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Ballet and Comedy: The Taming of the Shrew Stager Jane Bourne

June 10, 2015

By Kalyn Oden, PR Intern

Knock knock? Who’s there… Houston Ballet! Houston Ballet will close its 14-15 season with the classic The Taming of the Shrew beginning June 11- 21, 2015. The Taming of the Shrew, is a masterful choreographic depiction of Shakespeare’s perpetually battling lovers, Petruchio and Katherina, and of Petruchio’s determination to bend the feisty, independent-spirited and tempestuous Katherina to his will.

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Here to discuss The Taming of the Shrew is stager Jane Bourne. Ms. Bourne began her career as a choreologist – the recording of dance movement through notation. She had worked closely on the notation scores of choreographer John Cranko, she began to travel to various companies to assist in staging classical performances for the past 30 years, staging five to seven performances a year.

What are some of the challenges the dancers face when dancing The Taming of the Shrew?

Corps de Ballet, the movements are not very challenging. Involving themselves within the performance is, they are not the set or decoration. They are an integral part of the story. Principals it takes more time to master.  I also have to teach comedy. Dancers are use to acting for drama and tragedy, where this piece is a comedy.

Melody Mennite and Connor Walsh; Photo by Amitava Sarkar

Melody Mennite and Connor Walsh; Photo by Amitava Sarkar

What’s your favorite part of the ballet?

I like it all! I enjoy teaching it, each couple who performs it, does it differently in their own way. Being in the studio with the dancers is what I love. Once onstage my job is done and it is then up to the dancers. Watching them is rewarding – watching them perform and how far they have come and will go. Cranko ballets are not dated, they move with time.

What is it like to work with Houston Ballet?

The company is of highest standards – always producing great results and very pleased. There are familiar faces from previous years such as Louise Lester and Steven Woodgate along with several others and new faces as well.

Connor Walsh; Photo by Amitava Sarkar

Connor Walsh; Photo by Amitava Sarkar

Anything else you would like to add for the readers?

Come and see! It’s really great fun, it’s Shakespeare! The dancers grow and give with each performance done!

Melody Mennite and Connor Walsh; Photo by Amitava Sarkar

Melody Mennite and Connor Walsh; Photo by Amitava Sarkar

What a great way to beat the heat this mid June by sitting back and enjoying a comedy classical ballet performance!

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From June 11-21, 2015, Houston Ballet will present John Cranko’s staging of The Taming of the Shrew, a masterful choreographic depiction of Shakespeare’s perpetually battling lovers, Petruchio and Katherina, and of Petruchio’s determination to bend the feisty, independent-spirited and tempestuous Katherina to his will. Incorporating a stunning array of dramatic moods, virtuoso dancing and vivid characterization, The Taming of the Shrew conveys like no other ballet Shakespeare’s wit, brilliant comic invention and sharp understanding of human character.  Houston Ballet will give seven performances of The Taming of the Shrew at Wortham Theater Center in downtown Houston.

Watch a preview of The The Taming of the Shrew:

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Zodiac Costumer Designer – Eduardo Sicangco

June 3, 2015

By Kalyn Oden, PR Intern

 

The stunning costumes and magical sets just appear for each performance, right? This thought might have crossed your mind a time or two but I am here to discuss the detailed thought process in the costume design process that took place for Houston Ballet Artistic Director Stanton Welch’s world premiere of Zodiac. The company gets ready to perform its final 3 shows of Zodiac in a mixed repertory featuring works from some of the most talented choreographers called “Morris, Welch & Kylián” this weekend.

Melody Mennite and Connor Walsh as Scorpio; Photo By Amitava Sarkar

Melody Mennite and Connor Walsh as Scorpio; Photo By Amitava Sarkar

Here to discuss the design process for the Zodiac costumes is Costume and Set Designer Eduardo Sicangco (http://eduardosicangco.com/). As a young boy Sicangco was taken to costume fittings by his mother who was in the opera which is where the desire to become a costume designer emerged. “I was intrigued when they would take a house mother and turn her into a beautiful, stunning opera singer with the costumes” describes Sicangco.

Taurus (Woman); Costume Sketches by Eduardo Sicangco

Taurus (Woman); Costume Sketches by Eduardo Sicangco

What was your inspiration for the ballet Zodiac?

I met with Stanton last year in New York for lunch. He asked me “Have you seen the movie 300?” – I have. From there I went to look at the book by Frank Miller and I thought to myself “They have no cloths, just loincloths. What is there to design?” Creating a new piece has its challenges because there is no reference; I am making something new that has not been seen. I then researched each Zodiac sign, asked to hear the music that gave me the sense of seeing lots of metal and I went to the Metropolitan Museum of Art to the Greco Roman to take and look at photos intensively. I studied the hair, colors and physics. I began to sketch after doing much research that allowed the sketches to flow easier. This piece was to be very sensual and celebrates the physic of the dancers.

What is the significance in the costumes for this piece?

The costumes help set the mood and tone for the piece. The costumes celebrate the dancers physic and let the choreography come to life – they help support the choreography and story telling. The costumes transport the audience into the world of Zodiac, dancers turn into gods and demi-gods not just ordinary dancers. I wanted to make them look sexy and engaging on top of their natural beauty.

