Pink at the Brown: Saving Lives and Making Art

Houston Ballet Artistic Director Stanton Welch serves as artistic chair of this year’s Pink at the Brown, a glittering one-night performance bringing together Houston’s leading arts organizations on Thursday, May 16 at 8pm at Wortham Theater Center. The event benefits the Pink Ribbons Project, which saves lives and enhances the lives of those touched by breast cancer.

Dancers: Jessica Collado and Ian Casady; Photo: Leonel Nerio

In this blog entry, Stanton talks about plans for the event, and the new work that he has created especially for the performance, Nocturne Op. 15 No. 1.

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I’ve really enjoyed serving as artistic chair of Pink at the Brown. What I love most about Pink at the Brown is that it brings together all the arts in one performance.  On one stage in one night, you get Houston Symphony, Houston Grand Opera, Stages, DaCamera, Houston Ballet and Society for the Performing Arts.

Jane Weiner, the founder and artistic director of Pink Ribbons, is very talented.  She’s instrumental in putting together a very interesting evening of programming. At our initial brainstorming session for Pink at the Brown, after much discussion, we settled on the concept of using umbrellas as a motif throughout the performance. Everyone performing in Pink at the Brown is photographed with umbrellas. The umbrellas speak to a very basic question: How do you protect yourself? How do you find a safe space in a sometimes dangerous world?

Oliver Halkowich, a soloist with Houston Ballet, is very clever at exploring motifs, and I knew that I wanted him to choreograph a work for Houston Ballet II, our second company, to perform at Pink at the Brown.

I initially started out thinking that I might want to create a work to Coldplay’s Fix You. After much reflection, I settled upon Chopin’s Nocturne Op. 15 No. 1. It is soft, sentimental and touching.

I wanted to take two of my favorite dancers Ian Casady and Jessica Collado – and make this piece for them. Ian Casady was in my first work for Houston Ballet, Indigo, in 1998, and I’ve worked with him for 15 years. So my artistic relationship with him is one of the longest that I have had in America. And Jessica is in every ballet that I make.

They are two of the most musical dancers I’ve ever worked with in my life. Throughout this process, I’ve been so impressed with their musicality and ability to find very subtle nuances in the score.

Houston Ballet Pianist Katherine Burkwall-Ciscon is one of our company’s jewels, and I was so glad that she could join us in this collaboration to play the Chopin for Pink at the Brown.

 I think that it’s going to be a very special night.

-Stanton Welch, Artistic Director

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Pink at the Brown will be performed on Thursday, May 16 at 8:00 pm at Wortham Theater Center. It will feature performances by The Alley Theatre, Da Camera of Houston, Houston Ballet, Society for the Performing Arts Houston, Houston Grand Opera, Meta-Four Houston, Wrtiers in the Schools, and Stages Repertory Theatre. Tickets start at $25.  http://www.pinkribbons.org/pinkatthebrown/

Dancing The Rite of Spring

On Friday, May 17 from 6:30 – 8:00 pm at 601 Preston Street, join Houston Ballet Artistic Director Stanton Welch, and Shen Wei Dance Arts Company Manager Stephen Xue for a free group discussion on the 100th year anniversary of The Rite of Spring as they share insights into the Houston Ballet’s and Shen Wei Dance Arts’ productions of Vaslav Nijinsky’s seminal work.

Ballet: The Rite of Spring; Choreographer: Stanton Welch; Dancers: Artists of Houston Ballet; Photo: Amitava Sarkar

In March 2013, Mr. Welch choreographed a highly lauded new production of The Rite of Spring featuring Houston Ballet’s entire company. On Saturday, May 18 at 8:00 pm at Wortham Theater Center, Society for the Performing Arts will present New York-based Shen Wei Dance Arts, making its Houston debut performing two of its most celebrated works: The Rite of Spring (2003), coinciding with the 100th anniversary of Stravinsky’s famed musical composition; and Folding (2000), a highly stylized piece performed to the melodies of Tavener and Tibetan Buddhist chants.

