Holly Hynes Creates Tuxedos “Worthy of the Red Carpet” in The Young Person’s Guide to the Orchestra

From March 6 – 16, Houston Ballet will unveil the world premiere of Stanton Welch’s new version of The Young Person’s Guide to the Orchestra, set to the beloved score by Benjamin Britten and featuring costumes designed by Holly Hynes. 

Costume sketch for The Young Person’s Guide to the Orchestra by Holly Hynes

Ms. Hynes has enjoyed a long, distinguished career as a costume designer, with commissions from the Royal Ballet, the Paris Opera Ballet, and San Francisco Ballet, among many others.  She has collaborated with Stanton Welch on eleven productions, including The Core, his homage to New York City in the 1940s, and Brigade, his delightful classical showpiece created in 2006.

Holly Hynes; Photo by Paul Kolnik

_____________________________

Houston Ballet:Your costumes for The Young Person’s Guide to the Orchestra seem inspired by tuxedos and have an air of 1930s Hollywood glamour. Can you talk about your concept for the costume design of The Young Person’s Guide to the Orchestra? 

Holly Hynes: Stanton and I had been working on this idea for months. Batting around several different looks, we finally settled on an “orchestra uniform” for all, men and women, I wanted to come up with a glamorous streamline look for the main body of the ballet. Adjustments had to be made to the tailcoats so the dancers could move. But for the real meat of the choreography, I wanted something worthy of the red carpet: something tailored but showing their amazing bodies.

Houston Ballet: You’ve worked with Stanton Welch on several projects. Can you describe your collaborative process, and how it worked for The Young Person’s Guide to the Orchestra?

Holly Hynes: This is my eleventh ballet with Stanton. He’s created some wonderful ballets for me to design all over the United States but the experience has been the best in his own backyard at the Houston Ballet. The Young Person’s Guide to the Orchestra is very special to me because I worked with Jerome Robbins and have supervised the recreation of Irene Sharaff’s designs for his Fanfare for the New York City Ballet and Miami City Ballet which is set to the same music. To hear this piece played by the masterful Houston Ballet orchestra is a treat. But to watch the Houston Ballet dancers interpret Stanton’s vision in my clothes is a blessing.

Because I am based on the East Coast, our first meeting was in Central Park in New York City over coffee on a beautiful sunny day. I love that our collaborations are based on hard work but we always manage to get laughter and fun in there too. My first drawings were on little scraps of hotel note paper. Stanton is so trusting and we have worked well together for so long that even those little scratches could turn into full costume renderings. Of course living in two different cities, the internet has made our process much easier.

 

Costume sketch for The Young Person’s Guide to the Orchestra by Holly Hynes

Houston Ballet: Can you talk about your collaboration with Houston Ballet’s costume shop in constructing the costumes for The Young Person’s Guide to the Orchestra? When did you first provide them with costume sketches? How did you interact with them? 

Holly Hynes: Houston Ballet has a wonderful brand new costume shop in the Center for Dance. The workroom is filled with old and new friends. Wardrobe Manager Laura Lynch, who runs the department, is the first person after Stanton to receive the sketches. This is my twelfth build with Laura and we often finish each other’s’ sentences.

Our first conversation centered around budgets. We decided it would be more cost efficient to try and purchase the tailcoats but to make the pants and shirts and cummerbunds. That said, this started us on a long journey of trying to find black material and off the rack coats that would appear to be the same color on stage. The fabric needed to stretch as well, and extra jacket material had to be bought so we could add gussets under everyone’s arms.

Laura found some interesting fabrics and samples were made. But when I came in for my first trip, I didn’t love any of them. Next we went back to High Fashion Fabrics where I found a wonderful stretch fabric for all the pants. We held our breath while the store tried to find the right amount of yardage for us.

A month passed and I flew in from New York a second time, and we fit the first cast which is over 30 dancers. Costume Shop Supervisor Sara Seavey, who is in charge of the work room, was amazing at keeping the fittings on time and everything tagged and organized. Not one dancer missed a fitting, something I wish other companies could boast about. Not sure how the tailors and drapers keep all parts together since from a distance it is a sea of black and white sameness. Follow up fittings and second casts were seen without me, but by then everyone owned the ballet.