Virgo (Woman); Costume Sketches by Eduardo Sicangco

Virgo (Woman); Costume Sketches by Eduardo Sicangco

Do you have a favorite design out of all the signs?

Virgo female. It is very Asian and Greek style that is visually appealing and flowy.

After doing extensive research, how long did it take you to create the designs?

It took a while after the research was completed. Once the sketches are drawn, many changes take place because of the choreography. For example, the headpieces had to be changed to work with the dancers and the choreography because originally they were heavy. I had to be able to change, adapt and evolve my sketches. Some sketches worked the first time and others pieces had to be changed. The costumes are not final until the last dress rehearsal. It is the joy of creating a new piece.

The magic is revealed in the process in making costumes for a new piece, but not just any new piece – Zodiac.

Charles- Louis Yoshiyama and Aaron Sharratt as Gemini; Photo By Amitava Sarkar

Charles- Louis Yoshiyama and Aaron Sharratt as Gemini; Photo By Amitava Sarkar

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Houston Ballet’s Summer Repertory is powerhouse program, pairing two world-premieres with the revival of a twentieth century masterpiece. Modern dance legend Mark Morris creates his first work especially for Houston Ballet. Stanton Welch explores the twelve signs of the zodiac in a new piece set to a commissioned score by the distinguished Australian composer Ross Edwards.  Set to Stravinsky’s powerful score, Jiří Kylián’s Svadebka dramatizes the events of a Russian peasant wedding, performed with a live chorus.

For more information visit:

http://www.houstonballet.org/Ticketing-Schedule/Season-Calendar/Morris-Welch-Kylian/

Watch a preview of Zodiac

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The man behind the sounds of Zodiac: Ross Edwards

May 27, 2015

By Kalyn Oden, PR Intern

Aries? Taurus? Leo? Whatever your Zodiac sign might be, Houston Ballet has the perfect performance for you! Houston Ballet is proud to announce Artistic Director Stanton Welch’s world premiere of Zodiac. The company will perform Zodiac in a mixed repertory featuring works from some of the most talented choreographers called “Morris, Welch & Kylián” from May 28 – June 7, 2015.

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Have you ever wondered who composes the music for new pieces? Wonder no more; I am honored to introduce Ross Edwards, one of Australia’s best-known composers. His compositions range from symphonies, children’s music, film scores, opera, music for dance and several other genres of composition.

Ross Edwards; Photo by Bridget Elliot

Ross Edwards; Photo by Bridget Elliot

How did you get your start as a composer?

It happened more than 50 years ago when I was still a student. My teacher arranged a performance of one of my early works, the score of which has fortunately been lost, but it created considerable interest at the time and gave me a start. In 1980, I gave up a tenured teaching position at the Sydney Conservatorium to compose full-time and I’ve never looked back. (See my website www.rossedwards.com for a biography and list of works).

How did the score for Zodiac come about?

I had a call from choreographer Stanton Welch, a fellow Australian who had already created a ballet based on the score of my violin concerto, Maninyas. I saw a performance of it many years ago by the Singapore Dance Company and liked it a lot. Happily, it’s still very much in the repertoire. Stanton now proposed that I write him a specially commissioned score for a ballet based on the zodiac. It seemed an interesting idea, and after some thought I got back to him and agreed.

What research did you do before composing the Zodiac score?

I did a lot of research, narrowing down the information I found on each of the twelve signs to what I considered their essential characteristics to be interpreted musically. For example, Aries, the Ram, was “adventurous, competitive, aggressive, headstrong”; Taurus, the Bull, “warm-hearted, loving, and sensual”. And so on.

Corps de Ballet Madeline Skelly as Taurus; Photo by Amitava Sarkar

Madeline Skelly as Taurus in Stanton Welch’s Zodiac; Photo by Amitava Sarkar

How are you trying to differentiate between each of the signs? Does each sign have its own theme or something to make it stand out?

Each sign has its own distinctive musical characteristics and the orchestral scoring for each reflects its individuality. For example, Aries is a tempestuous, driving dance scored for the full orchestral resources with some electronic effects mixed in, while Taurus is a limpid love duet, lightly scored, with harp accompaniment. Since the music for each of the signs is necessarily distinctive and there can be no thematic link, Stanton asked me to create a context in the form of eerie, psychic “bookends” – a Prelude, recurring at the end as a Postlude – to suggest that the intervening activity isn’t bound by natural laws.

How long did it take you to compose the score?

(Sigh)… as usual, much longer than anticipated. A forty minute orchestral score and piano reduction for rehearsal is no small task, especially as I compose with a pencil and ruled paper, later to be typeset. I had to work on other pieces at the same time in order to ensure all my deadlines were met – a constant juggling act.

What do you enjoy about working on commissioned works?

They all have a different kind of challenge. I’ve just completed a piece for two pianos and didgeridoo. Before that, a double concerto for alto saxophone and percussion, and now I’m doing a movement for a ballet to which several other composers are contributing. All quite different and all totally absorbing.

Ladies and gentlemen, your horoscope reading for today is: You do not want to miss this world premiere performance!