Shen Wei Dance Arts; Photo by Christy Pessagno

Shen Wei was the mastermind choreographer behind the stunning 2008 Olympic Opening Ceremonies in Beijing – featuring 16,000 performers right in the heart of The Bird’s Nest. The company itself is devoted to the creation of innovative dance forms for the 21st century. A seamless fusion of Chinese opera, painting, dance and music with Western performance arts, Shen Wei’s works are “visual feasts” (The New York Sun) that transfix audiences.

For more information on the May 18 performance by Shen Wei Dance Arts and to purchase tickets:

http://www.spahouston.org/show?ShowId=59

Houston Ballet Helps Miller Theater Celebrate Its 90th Anniversary In Grand Style

From May 10 – 12 at 8pm, Houston Ballet celebrates Miller Theater’s 90th anniversary by performing three stellar works in three free performances. The evening will open with two short, dazzling pieces: the duet from the 19th century classic Flower Festival in Genzano and the exquisite classical set piece Grand Pas Classique, set to music by Daniel Auber and showcasing the virtuosity of two superb classical dancers.

Dancers: Artists of Houston Ballet; Photo: Amitava Sarkar

The program concludes with Stanton Welch’s signature work Madame Butterfly, the story of a beautiful Japanese geisha who gives up her faith and her family to marry an American naval officer. Set to Puccini’s powerful score with lavish costumes and sets by Peter Farmer, Madame Butterfly is at once compelling and heartbreaking. It is a stunning achievement in neoclassical ballet that has been an international success, with performances on three continents.

Free tickets to these performances are available (4 per person over age 16 while they last) at the Miller Outdoor Theatre box office the day of the performance between the hours of 10:30 a.m. – 1 p.m. If tickets remain at 1 p.m., the box office will re-open one hour before show time to distribute the remaining tickets. As always, open seating on the hill. This is a ticketed event for the covered seating area.

Houston Ballet at Miller Outdoor Theatre; Photo: Nerio Photography

Houston Ballet II Steps Center Stage in Toronto

From April 28 – May 4, the dancers of Houston Ballet II will tour to Toronto to appear in the prestigious international ballet festival Assemblée Internationale 2013 (AI13) in the Betty Oliphant Theatre at 404 Jarvis Street. Houston Ballet II dancers will appear along side other young dancers from some of the world’s most elite training institutions, including Paris Opera Ballet, the Royal Ballet of London, the Royal Danish Ballet, the National Ballet of Cuba, and The Australian Ballet.

Ballet: Fingerprints; Dancers: Artists of Houston Ballet II; Photo: Amitava Sarkar

Hosted by Canada’s National Ballet School (NBS), the AI13 will bring together students and artistic staff from eighteen international professional ballet schools for an intensive seven days of classes, performances, forums and professional development. Former Houston Ballet dancer Garrett Smith is choreographing a new work that will premiere at the festival. Houston Ballet II will also perform the first movement of Stanton Welch’s work Fingerprints, inspired by the music of the famous Kronos Quartet’s Pieces of Africa.

Tickets to four public performances can be purchased by calling the box office at 416-964-5148 or by email at boxoffice@nbs-enb.ca. For more information, visit Assemblée Internationale’s website. 

We are so proud that Houston Ballet II has been invited to Toronto to participate in the prestigious Assemblee Internationale 2013, the international ballet festival April 28 – May 4. Learn more about this innovative program that brings together the best young dancers from all over the world for an incredible week of classes, professional development and performances.

FROM CONCEPTION TO CREATION: THE COSTUMES FOR MURMURATION AND THE RITE OF SPRING

Houston Ballet’s veteran wardrobe manager Laura Lynch collaborated closely with two of three choreographers featured on Houston Ballet’s The Rite of Spring mixed repertory program March 7 – 17 to help them realize their visions for the costumes for their works.

Dancers: Karina Gonzalez and Simon Ballet; Photo: Amitava Sarkar

For Edwaard Liang’s ballet Murmuration, Ms. Lynch served as costume designer, along with Mr. Liang. For Stanton Welch’s world premiere of The Rite of Spring, Ms. Lynch realized the costume designs conceived by Mr. Welch.