I flew in last Thursday for the technical rehearsal and now we are waiting to begin the dress rehearsals leading up to the opening.

Houston Ballet: What was the first project on which you collaborated with Stanton Welch as costume designer? Did you realize at the time that it would lead to such a long and fruitful collaboration?

Holly Hynes: When I was Director of Costumes for the New York City Ballet I also had an active career designing both for the company and for outside ballet companies. One group, called the Chamber Dance Project, had invited a young choreographer from Australia to create a new piece for them. I was already working with them on another piece so they asked me to design for Stanton as well.

It is always scary to be suggested for a collaboration when you don’t know the other partner. Stanton couldn’t have been nicer and we immediately spoke the same language. He had grown up behind the scenes at The Australian Ballet with his performing parents and spent many an hour running around the costume shop. He has a great eye, and we have a very similar love of color.

Over the years he has really helped me find my voice as an artist. I owe him a lot as a friend and as a collaborator. The name of that first ballet was Kisses…I think that says it all.

 _________________________

Houston Ballet will perform The Young Person’s Guide to the Orchestra March 6 – 16 at Wortham Theater Center.  Also featured on the program are Stanton Welch’s ballets Maninyas and the company premiere of Of Blessed Memory.  Tickets start at $19, and may be purchased at www.houstonballet.org

 For more information on this program, visit:  http://www.houstonballet.org/Ticketing_Schedule/Season_Calendar/Young_Persons_Guide/

To watch a video preview of The Young Person’s Guide to the Orchestra:

Behind the Scenes of Aladdin: Christopher Gray Flies High as the Djinn of the Lamp

Christopher Gray as the Djinn (Genie) with artists of Houston Ballet; Aladdin; Photo by Amitava Sarkar

-by Stephanie Brown, Public Relations Intern

David Bintley’s Aladdin, which continues in performance through Sunday, March 2, has a way of enchanting the audience with beautiful, unique props and exquisite, colorful costumes. I had the honor of attending Aladdin on opening night, and I swear I was under some mystifying spell; each intermission was a startling call back to reality. I didn’t want it to end! What was even more exciting was the chance I had to go backstage at Wortham Theater Center and see the props up close and personal. Below are some photos for your viewing pleasure!

Behind the scenes shots by Stephanie Brown

One of my favorite characters in Aladdin was the Djinn of the lamp (the Genie), and demi soloist Christopher Gray danced his heart out. I was intrigued by his experience in creating his own version of the the Djinn of the lamp (the Genie), so we asked a few questions about the role.

Watch video of Christopher Gray as the Djinn in Aladdin.

Houston Ballet: Tell us about dancing as the Djinn of the lamp (the Genie). What are the most challenging aspects? What are the most exciting?

Christopher Gray; Photo by Amitava Sarkar

Christopher Gray: Hands down, one of the most challenging things is that some of the magical reveals were hidden in set pieces for long periods of time before some pretty difficult dancing.  So it’s the opposite of what you would normally do, which is to stay moving, keep yourself loose and then go out and dance. Being crouched down in a small space before having to dance is pretty difficult.

For the most exciting thing, this is my third time flying in ballet, and I always love doing that. The audience always really appreciates it. On opening night during the first scene with the levitation, everybody applauded. It was great! So that’s always exciting for me. It’s a challenge as well because you’re at the mercy of the wire when you’re up there. There’s not too much you can do to keep yourself from spinning or swinging, so it’s learning how to do those small adjustments without putting yourself in a counter rotation.

Houston Ballet:  Explain your wardrobe. How do you feel about being painted completely blue?

Christopher Gray:  Fortunately, it’s not completely blue. I don’t have to paint my legs. This in terms of ballet costumes is not so difficult to dance in, which I always like. Sometimes we have pounds and pounds of clothing and wigs we have to deal with, so this is relatively simple. [I wear] just a small vest and baggy pants

Artists of Birmingham Royal Ballet; Aladdin; Photo by Bill Cooper

Any time you don’t feel constricted by a costume, which I don’t because there are even shirtless scenes for me, it’s a lot easier to deal with. I prefer pants over tights any day of the week! In terms of wigs, Amanda, our wig and makeup person, has done a great job of making a wig that fits really flush to our heads. We just have a little bit of hair, like a top knot pony tail, which I don’t feel impedes my ability to turn and it doesn’t knock me off center, which is often a problem with costumes.