Check out a video of Zodiac

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From May 28 – June 7, 2015 Houston Ballet offers up a mixed repertory program titled Morris, Welch & Kylián featuring three of today’s most dynamic and musical choreographers. A world premiere of The Letter V by acclaimed American choreographer Mark Morris, the world premiere of Stanton Welch’s Zodiac and the revival of Jiří Kylián’s iconic Svadebka make this program a must-see for all ballet lovers. Zodiac is made possible through the generosity of Leticia Loya. Houston Ballet will give six performances of Morris, Welch & Kylián at Wortham Theater Center in downtown Houston.

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FREE Performance at Miller Outdoor Theater – This weekend only!

May 13, 2015

By: Kalyn Oden, PR Intern
Houston Ballet returned from its Canada tour ready to perform in Houston! The dancers are back in the studio preparing for this weekend’s three FREE performances of Giselle and Clear at Miller Outdoor Theatre.

Giselle; Melody Mennite; photo by Amitava Sarkar

Giselle; Melody Mennite; photo by Amitava Sarkar

Here to express her excitement about performing Giselle for the first time is Principal Dancer Melody Mennite.

“At the end of my first year in Houston I had the pleasure of watching my two favorite Houston Ballet ballerinas rehearse and then perform the role of Giselle. Dawn Scannell and Barbara Bears always inspired me but watching them in this role was my favorite. I was 16 and I would go home to my apartment that I shared with 4 other girls and practice the mad scene in our bathroom… So, in earnest, I’ve been waiting in the wings (and as a Wili or peasant on the side) to get a chance at this role for fifteen years. To say I’m excited is an understatement,” Mennite cheerfully proclaims.

Miller Outdoor Theatre; photo by Leonel Nerio

Miller Outdoor Theatre; photo by Leonel Nerio

Giselle and Clear will run May 15-17, 2015 at 8 pm each evening. The famous ballet, Giselle is from the Romantic era and tells the story of a beautiful peasant girl who is deceived by the duplicitous Count Albrecht. The evening will open with Stanton Welch’s one-act ballet Clear, set to music by Johann Sebastian Bach (1685-1750).

Giselle; Artists of Houston Ballet; photo by Amitava Sarkar

Giselle; Artists of Houston Ballet; photo by Amitava Sarkar

While all performances at Miller Outdoor Theatre are free of charge, Houston Ballet’s performances of Giselle and Clear require tickets to the seated area. Tickets are available on the day of the performance from 11:30 a.m. to 1:00 p.m. at the Miller Theatre Box Office. Any tickets remaining are distributed one hour before curtain. There is a limit of four tickets per person. Please call 281.FREE.FUN (281-373-3386) for further ticket information or visit www.milleroutdoortheatre.com.

For casting information visit: http://www.houstonballet.org/Ticketing-Schedule/GiselleClear-Casting/

Watch a clip of Houston Ballet performing Giselle

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Houston Meets Canada

May 1, 2015

By Kalyn Oden, PR Intern
Watch out Canada, La Bayadère (The Temple Dancer) is coming for you! Houston Ballet is currently touring Calgary and Edmonton from April 30 – May 9, 2015 to perform the classic piece La Bayadère. La Bayadère is about the strength of true love: despite conflict, conniving villains, and even death, true love conquers all. Here to discuss the tour of La Bayadère and its famous act: Kingdom of Shades is Demi Soloist Elise Elliott.

Artists of Houston Ballet; La Bayadere (Elise Elliott, Centered); Photo by Amitava Sarkar

Artists of Houston Ballet; La Bayadere (Elise Elliott, Center); Photo by Amitava Sarkar

In your words, what is La Bayadère about?
La Bayadère (The Temple Dancer) is a tragic love story, following two people from different worlds that fall in love. Nikiya is a beautiful Temple Dancer. Solor becomes famous in their society when he kills a tiger that has been tormenting their village. As a thank you, the Rajah offers his beautiful daughter, Gamzatti, to be his wife. However, Nikiya and Solor meet and fall in love, prior to Solor meeting Gamzatti. To rid herself of the threat of Nikiya, Gamzatti and her attendant, Aja, have Nikiya killed. Their love is so strong; however, that Nikiya’s ghost tries to warn Solor of Gamzatti’s deceit. But when Solor is killed by Gamzatti, the gods bring Nikiya and Solor together in death, because their love was so true.

Artists of Houston Ballet; Photo by Amitava Sarkar

Artists of Houston Ballet; La Bayadere; Photo by Amitava Sarkar

Have you danced this piece before?
Yes. This will be the third time that I have performed this version of La Bayadère. But my fifth time performing in the Kingdom of Shades! In my first summer program in San Diego in 2003, I was a Shade and in my third summer program here in Houston in 2006, I performed Nikiya with my now husband, Rhodes, as Solor. I know the Kingdom of Shades very well!

What is it like to travel to other cities/ countries to perform pieces?
Touring is a very exciting, but challenging, part of our season. It is such an amazing opportunity to get to travel, and perform in beautiful theaters around the world for new and enthusiastic audiences. It is always such a rewarding experience. I have been lucky enough to travel to Montreal (once for Madame Butterfly, once for Marie), six cities in Spain, Washington D.C., New York, New Orleans, Chicago, and Ottawa (performing Marie)…all in my seven years with the company! And I am looking forward to traveling to Alberta and Germany this season!