Here is her journal of how she worked with the choreographers to realize their different visions.

CHOREOGRAPHER EDWAARD LIANG’S MURMURATION

Guest Writer:  Laura Lynch, Houston Ballet Wardrobe Manager

Edwaard Liang and I met via email. We then had a couple of phone conversations. He sent me a video of “murmuration.” (a phenomenon in Europe where starling birds flock together and make beautiful shapes and patterns in the sky), filmed in the wild. We discussed the simplicity he wanted in the design.

Edwaard was concrete in his decision that all women would have one look and that all men would have one look. The shop then took direction and created mock-ups for Liang to look at his first day here. Edwaard is a true collaborator. He thrives on hearing others’ opinions as well as seeking guidance when he is stuck.

Although he knew he wanted the ladies in a leotard, he wasn’t sure about the drape he wanted to soften the look with. After looking at the first round of mock-ups, we determined that a flat tab of fabric would better serve the simplicity he was looking for.

Dancers: Christopher Coomer and Karina Gonzalez; Photo: Amitava Sarkar

The leotard color also changed as we discussed the color of the birds.  Black leotards became gray leotardss and the chiffon tabs were shortened and the hem angled. We also decided to hombre (gradation of color) the chiffon tabs to better show the body. For the men, a simple pair of pants.  The decision together came in the discussion of using different fabrics to achieve the gray color for the women’s leotards. The decision was made to layer black mesh over white lycra.

The next decision was to determine the best width for the legs. A mock-up went into rehearsal so Liang could see the garment move. Changes were communicated and we were ready to purchase show fabrics and begin the build.

CHOREOGRAPHER STANTON WELCH’S THE RITE OF SPRING

Stanton created a design book with research pictures and information sketches of members of indigenous tribes charting what each character track would wear.

Dancers: Artists of Houston Ballet; Photo: Amitava Sarkar

Stanton presents his ideas, and then I ask questions to clarify.

We shopped fabrics and trims together early in the process because we had an upcoming season brochure photo shoot. I have the shop go straight to fashion fabrics when we have a definitive decision about the costume. We knew we’d use circle skirts and loin cloths – so those go right into production.

I draped all the North and South tribal women’s bras using the discussions with Stanton as my guide. Costume shop supervisor Sara Seavey draped the tribal men’s loin cloths, and incorporated the shop to assist. The tattoo mesh work was done by Monica Guerra using the research and discussion from Stanton.

Dancers: Nozomi Iijima and Artists of Houston Ballet; Photo: Amitava Sarkar

The shop follows direction from both Stanton and me as we construct all the other costumes and details. Amanda Mitchell and crew created all the wigs. All North and South tribal women have wigs, the “religious” have wigs, and everyone has some type of make-up. The tattoos are mostly created by painted mesh costumes.

Stanton Welch’s The Rite of Spring and Edwaard Liang’s Murmuration continue in performance with the company premiere of Mark Morris’s Pacific through Sunday, March 17 at Wortham Theater Center.  www.houstonballet.org.

The Corps de Ballet Takes Center Stage in La Bayadère

Principal ballet mistress Louise Lester and the female dancers of the corps de ballet have been very busy lately, preparing for one extremely challenging undertaking: dancing  La Bayadère, which opens next week (February 21) at Wortham Theater Center.

La Bayadère’s third act, the famous Kingdom of the Shades section, showcases 24 female dancers in white tutus, executing 38 synchronized and seamless arabesques while descending onto the stage, and is one of the purest forms of ballet-blanc, or white tutu ballet.

Artists of Houston Ballet; Photo: Amitava Sarkar

“The Kingdom of the Shades is a challenging segment because it requires such control and precision from the corps de ballet women,” says Mr. Welch. “There are few works in the classical repertoire that require more precision from the corps de ballet.”