Being painted blue is hard. I’m there around 6:15 for a 7:30 start time.  And that includes not even being on stage until a good 40 minutes into the first act. Overall, I face about an hour and a half worth of body makeup, face makeup, and wigs. It’s difficult and, once again, the opposite of how you would want to get ready for a show…you know, standing there half naked for an hour and a half. I do throw warm-up clothes back on top, but you don’t want to sweat the makeup off. It’s a fine line you have to deal with. I’m getting pretty used to being painted, though. I think this is my third or fourth color!

Houston Ballet:  What do you do to get in character for the the Djinn of the lamp (the Genie)?

Christopher Gray:  As the body makeup and especially face makeup and wig come along, I feel like that’s part of my transformation. We have these wicked eyebrows and drag queen style makeup.  So it’s hard not to look at yourself with a little bit of humor when you see the character staring back at you.

If anything, the one thing that I have been doing is going over the mime section to try to create an aura of power, confidence, mystery, and a little bit of humor as well. Trying to work the fake eyebrows has been fun. As the shows progress, you find more time and space for that on stage and then the character grows from there.

Artists of Houston Ballet; Aladdin; Photo by Amitava Sarkar

Houston Ballet:  What do you like about the props and costumes for Aladdin?

Christopher Gray:  One of my favorites is probably the most simple: the lamp that lights up. I think it’s very effective on stage. Those few times Aladdin lifts it up and then there’s a big crescendo in the music when it turns on and starts glowing…I think that’s fantastic! Also, the magic carpet is done really well.

I wish I could see the show from the front, but unfortunately that’s not in the cards for me. The lion dance in the second act is a big crowd favorite, and I also dance the head portion of the lion. It’s a lot of fun to do that. It does pose a problem because it’s difficult to hear the music, though. When you start shaking the head all you hear is rattling!

You can see Chris Gray dance the the Djinn of the lamp (the Genie) in Aladdin on Friday, February 28 at 7:30 pm and Saturday, March 1 at 7:30 pm.

Houston Ballet continues its performances of Aladdin through Sunday, March 2 at 2:00 pm at Wortham Theater Center.  For tickets and more information, visit:  https://www.houstonballet.org/Ticketing_Schedule/Season_Calendar/Aladdin/

Making Musical Magic in Aladdin

Artists of Birmingham Royal Ballet; Aladdin; Bill Cooper

Composer Carl Davis, who is highly acclaimed in the fields of film and musicals, has written numerous ballet, TV and film scores. (His score for The French Lieutenant’s Woman in 1981  won the BAFTA Award for Best Film Music.)  Mr. Davis worked with English choreographer David Bintley to create the score for Mr. Bintley’s three-act magical ballet Aladdin. Houston Ballet will present the American premiere of Aladdin February 20-March 2, 2014 at Wortham Theater Center. In this blog entry, Mr. Davis talks about the evolution of his score for Aladdin, the strict demands of writing scores for films, and his genial collaboration with Mr. Bintley.

1. How has the score for Aladdin evolved? 

Aladdin was composed for an earlier production, that of the Scottish Ballet in 2000 as a possible answer to finding an alternative to The Nutcracker for its Christmas seasons. In the case of that production the answer was “no” as the company ceased to exist in its large scale form by the following year. The score for Aladdin, until its new production by David Bintley for the National Ballet of Japan in 2008, seemed to be consigned to oblivion.

Music Composer Carl Davis

I decided to rescue it by making a recording of the score which coincided with my composition of a new score for David Bintley’s Cyrano ballet in 2005. He responded very positively to the music and, given the nature of the subject, thought it would be suitable when he took up directorship of the National Ballet of Japan. He asked me to re-score certain sections, particularly Aladdin’s flight from the bath house and his subsequent capture and trial. We also had a change of context for the Emerald Variation in Act I.  In the 2000 version I wryly interpreted the number as meaning green with envy. The revised music was nearer to ‘The Jungle Book’.

2. Can you describe the give and take of the collaborative process between choreographer and composer when creating a new narrative ballet?