Describe the Kingdom of Shades scene and its importance.
The Kingdom of Shades is one of the most idyllic, classic pieces of corps de ballet work in all of classical ballet. In the story of La Bayadère, Solor smokes opium after Nikiya’s death, and he has a vision of her. All of the Shades are actually duplicate images of Nikiya…many wisps of smoke that remind him of her. Because of who the Shades are, it makes performing the role that much more important. Not only do 24 girls have to dance completely together, but the Shades also have to portray the emotions of Nikiya’s love for Solor…all while doing perfect arabesques in perfect lines! It is one of the most challenging, yet rewarding, of the classical corps de ballet works.

Artists of Houston Ballet; Photo by Amitava Sarkar

Artists of Houston Ballet; Photo by Amitava Sarkar

What were your thoughts/emotions when you found out you’d be dancing Kingdom of Shades?
I was excited to perform Shades again…a little overwhelmed maybe, but excited! The Kingdom of Shades is easily the hardest corps work that I have ever done. Not only does it pose the normal challenges of corps work (staying in line, perfect synchronization, etc), but the choreography is more difficult and needs more stamina than most other ballets. But because of how demanding and exhausting performing Shades is, it is that much more rewarding when you finish it. In that this will be the third time that I have performed this version of La Bayadère, I know what to expect from the ballet, as well as how to prepare for the performances. I have been doing extra cardio outside of regular rehearsals to try to build up my stamina for the 6 shows we will be doing in Canada. Performing this difficult of a ballet on tour poses another challenge, but I am looking forward to the feeling of accomplishment at the end of our run!

Artists of Houston Ballet; Photo by Amitava Sarkar

Artists of Houston Ballet; Photo by Amitava Sarkar

What else would you like our readers to know?
Follow the company on Instagram as we tour across Canada with our shows of La Bayadère! We will be posting pictures of our travels, our performances, and the fun we have during our down time between shows. We will be on tour for almost two weeks…I’m sure there will be a lot of fun posts by all of the dancers!

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Houston Ballet will be in Calgary April 30-May 2 at the Southern Alberta Jubilee Auditorium and in Edmonton May 8-9, 2015 at the Northern Alberta Jubilee Auditorium. For more information and tickets, visit http://albertaballet.com/

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ETUDES: PRECISION, ELEGANCE, & PERFECTION

March 17, 2015

By Kalyn Oden, PR Intern

One, two, three! One, two, three! Those are not only counts but also the number of ballets to be presented during Houston Ballet’s spring mixed repertory program “Modern Masters” from March 12-22, 2015. The program features George Balanchine’s Ballo della Regina, Spanish choreographer Nacho Duato’s poignant Jardí Tancat, and Harald Lander’s Etudes.

Etudes; Artists of Houston Ballet; photo by Amitava Sarkar

Etudes; Artists of Houston Ballet; photo by Amitava Sarkar

Etudes is a ballet that takes the audience through the exercises dancers go through for their warm-up from start to finish. Here to teach this ballet to the artists of Houston Ballet is guest stager Johnny Eliasen. A stager is someone who has danced the performance before and teaches current dancers the steps, timing, architecture and intention of the ballet – they are reproducing the steps already created by the choreographer.

Johnny Eliasen and Connor Walsh; photo by Amitava Sarkar

Johnny Eliasen and Connor Walsh; photo by Amitava Sarkar

As a young boy, Mr. Eliasen danced Etudes then began staging after Leslie Lander saw how he had tackled the performance. From this point Mr. Eliasen has been staging Etudes around the world to several companies.

Etudes is like any other ballet, it is difficult. It is very highly technical and precise, it is not new. However, it is exposed, no makeup or props – just technique,” describes Eliasen. “By dancing this piece, dancers can continue getting into good shape and along with the knowledge and understanding of being in a unit to work together – being on the same beat and making the movements all flow together”, explains Eliasen.

Etudes; Connor Walsh and artists of Houston Ballet; photo by Amitava Sarkar

Etudes; Connor Walsh and artists of Houston Ballet; photo by Amitava Sarkar

This piece will give the audience a sneak peek into the hard work the dancers put forth to make a production happen. Mr. Eliasen wants the audience to, “sit back and enjoy but be aware of the amount of meticulous work the dancers have put into it to have people sit there and enjoy and feel in awe.”

Watch a clip of Houston Ballet performing Etudes

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Ballet and Romance

March 4, 2015

By Kalyn Oden, PR Intern

“What’s in a name? That which we call a rose, by any other name would smell as sweet.” Valentines Day may have passed but that does not mean love has. The world premiere of Stanton Welch’s Romeo and Juliet opens at Wortham Theater February 26th, 2015. Houston Ballet will be performing Romeo and Juliet runs from now until March 8, 2015.

Stanton Welch’s Romeo and Juliet; Artists of Houston Ballet; Photo by Amitava Sarkar

Stanton Welch’s Romeo and Juliet; Artists of Houston Ballet; Photo by Amitava Sarkar

Let me introduce Principal Dancers Melody Mennite and Connor Walsh. They will be talking about their roles in Romeo and Juliet.