The Kingdom of the Shades is so popular it is often performed on its own. Houston Ballet first performed The Kingdom of the Shades scene, staged by Ben Stevenson after Marius Petipa, in March 1994 and revived it in 1998.  In 1963, the celebrated English dance critic Clive Barnes famously observed, “If you don’t enjoy La Bayadère, you really don’t enjoy ballet “.

The Kingdom of the Shades_ Martha Butler and Carlos Acosta and Artists of Houston Ballet

Houston Ballet will give 7 performances of La Bayadère February 21 – March 3 at Wortham Theater Center.  Tickets start at $19, and may be purchased at www.houstonballet.org

A Tribute to Principal Dancer Amy Fote!

Dancer(s): Amy Fote and Artists of Houston Ballet; Photo: Amitava Sarkar 

On Friday, November 30, 2012, Houston Ballet presents its ninth annual Jubilee of Dance: A Tribute to Amy Fote, a special one-night only performance showcasing the talent and artistry of the company dancers in a program of high-energy excerpts from signature works and beloved classics. Principal dancer Amy Fote will be honored at the 2012 Jubilee of Dance. Ms. Fote’s career has taken her from her native Manitowoc, Wisconsin to New Zealand to Houston Ballet, where she joined the company in 2005 as a first soloist and was promoted to principal dancer in 2006. Prior to joining Houston Ballet, she danced with Milwaukee Ballet for fourteen seasons.

“Having this year’s Jubilee of Dance as a tribute to me is a most amazing gift! I feel completely honored and blessed to be recognized in this special way. Jubilee of Dance is a special time for me to say goodbye to the audience and a time to share the stage one last time with my fellow dancers.” - Amy Fote, Principal

We are going to miss you Amy, you are about to start a new and exciting journey…what’s on your mind?

Dancer(s): Amy Fote and Artists of Houston Ballet; Photo: Amitava Sarkar 

“In thinking of my career transition, each day I find myself grateful for the many wonderful opportunities I have had to dance such beautiful ballets with this world class company.  I have grown as a dancer and as an artist over the past 7 years.  I am inspired everyday by the lovely, talented people who surrounded me.  When I look at my career I am completely fulfilled and ready to take that ‘next step’. I look forward to contributing to this art form in other ways and excited to explore my other interests as well.” - Amy Fote, Principal

Dancer(s): Amy Fote as the Sugar Plum Fairy; Photo: Amitava Sarkar 

You can also watch Ballerina Amy Fote make her final appearances as the Sugar Plum Fairy in The Nutcracker!

This years The Nutcracker marks the 25th anniversary of Ben Stevenson’s spectacular production! At select performances Principal dancer Amy Fote will make her final appearances with Houston Ballet as the Sugar Plum Fairy. Here’s what she has to say about dancing the graceful and sweet Sugar Plum Fairy!

“The role of the Sugar Plum Fairy is demanding in many ways. One would think that in performing it year after year it would get easier…it doesn’t.  For starters, it takes a lot of stamina.  Not just the breathing-hard kind of stamina, but also stamina in your left leg.  Also, anytime you wear a tutu you are completely exposed.  Your line needs to be at its most pure and everything pulled up to the nth  degree.   When I was younger I thought this dancing was uptight and didn’t enjoy the restrictive movement.  Now, I feel a great deal of satisfaction performing something so classical, pure and refined.” – Amy Fote, Principal

“Offstage, Fote emanates positive energy, and her Wisconsin accent reveals a Midwestern can-do spirit.”

Molly Glentzer, Houston Chronicle (Nov. 29, 2012)

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Performances of The Nutcracker and Jubilee of Dance will be held in the Brown Theater at Wortham Theater Center in downtown Houston. Tickets may be purchased by calling 713-227-2787 or by visiting www.houstonballet.org.

Houston Ballet – October News Report!

It’s time introduce a new series called Houston Ballet News Report! Each month I’ll bring you all some exciting Houston Ballet events, announcements, photos, videos, and much more.

Marie on Tour!

Dancers: Melody Mennite & Ian Casady; Photo: Amitava Sarkar

Let’s wish our Houston Ballet dancers good luck on their trip to Canada!

