach taken was much simpler.  General manager Jim Nelson will be writing blogs from the road, and if I have time between cities and I’m awake enough, I will try to do a blog or two.  Hopefully we’ll come back with some great pictures and funny stories.

Wish us luck!

-Brian