Does preparing for romantic roles differ than other roles?

Mennite: I don’t find it any different than other story driven roles really. Finding the motivations of whatever character I’m playing is the same no matter whom they are. But, in reality, most female protagonists in ballet are in love with someone at some point!

Walsh: Every role has its own characteristics but my preparation between story ballets doesn’t differ too much. There are some ballets where there’s much more focus on technique and musicality but a ballet like Romeo and Juliet majority of emphasis is put towards emotion and character development.

Is preparing for these difficult and how do you prepare for the acting?

Mennite: I take great care in character development. It’s one if my favorite things about full length ballets. It takes time and effort but is well worth it. Research, experimentation, evaluation, and practice.

Walsh: The only thing that makes preparing a romantic role easier for me is that you’re usually interacting with another dancer. I always enjoy partnering and find it much easier to find inspiration when working with some else. Before starting a new role I like to do lots of research before learning the choreography. Usually, reading the book or play, watching films based on the story and watching people’s interpretations in other ballet productions. Then once we start learning material I try not to reference these things too much so that I develop my own interpretation.

Do romantic roles come natural?

Mennite: Honestly, it depends on the chemistry between my partner and I. Every two people have a different dynamic together. Some partnerships lend themselves to easy chemistry and others take more time and development. By the time we get on stage, one way or another it will be natural. That’s why we put in all the hours we do.

Walsh: Every role is has its own challenges but what I enjoy about romantic roles is that we are all guilty of dreaming of great romance. It’s in us all somewhere and we as dancers get the joy of bringing those ideas and emotions out for the stage.

Stanton Welch’s Romeo and Juliet; Connor Walsh and Karina Gonzalez; Photo by Amitava Sarkar

Stanton Welch’s Romeo and Juliet; Connor Walsh and Karina Gonzalez; Photo by Amitava Sarkar

How is your chemistry with Romeo/Juliet?

Mennite: I like the role of Juliet. She’s young and energetic, and I like to think I get her because she’s Italian. My family is from southern Italy and, as most people know, Italians can be outspoken, super emotional, stubborn people. Juliet’s story reflects all of that and I enjoy playing her.

Walsh: I have the pleasure of dancing with the beautiful Karina Gonzalez who has an incredible combination of strength and delicacy. We’ve been working together a lot in the past few years which has really helped us develop our on stage chemistry. There is an element of trust and exploration that further develops with every ballet we work on together.

Have you danced Romeo and Juliet before this?

Mennite: I have. I got to do Juliet in Ben Stevenson’s version the last time we performed it. Connor Walsh was my Romeo.

Walsh: Yes. I performed various roles in Ben Stevenson’s production including Romeo and Mercutio.

If yes, how is this different than previous performances?

Mennite: Stanton likes to stay true to the original script. His production is classic in many ways. He always finds a way to develop a rich tapestry of characters to surround the main ones in big ballets and I think that is what will stand out in this production. Also, there are fun surprises in the innovative thinking of the sets. That’s all I can say without saying too much.

Walsh: Stanton’s version is unique in how closely he is following the play. We are of course using the Prokofiev score which forces him to make slight adaptations but his desire to stay true to as many elements as he can to Shakespeare’s words is admirable and will separate his from other productions.

When you read this play, did you see yourself as more of a Capulet or Montague?

Mennite: I would probably be a Montague. Just because that seems more like my roots.

Walsh: Montague of course.

Is there a different character you think you relate more too?

Mennite: I have a first cast character who is a ton of fun. Stanton developed her for me kind of. She’s Mercutio’s girlfriend and she is definitely my party girl side. I wouldn’t say I relate to her more than Juliet, but if I could choose any other part to play it would be her.

Walsh: I find that I relate to Romeo in the sense that he is a lover and not a fighter but I must admit that equally enjoy playing Mercutio. That’s most likely because his character is very different than my own which makes it so much fun to explore.

Stanton Welch’s Romeo and Juliet; Connor Walsh, Jared Matthews, and Artists of Houston Ballet; Photo by Amitava Sarkar

Stanton Welch’s Romeo and Juliet; Connor Walsh, Jared Matthews, and Artists of Houston Ballet; Photo by Amitava Sarkar

What are your favorite Romantic story, movie, play, and novel?

Mennite: Growing up, I loved Jane Austin novels. I still think Pride and Prejudice is one of my favorite romantic stories. Of course Shakespeare has the romantic tragedies down. Most recently I saw the film “If I Stay” and thought it was a beautiful story too.

Walsh: La Bohème (opera), Annie Hall (movie), Giselle (ballet), You Send Me (Sam Cooke) Merry Widow (ballet).

What other Romantic Ballets have you performed?

Mennite: Onegin, Manon, Taming of the Shrew, Madame Butterfly, Swan Lake, Marie, La Bayadère, La Sylphide, Cinderella, Coppélia, and La Fille mal gardée.

Walsh: I’ve performed many different romantic ballets. One of my favorite romantic ballets is Giselle, which we recently performed in Detroit and will soon perform again in Houston. It’s both romantic and tragic like Romeo and Juliet and was created in the romantic period from the mid 19th century.