They are performing Marie, a three-act narrative ballet choreographed by Stanton Welch at The National Arts Centre in Ottawa, Canada from October 18-20, 2012.

Check out the behind the scenes look at the beautiful costumes of Marie!

http://nac-cna.ca/en/stories/story/closet-raiding-marie-antoinettes-wardrobe

For more information visit: http://nac-cna.ca/en/

Soloist Karina Gonzalez guesting in NYC!

Dancer: Karina Gonzalez; Photo: Amitava Sarkar

From October 23-28th, Soloist Karina Gonzalez will be guesting in New York City with Ballet Next at The Joyce Theater. She will be performing with guest artists from New York City Ballet, Stuttgart Ballet, and Pacific Northwest Ballet.

Good luck Karina!

Visit: http://www.balletnext.com/

 Houston Ballet Center for Dance named one of Houston’s 12 most distinctive archeticual/design landmarks in Curbed National

Photo Courtesy of Gensler

“This $53 million Gensler-designed facility is the largest ballet center in the U.S. Its six stories have a number of innovative features including an open-air pedestrian sky bridge and a stunning black granite facade.” – Stirling Kelso, Curbed National

Read more at: http://curbed.com/archives/2012/10/10/design-heat-maps-12-essential-stops-in-houston.php

Principal Melody Mennite recognized as one of Houston’s Top 30 under 30

 

Dancer: Melody Mennite; Photo Amitava Sarkar

Congratulations to Melody Mennite! She has recently been recognized as one of Houston’s Top 30 Successful Young Professionals Under 30.

In honor of Houston’s Future Leaders, a celebration will be held at BlackFinn American Grill this October 26, 2012 recognizing the rising stars of one of our country’s fastest growing cities! These individuals 30 and under are making a difference in their community, job environment or have had success in many areas of life.

The Nutcracker is just around the corner!

Houston Ballet presents The Nutcracker from November 23-30, 2012. A little girl named Clara receives a magical nutcracker on Christmas Eve, and sets out on a wondrous journey to the Land of Snow and the Kingdom of Sweets. Featuring breathtaking scenery and costumes by Tony Award-winning designer Desmond Heeley, The Nutcracker is the perfect yuletide gift: the ideal means of introducing children to the power and beauty of classical dance, and a delightful way for the entire family to ring in the holiday season.

Tickets may be purchased by calling 713-227-2787 or by visiting www.houstonballet.org. Please click here to view, print or download casting.

Explore Women@Art!!

Houston Ballet’s presents it’s fall repertory program: Women@Art!

Ballet: The Brahms-Haydn Variations; Dancers: Ian Casady and Sara Webb; Photo Amitava Sarkar

Three of the world’s leading female choreographers take Houston Ballet September 20-30, 2012. Featuring the return of Julia Adam’s Ketubah, a fantastic world premiere Angular Momentum by Aszure Barton, and the company premiere of Twyla Tharp’s The Brahms-Haydn Variations.

Here’s a sneak peek-

Ballet: Ketubah; Dancers: Ian Casady and Mireille Hassenboehler; Photo: Amitava Sarkar

Set to live klezmer music by The Best Little Klezmer Band in Texas, Ms. Adam’s work Ketubah is inspired by the rituals of a traditional Jewish wedding, following one couple from first glance to wedding night.

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Ballet: Angular Momentum; Dancer: Melissa Hough and Connor Walsh; Photo: Amitava Sarkar

Angular Momentum is set to a lush, dramatic 2009 composition by the acclaimed young American composer Mason Bates entitled The B-Sides: Five Pieces for Orchestra & Electronica, featuring orchestra and laptop computer.

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Ballet: The Brahms-Haydn Variations; Dancers: Artists of Houston Ballet; Photo: Amitava Sarkar

Twyla Tharp’s The Brahms-Haydn Variations is a beautiful neo-classical ballet for thirty dancers set to the music of Johannes Brahms Variations on a Theme by Haydn for Orchestra.

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You don’t want to miss this spectacular  show!