Every experience is different. David and I laughed and chatted a lot, a real party experience. The real difference in this collaboration was that, unlike composing the Cyrano ballet where I started from David’s scenario, in Aladdin David bought into an already composed score. I am amazed by how much he kept.

But even the new sections had an evolved process. First I had to understand why we were making the changes, and it was generally that he suggested a different attitude towards that particular moment. And, there were some changes in the order of some of the numbers.

 

Artists of Birmingham Royal Ballet; Aladdin; Bill Cooper

3. You have created orchestra works, scores for films and television, and scores for ballet. How is composing a score for ballet unique?

With film music you are given a strictly controlled time framework which you then fill with music, rather like painting by numbers. But generally other than contemporary dance where the movement may not be related to the music at all, in ballet the music has to be composed first and all inspiration for the movement is derived from it.

4. Anything else that you feel is significant about your artistic experience creating the score for Aladdin.

Aladdin was conceived as popular family entertainment based on a story from the ‘One Thousand and One Nights’ and familiar to the public through reading, theatre (Aladdin is Great Britain’s most favourite pantomime –  an arcane mixture of fairy tale, pop songs, and topical gags). I felt free to be as eclectic musically as I wished. After all my subject was composed in medieval Persia, set in China, with an excursion via flying carpet to Morocco. And the magic lamp is pure sci-fi. That gave me many options.

————————————————————————-

From February 20-March 2, 2014, Houston Ballet presents the North American Premiere of David Bintley’s Aladdin, the first work by the celebrated English choreographer to enter Houston Ballet’s repertoire. A run-in with palace guards leads young Aladdin into a whirlwind of adventure and romance, involving unbelievable riches, love at first sight, treachery, and of course a magic lamp containing a powerful genie. Tickets start at $19, and may be purchased at www.houstonballet.org or by calling Houston Ballet box office at 713 227 2787, or 1800 828 2787.

Watch a preview of Aladdin here—

Academy Students Leap On To World Stage At Prix De Lausanne Competition In Switzerland

Houston Ballet Academy students Tyler Donatelli, who is 17 and from Huntington Beach, California, and Michael Ryan, who is 17 and a native of Plano, Texas, have been accepted into the  prestigious international ballet competition Prix de Lausanne in Switzerland January 26 – February 1.

Dancers: Michael Ryan and Tyler Donatelli; Photo by Cameron Durham

They are in Switzerland this week for an once-in-a-lifetime experience: taking classes, being coached by international experts, and networking with other gifted young students from across the world.  The public can follow their daily progress and watch the final round of the competition on Saturday morning, February 1, via live streaming at the Prix de Lausanne’s web site, www.prixdelausanne.org

Since 2009, five HoustonBalletAcademy students have won awards at the Prix de Lausanne, with one student, Emanuel Amuchastegui, taking the top prize, and the “Audience Favorite” Award in 2010.  Other Houston Ballet dancers who have won awards at Prix de Lausanne include Joel Woellner, Harper Watters, and Aaron Sharatt.

Joel Woellner at Prix 2013; courtesy of Prix de Lausanne

Behind each of these five winners and Tyler and Michael are a superb group of Houston Ballet Academy instructors who spend months preparing, coaching, teaching and nurturing the young dancers to ready them for the rigors of competition – and in the upper levels of the Academy’s professional training program.

Claudio Munoz is ballet master of Houston Ballet II, and has played a major role in producing the stellar crop of gifted young male dancers in the Academy over the last decade.  He enjoyed a distinguished career as a principal dancer who performed in Peru, Uruguay, Argentina, and New York.  He then went on to serve as an instructor for the Ballet Nacional de Chile, Ballet de Santiago, and Ballet Nacional de Peru.  He joined the staff of Houston Ballet Academy in 1999.  With his charismatic manner, his exacting standards, and his humorous banter in the studio, he has won the affection and dedication of his male students.

Claudio Munoz teaching Houston Ballet Academy students; Photo by Cameron Durham

“Claudio understands competitions and balances the pace of the students coaching. He knows when to push and when to step back and allow the student room to find his way,” comments Academy Director Shelly Power.  “Claudio has a wealth of experience that makes his intuitive approach to coaching unique and nurturing.”