Stanton Welch’s Romeo and Juliet; Artists of Houston Ballet; Photo by Amitava Sarkar

Stanton Welch’s Romeo and Juliet; Artists of Houston Ballet; Photo by Amitava Sarkar

What would you like the audience to take away from this performance?

Mennite: Well it’s a tragedy, so obviously I want to make people cry. I do think that art, including our performing art, is meant to reach people on a very human level. I hope that I can take the audience with me on every step of the journey I take during the show. That’s a successful performance experience to me.

Walsh: I hope that above all things that the audience believes us. I want them to feel that they are watching a real story unfold before their eyes and not just a bunch of dancers doing impressive things on stage. The company is full of truly committed artists and I’m sure the audience will get as swept away as we do everyday on rehearsal.

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From February 26 – March 8, 2015, Houston Ballet presents the highlight of the 2014-2015 season: the world premiere of a new production of Romeo and Juliet by Stanton Welch. One of Shakespeare’s most famous tales, Stanton Welch’s Romeo and Juliet will be a fresh, brilliantly imagined interpretation of the classic love story of two star-crossed lovers. The production is set to the exquisite score by Sergei Prokofiev and designed by renowned Italian designer Roberta Guidi di Bagno, who will create the spectacular scenery and costumes for the production. This new production, Houston Ballet’s first in 28 years, is made possible through the generosity of longtime Houston Ballet supporters Ted and Melza Barr.

For more information: http://www.houstonballet.org/Ticketing-Schedule/Season-Calendar/Romeo-and-Juliet/

Watch a preview of Romeo and Juliet:

 

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From Conception to Creation: The Costumes for “Romeo and Juliet”

February 11, 2015

By Kalyn Oden, PR Intern

“In Fair Houston where we lay our costumes/scene”

Oh Romeo, Romeo why are you dressed so dashingly? As the world premiere of Stanton Welch’s Romeo and Juliet nears, a great deal of creativity has been brewing behind the scenes for several months at Houston Ballet. The company will perform the new production Romeo and Juliet from February 26- March 8, 2015.

The dancers glide beautifully across the stage, their movements telling the story. The scenery will have the audience feel as though they are in Verona, Italy with Romeo and Juliet. The costumes show a great deal of craftsmanship, detail and authenticity.  But why is this important?

Let me introduce one the very talented, Roberta Guidi di Bagno, Costume and Scenic Designer for Romeo and Juliet. Roberta will explain her creative process behind the costumes for the Romeo and Juliet.

Photo by: Sheila McKinnon

Photo by: Sheila McKinnon

What is the process in designing costumes?

Guidi di Bagno: The first thing is the conversation with the choreographer and the listening to the music (even if I know that particular music very well). With Stanton, we had long conversations prior to starting the designs. He had a very specific, challenging and interesting vision which immediately captured my fantasy and allowed me to start dreaming.

What was your inspiration for the costumes?

Guidi di Bagno: I drew my inspiration from the major Italian old masters from the 15th century; many of them came from Ferrara, my home town in Italy, such as Luca Signorelli, Piero della Francesca, Pisanello, Cosmè Tura, Perugino, Andrea Mantegna, Ercole de’Roberti, Lorenzo Costa, Andrea del Castagno, Francesco del Cossa, and Il Pollaiolo. In their paintings, I found many sources for colours and settings.

Sketches by Costume and Scenic Designer Roberta Guidi di Bagno

Sketches by Costume and Scenic Designer Roberta Guidi di Bagno

Are the colors and designs of the Montague and Capulets costumes significant?

Guidi di Bagno: Yes, very much so. Stanton has done a very specific and detailed study of Romeo and Juliet and wanted to define each family so that we can tell immediately, through the colors, who belongs to which group (Capulets, Montagues and Escalus). At the same time, he wanted every single character to be individual in its own colour within the family group.

That was probably the harder part: finding fabrics or trims that would tie everybody in its own family colour.

I know the headpieces have significance, what is this significance?

Guidi di Bagno: In those times, people would always wear a headpiece as a symbol of their status or just for practical reasons. It is rare to see a painting where women, especially, are not wearing something on their heads. Even the Madonna’s will wear their auras!

Sketches by Costume and Scenic Designer Roberta Guidi di Bagno

Sketches by Costume and Scenic Designer Roberta Guidi di Bagno

What are the most difficult parts in designing these particular costumes?

Guidi di Bagno: As in most of the ballets where you’re trying to tell a story, the definition of the characters through the costumes is the real challenge: you want them to seem to be wearing real clothing, but they need to be able to dance as if they were just wearing a second skin.

I always say that I try to create a skin over their own skin so that the dancers don’t feel restricted in their movements and the choreographer is totally free to create what he has in mind with his art.

What was the most exciting part in the designing process?

Guidi di Bagno: The most exciting and challenging was to find the fabrics and the ways to adapt fabrics such as leathers to a particular cut. It was exciting to find, together with Laura Lynch, the key to this, by sewing these materials, especially the leathers, on lycra [type of stretch fiber], so that they could fit the bodies perfectly.

For the women, we had fabrics especially made, which have both body and shine, and which are also extremely light and flowing.