“This program delivers in surprising ways as it juxtaposes earthy space, heavenly grace and a kiss of humanity.” - Houston Chronicle

“Stanton Welch has programmed an exquisite and engaging evening of entertainment that features female voices in dance in his 2012 iteration of WOMEN@ART. Each piece is resplendent in charm and value, adeptly showcasing the ability of women to be conscientious artists in the dance world.” - Broadway World Reviews

Tickets may be purchased by calling 713-227-2787 or by visiting www.houstonballet.org.

Dates: 7:30PM September 28, 29 & 2:00PM September 30

Please click here to view, print or download casting.

Working with Ms. Aszure Barton

Guest Writer: Samantha Lynch, Corps de Ballet

Another season began at Houston Ballet and the anticipation was building with the opportunity to work with Canadian choreographer Aszure Barton.

Choreographer: Aszure Barton; Photo: Graeme Mitchell

After watching her company, Aszure Barton & Artists, perform in 2010, I was impressed and inspired. It was new, sensitive, musical, and incredibly powerful.

The announcement by our director, Stanton Welch, that Aszure would be creating a new work with Houston Ballet this season was met with a lot of excitement by all.

Day One began with assistant to the choreographer Tobin Del Cuore. Watching him move is like watching a refined racehorse, at times beautifully animalistic. I was in complete awe of how incredible he was. We learnt material from some of her work to prepare to show her the following day.

We meet Aszure on Day Two. With her legs tucked beneath her in the chair she looks deceivingly small; until she gets up and demonstrates a shape, you don’t realize her long legs, beautifully arched feet and huge movement quality.

Aszure Barton and Artist of Houston Ballet; Photo by Amitava Sarkar

She loves to work with detail, clarity and efficiency. Softly spoken in giving directions: “Eyes to the corner on 1, dropping the neck forward on 2″, she would ask “Can you do it with your mouth open?”

Aszure creates this safe space in the studio which in turn gives us the freedom to be completely ourselves. There is a beautiful feeling of community in the room!

One thing I found most appealing about her process is that you feel a part of a workshop. The choreography is learnt by every dancer in the room. It’s not about just working on your steps, it’s about adapting to a certain style, a different way of moving, and building something together.

Her work has a physicality that is precise, powerful and at times sensual and spontaneously witty! Sometimes hours went by simply creating detail in the upper body. Things were constantly evolving, which you can tell is something that inspires her!

Men and women are equal in her movement. There is something so empowering about feeling masculine, yet very feminine at the same time. It feels very honest.

Aszure Barton and Artists of Houston Ballet; Photo by Amitava Sarkar

Aszure has this amazing awareness of every person in the room and when she watches you move, you feel she is seeing directly into your soul. She understands and embraces our individual quirks and has a way of picking up on everyone’s “thing”!

She had this unbelievably alluring patience as she watched us move, she genuinely wanted to watch how we felt our way into the movement.

As the days continued, the piece began to take shape to a score by Mason Bates, slowly she let us listen to more, but kept us guessing to what the whole score sounds like. Sometimes I would wait in the studio at the end of the day whilst she and Tobin worked, just to hear a little more of the music! I became so drawn to the process that I wanted to see more, to learn from them as much as I could.

Aszure Barton and Artist of Houston Ballet; Photo by Amitava Sarkar

Every rehearsal with Aszure was just as intensely creative as the one before. She’s a collaborator in every sense, and the work comes first! Working with Aszure has been an incredibly rewarding, and beautiful experience.

Her work premieres September 20th, and Houston is counting down the days.

A link to learn more about Aszure Barton: http://www.aszurebarton.com/

-Samantha Lynch, Corps de Ballet

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Houston Ballet presents Women@Art from September 20-30, 2012. Three of the world’s leading female choreographers take Houston Ballet on a spectacular odyssey of dance with a fall repertory program unlike any other. Featuring a world premiere Angular Momentum by Aszure Barton, the company premiere of Twyla Tharp’s The Brahms-Haydn Variations, and the return of Julia Adam’s Ketubah.

Tickets may be purchased by calling 713-227-2787 or by visiting www.houstonballet.org.