Priscilla Nathan Murphy is principal of Houston Ballet’s Lower School, and typically focuses her attention on the Academy’s youngest students.  But recently she has taken a significant role in helping to prepare Tyler and Michael for this year’s Prix de Lausanne.  Priscilla has served on the Academy faculty since 1985, having taught creative movement, ballet and modern dance in the pre-professional and professional divisions of the Academy. As a dancer, she has performed in Singapore and the United States with several companies.  She has also choreographed extensively in the United States.

Priscilla Nathan Murphy

“Priscilla is an organic mover,” observed Ms. Power. “Although she might not have worked with the contemporary choreographers whose works the students are required to perform at the Prix, she understands the genesis of the movement. She prepares our students who are competing from a technical level, making them open and responsive to the coaching that they will receive at the Prix. We depend on this foundation because the students cannot go to Prix worried about how to do a contraction. Our students need to focus on how the flow of the movement makes them unique, and they need to be sensitive to the feedback from coaches at the Prix that they are expected to embrace.”

Sabrina Lenzi and students of Houston Ballet Academy

A native of Rome, Sabrina Lenzi brings a wealth of international experience to her role as ballet mistress of Houston Ballet II from having danced as a principal at two very prestigious European companies, the Stuttgart Ballet and Birmingham Royal Ballet in the United Kingdom. “Sabrina’s a great coach; she’s very intuitive. She understands the great classical roles because she’s performed them,” observes Ms. Power, “Because Sabrina has been trained in Pilates, she comprehends the body from many different perspectives — from injury prevention to strengthening. Sabrina understands the many different phases of developing a career in dance: from training to become a professional dancer. And she’s very good at helping her students make that transition.  She’s also a mom who has a daughter in the Academy, and being a mother gives her a special understanding of the process.”

A native of Sidney Australia, instructor Andrew Murphy enjoyed a distinguished career as a leading soloist with The Australian Ballet and as a principal dancer with Birmingham Royal Ballet and Houston Ballet. “Andrew is an excellent male role model. He’s very good at helping the male students (some of whom may have been in a school with a majority of girls) to develop an athletic approach with strong attack when they come to Houston Ballet Academy,” commented Ms. Power. “Being very well travelled as a dancer, he brings many experiences from a lifetime of dance in Australia, the United Kingdom, and in America. He started studying ballet very early, and joined a professional company at age 16, which is quite young. Having danced all of the principal roles with companies across the world, he brings a wealth of experience to his coaching.  Andrew is an excellent turner, and he has a superb understanding of the nuances of male dancers executing turns.”

Andrew Murphy and students of Houston Ballet Academy; Photo by Nerio Photography

All About “The Nutcracker” – Q&A with Corps de Ballet dancer Derek Dunn

-by Kassandra Tak, Marketing/Public Relations Intern

Houston Ballet First Year Corps de Ballet Dancer Derek Dunn, took some time to share his thoughts about dancing the roles of Fritz and the Gopak in The Nutcracker, running November 29 – December 29, 2013 at Wortham Theater Center. An interesting fact about Mr. Dunn is that he was awarded a Gold medal in the Senior Division at the 2012 Youth America Grand Prix.

Dancer Headshot: Derek Dunn; Photo: Amitava Sarkar

Q. What was your first role in The Nutcracker? How did you feel? 

A. My first ever role in the Nutcracker was a party boy when I was only 6 years old. At that age, I was just excited to be onstage any chance I got. I always enjoy getting the opportunity to act onstage, and since the party scene is filled with lots of acting, this role was very enjoyable for me.

Dancer: Derek Dunn; Ballet: Clear; Photo: Amitava Sarkar

Q. What roles were you cast in for the 2012 Nutcracker performances? How did you feel playing this character?

A. That year, I was given the opportunity to perform the role of Gopak. Although the solo is short, it’s filled with big jumps and turns, and is full of excitement. I had to be very energetic and involved with the audience. The music is fast, which really helped me get my adrenaline flowing. That being my first year in the company, I felt very privileged to perform this role, and I had a lot of fun with it.

Derek Dunn in rehearsals at Houston Ballet Center for Dance; Photo: Amitava Sarkar

Q. What role(s) are you playing for this 2013 Nutcracker season? 

A. Throughout our run of The Nutcracker, I get to play multiple different roles, including Fritz, Soldier Doll, Chinese, Mirliton, Spanish, and Gopak.