What would like the audience to take away from the costumes?

Guidi di Bagno: There are various elements: I would like them to feel that they are actually part of the story. I would like them to forget that they’re seated on a modern chair. At the same time, I think people should feel that it is only theatre.

Now that your imagination is running wild, why not put it to ease and let Houston Ballet sweep you off to Verona, Italy for a magical evening?

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From February 26 – March 8, 2015, Houston Ballet presents the highlight of the 2014-2015 season:  the world premiere of a new production of Romeo and Juliet by Stanton Welch. One of Shakespeare’s most famous tales, Stanton Welch’s Romeo and Juliet will be a fresh, brilliantly imagined interpretation of the classic love story of two star-crossed lovers. The production is set to the exquisite score by Sergei Prokofiev and designed by renowned Italian designer Roberta Guidi di Bagno, who will create the spectacular scenery and costumes for the production. This new production, Houston Ballet’s first in 28 years, is made possible through the generosity of longtime Houston Ballet supporters Ted and Melza Barr.

For more information: http://www.houstonballet.org/Ticketing-Schedule/Season-Calendar/Modern-Masters-2015/

Watch Romeo & Juliet – A Spectacle in the Making:

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Elton John, Dance, & Canada: What do they have in common?

January 19, 2015

By Kalyn Oden, PR Intern

“She’s got electric boots, a Mohair suit… Be-Be-Bennie and the Jets!” You might be wondering why I am singing Bennie and the Jets, that’s not ballet. If you enjoy Elton John and dancing, then this performance is for you. Alberta Ballet will be coming to Wortham Theater Center to perform Love Lies Bleeding as part of Houston Ballet’s Cullen Series from January 30 – February 1, 2015. This performance consists not only of Elton John’s most well-known songs but also electrifying dance styles and costumes.

Alberta Ballet Company Artists - Love Lies Bleeding - Photo: JJ Thompson

Alberta Ballet Company Artists – Love Lies Bleeding – Photo: JJ Thompson

I had the privilege to interview Alberta Ballet company artist Christopher Scruggs to learn more about Love Lies Bleeding. This is Scruggs first season with Alberta Ballet; he joined summer of 2014-2015 season he will be performing the role of a Drag Queen among other roles for his first performance of Love Lies Bleeding. Scruggs grew up listening to Sir Elton John’s more famous songs but by being a part of this tribute he was exposed to songs he had not heard. Now let’s get the inside scoop on this invigorating performance.

 

Alberta Ballet; Christopher Scruggs; Photo: Paul McGrath

Christopher Scruggs; Photo: Paul McGrath

  1. How is the ballet Love Lies Bleeding different than other ballets?

Scruggs: This ballet is different for many reasons. The music is not classical; it’s all danced to Elton John’s pop music. Additionally, the entire ballet is not en pointe for the ladies, which most classical ballets are. In this ballet boy’s dance in 5 or 6-inch heels, girls are in flat shoes with the men, and some dancers are in a jazzy version of a character shoe at times. The movement is also a huge change from classical or neo classical work as this is much more stylized movement; it is very jazzy.

Love Lies Bleeding - Company Artists of Alberta Ballet

  1. What were your initial thoughts when asked to be a part of this performance?

Scruggs: I was excited to dance this work because it pushes the boundaries of dance, life, society, and more. I think it’s really exciting for the audience to experience this work and not just see a classic like The Sleeping Beauty. It’s a challenge to dance but also lot of fun for us to dance as well as for the audience. I feel like then can really feel and catch the energy from us on stage.

Love Lies Bleeding - Yuki H. -  Photo: Charles Hope

Love Lies Bleeding – Yukichi Hattori – Photo: Charles Hope

  1. What is like to be a part of this groundbreaking performance?

Scruggs: This is a challenge for us in a lot of ways as dancers, but it’s so fun and exciting to perform this work for us. It’s such a fun and dynamic work to be a part of. Each song has its own unique flair and flavor that all add up to one fantastic show.

 

  1. What should the audience take away from this performance?

Scruggs: I think the audience should take away the entire experience of the show: visually, emotionally, and audibly. It’s really an all-around great ballet for us to dance technically, but more importantly to perform and have fun. I encourage each audience member to let themselves go and really feel our energy and have fun with us :)

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As part of its Cullen Series, Houston Ballet welcomes guest company Alberta Ballet with a spectacular celebration of the music of rock legend Sir Elton John and Bernie Taupin.

From January 30 – February 1, 2015, the undeniable joy of pop-rock meets the breathtaking athleticism of ballet in the sequined spectacle, Love Lies Bleeding. Alberta Ballet’s artistic director Jean Grand-Maître, choreographer of the Vancouver 2010 Olympic Opening Ceremonies, conjures a romping and visually spectacular tribute to the work of Sir Elton John and Bernie Taupin. Featuring 14 classic songs, this wild and whimsical piece explores the trials, victories, and sacrifices of achieving super stardom with an unforgettable story of rock ‘n’ roll, drama, passion – and above all – love.

For more information: http://www.houstonballet.org/Ticketing-Schedule/Season-Calendar/Loves-Lies-Bleeding/

Watch a preview of Love Lies Bleeding: 

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Dancer Diary: Houston Ballet Apprentice Deanna Pearson shares her amazing achievement in Instanbul, Turkey

December 9, 2014

Right before starting her first season with Houston Ballet as an apprentice, Deanna Pearson traveled to Instanbul, Turkey to compete in the Instanbul International Ballet Competition (IBC). The competition takes place every summer with dancers coming from all parts of the world to compete. Ms. Pearson performed at her best and earned a glorious Silver Medal in the Senior Category!

Deanna kept a journal detailing her competition adventure in Instanbul, Turkey. Read more about her journey exclusively here on En Pointe with Houston Ballet—

Deanna Pearson - Houston Ballet

This summer, I was lucky enough to travel to Istanbul, Turkey to take part in the Istanbul International Ballet Competition. Although I had been living in Germany last year and had been able to travel a great deal around the magnificent region that is Western Europe, I had not traveled to Turkey. For those who have never been, I highly recommend Istanbul as a future travel destination. The fascinating history that seeps through the lasting structures from ancient times is enough to capture one’s attention, and the cities rolling hills dotted with buildings and shining mosques, all overlooking the majestic Bosphorus are breathtaking. Needless to say, I regret that I was occupied most of the time with the competition and did not have much time to explore the city.

However, the welcoming venue along with the helpful staff and friendly fellow competitors made my time at the IBC in Istanbul incredibly rewarding and enjoyable. My coach at the time was unable to travel with me and, with the rest of my family back in the US, I traveled to Istanbul alone. International travel, with the complications of foreign languages, can be daunting particularly when traveling alone. As many fellow dancers know however, traveling with ballet tutus zipped up in large, round black bags, can be an even greater struggle. On both my inbound and outbound journeys, I had to practically beg the person at the check in counter to let me take my tutu on board with me. Thankfully none of my costumes were damaged and none of my luggage was lost through the whole process of dragging my things to a bus stop just outside the Istanbul Ataturk Airport, transferring from the bus to a small, yellow cab, and finally arriving at the hotel accommodation provided by the competition. I was lucky to be able to room with a sweet friend of mine who was also taking part in the competition, and I found I was able to communicate with many of the other competitors and that there were all very nice.

Istanbul, Turkey Photo

The scheduling made it easy to know when you would have your rehearsal time and when you would be performing at the performance venue a few minutes walking distance from the hotel. When I wasn’t walking to and from the venue and hotel, I was greatly enjoying popping into the markets and taking in all the different varieties of dried fruits and unknown types of fish. The people that I encountered on the streets and in the markets were friendly, but I could tell I was clearly a strange sight to them and that many were assessing where I might be from as well as why I might be hauling a black disc-like bag around with me. I will say that it became apparent to me that English was not as common as I had expected, but I found I enjoyed listening to the fast-paced and unique-sounding Turkish language.

I had a wonderful time performing my first round classical and contemporary variations, and was so thrilled the next day when my name was on the list of those who had made it to the second round because I couldn’t wait to go back on the stage and to perform my next pieces. I had an even more enjoyable time performing in the second round, having made several friends amongst my fellow competitors who had traveled from Russia and as far as South Africa. At the end of the second round, I just felt incredibly lucky to have been able to perform all my pieces and a bit tired particularly from the high humidity and heat outside the likes of which I had not experienced in quite a while.

Deanna Pearson at Instanbul International Ballet Competition

As always, the other finalists and I waited curious to know the final results of the competition. The night of the award ceremony, we all put on our costumes and make up and gathered on stage for the award ceremony and gala night, unaware yet of whether or not we would be dancing that same evening in the gala performance. I was glad I got to perform all my pieces and was already reflecting positively on my time in Istanbul when I heard my name announced for the Silver Medal in the Senior Category by the head of the competition administration. I could hardly believe it as I went forward and accepted my medal, incredibly grateful and humbled. I was so happy as well for the other medalists, and we congratulated each other as soon as the curtain closed on the award ceremony before hastily getting prepared for the following performance. The audience for the gala performance was wonderful and seemed to take part in the celebratory atmosphere that surrounded each medalist performer.

It was a bittersweet moment when the final bows were over for the gala, and I realized how my time in Istanbul had flown by. I was a little sad the next morning as I rode by taxi through the permanently congested streets of Istanbul, fixing my eyes on the winding Bosphorus gleaming in the sunlight, and knew I would have to return to Turkey someday to explore much more of the city and its landmarks. At my last glance of Istanbul, the gigantic barges were pulling out of the harbors and seagulls were swooping down over the water as the Islamic call to prayer rang out over the hills of the city.

Houston Ballet Apprentice, Deanna Pearson

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You can see Deanna Pearson on stage this winter dancing in the Land of Snow as a snowflake and among other roles in Houston Ballet’s magical production of The Nutcracker from November 28-December 28, 2014. There are so many reasons to delight in The Nutcracker: the giant Christmas tree, the dancing dolls, Mother Ginger and her adorable clowns, the lavish sets and the iconic Tchaikovsky score. Ben Stevenson’s production of The Nutcracker has entertained children and their grown-ups for more than 25 years.

For more information visit: http://www.houstonballet.org/TheNutcracker/

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