Q. Which role are you looking forward to playing? And why?

A. I am most looking forward to dancing the role of Fritz. When I was younger, I was given the opportunity to dance that role, so returning to perform Fritz again at an older age is something that I find very enjoyable. I get to bring out my youthful side, through acting and dancing around the stage. I always find theatrical characters to be a lot of fun because it forces you to act in ways that you may not act like in real life.

Dancers: Nozomi Iijima, Christopher Gray and Artists of Houston Ballet; Ballet: The Nutcracker (Act One) Photo: Amitava Sarkar

Q. Which act in The Nutcracker is your favorite? And why?

A. Although I love the whole ballet, I really enjoy the first act of The Nutcracker. In the first act, you get a sense of the whole story. Clara is given a magical Nutcracker that enters her dreams and takes her to extraordinary places. The second act is amazing for the amount of diverse dancing it shows, but I really enjoy the set up of the story-line in the first act. In a way, the second act is like a conclusion to the story, but the first act has many different scenes that take you on a journey with Clara.

 ————————————————————————————————————-

Houston Ballet performs Ben Stevenson’s staging of The Nutcracker, featuring spectacular scenery and costumes by Desmond Heeley, November 29 – December 29 at Wortham Theater Center.  For tickets and more information, visit http://www.houstonballet.org/TheNutcracker/ or call 713 227 2787 Monday – Friday 9 am – 6 pm.

Watch a video preview of The Nutcracker:  

All About “The Nutcracker” – Q&A with Soloist Nao Kusuzaki

–by  Kassandra Tak, Marketing/Public Relations Intern

With the holidays around the corner, Houston Ballet’s Soloist, Nao Kusuzaki, took some time to share her thoughts about The Nutcracker, running November 29 – December 29 at Wortham Theater Center. Ms. Kusuzaki joined Houston Ballet in 2004 and she has danced a variety of roles since becoming a Soloist in 2008.

Nao Kusuzaki; Photo by Pam Francis

Q. What was your first role in The Nutcracker? How did you feel?

A.  My first Nutcracker roles, with Boston Ballet, included Marzipan, Waltz of Flowers, Snowflakes, and party scene parent. I remember looking forward to this time of the season. I grew up being involved in this production as a student, and dreamed of one day dancing next to dancers I looked up to in the company. In the early years with the company, I performed in nearly 50 shows, which I did not mind.

Nao Kusuzaki as Clara’s Mother and Artists of Houston Ballet; The Nutcracker; Photo by Amitava Sarkar

Q. What roles were you cast in for the 2012 Nutcracker performances?

A. I danced the Sugar Plum Fairy, Snow Queen, Mirlitons, and Clara’s Mother.

Q. How did you feel playing Snow Queen?

A. The snow queen stands at the apex, commanding the transformation from the Battle Scene to the Snow Scene and taking everyone into her world. I enjoy portraying this confident, warm, regal woman. Although it is physically demanding, I imagine what the audience is experiencing in this moment, possibly for the first time, and it sets me free.

Artists of Houston Ballet; The Nutcracker; Photo by Amitava Sarkar

Q.  What role(s) are you playing for this 2013 Nutcracker season?

A. I will be dancing the roles of Sugar Plum Fairy, Snow Queen, Arabian, Waltz of Flowers, Mirlitons, and Clara’s Mother.

Q. Which role are you looking forward to playing? And why?

A. One of the things that make The Nutcracker interesting is having the various roles to rotate throughout the run. For me, I particularly look forward to dancing the Sugarplum Fairy.  I enjoy the challenge for its pure classical technique, as well as in working to embody effortlessness, refinement, elegance and generosity–all of the qualities I envisioned as a young girl in the Sugarplum Fairy. Although I admit that hearing The Nutcracker music outside of the theater during the holiday season, especially after a two-show day, can be overwhelming. I look forward to dancing to this Tchaikovsky score. I think the music in Snow Scene and The Sugarplum pas de deux are so beautifully romantic and emotionally charged. This year, yet again, I’m inspired.

Artists of Houston Ballet; The Nutcracker; Photo by Amitava Sarkar

Q. Which act in The Nutcracker is your favorite? And why?

A. My favorite to watch is the transformation from the Battle Scene into the Snow Scene and until the end of Act I. I cannot get over the dramatic change, which unfolds as Clara kills the King Rat. In a flash the soldiers disappear, the mice escape, the Nutcracker turns into a Prince, Clara is in a Land of Snow where a Snow Queen welcomes her in, and the mood of the music is changed in a matter of seconds. Then, from this calmness reminiscent of first snowfall of the year, the scene builds up yet again. This time with many dancing snowflakes, they create a soaring snow storm, leading Clara’s way to the Kingdom of the Sweets.

————————————————————————————————————-

Houston Ballet performs Ben Stevenson’s staging of The Nutcracker, featuring spectacular scenery and costumes by Desmond Heeley, November 29 – December 29 at Wortham Theater Center. For tickets and more information, visit http://www.houstonballet.org/TheNutcracker/ or call 713 227 2787 Monday – Friday 9 am – 6pm.

Watch a video preview of The Nutcracker: 

Congratulations To Houston Ballet’s Ballerina Bride, Melody Mennite

You may now kiss the bride!

On October 5, 2013, in Houston, Texas, Houston Ballet principal dancer Melody Mennite and Rick Walsh started a new chapter in their life as husband and wife. Please join me in congratulating the happy couple! In this blog entry, Melody shares the precious moments of her wedding and what’s to come of the future.

Melody will dance the role of the Sugar Plum Fairy in The Nutcracker on November 30 (matinee), December 8 (evening), December 23 (evening), December 26 (evening), and December 28 (matinee).

Mr. and Mrs. Rick and Melody Walsh; Photo by Jaime Lagdameo

Planning a wedding isn’t easy…and on top of that as a principal dancer you are busy year round. What sort of things did you have to consider when it came to your wedding date?

We really had to plan it around when the company was on break. October is a fairly mild month in Houston, and since I wanted to be able to be outside, it just seemed like the right option. (Plus it was either that or wait all the way until next summer, and I was too excited to wait that long!)

October 5, 2013…guests have arrived, love is in the air, and cameras are ready…..tell us about your wedding day.

It was so special… First of all, almost all of my family has never come to Houston (and I’ve been here 13 years!). There was a moment where it hit me that they were here and we were all together and Rick just had to hold me as I cried. So many happy tears that weekend…

Photo by Jaime Lagdameo

The actual day of was a little crazy. But great. All our friends and family were so helpful and present and we just kept saying “this is so perfect”. At one point when all my girls and I were getting ready, I hid in the shower because I had to finish a letter to Rick. The room was so full of energy and life (and people, haha!) that the shower was the only place I could think quietly. I can say that one of my favorite things about our wedding was how all the players (from photography, to music, to food, to attire, etc…) were people we know and love. It made every detail and moment so dear to us both. I can’t imagine being any happier with everything about that day. 

Did it take place in Houston or somewhere else?

It was at The Gardens of Bammel Lane in Houston, Texas.

Mr. and Mrs. Rick and Melody Walsh; Photo by Jaime Lagdameo

Tell us about your prince charming?

Rick is the true and pure meaning of the word “gentleman”. He is not only heart achingly handsome, but deeply caring and thoughtful. When I met him, I recognized immediately that I was meeting someone rare, honest, and extraordinary. I am tremendously blessed and honored to be the wife of such a beautiful person. He is the best man I’ve ever known.

Photo by Jaime Lagdameo

When, where and how did you two meet?

Well, Rick is the older brother of Houston Ballet Principal dancer Joseph Walsh. So it was Joe that introduced us, at his old apartment, when Rick was in town visiting him years ago.

Describe your husband in 3 words or less.

Compassionate, selfless, intelligent

Mr. and Mrs. Rick and Melody Walsh

When you are on stage, is he in the audience? Are there any particular roles he enjoys you dancing in?

He says his favorite roles so far have been me as Juliet in Romeo and Juliet, Wendy in Peter Pan, and Cio-Cio San in Madame Butterfly. He says he especially enjoyed watching Joe and I perform Coppelia together. (which we did this Spring 2013 on a guesting in Louisiana). He said, “I like Coppelia. Because I don’t like seeing you die all the time…”

Melody Mennite in Romeo and Juliet; Photo by Amitava Sarkar