Archive for the ‘Artistic’ Category

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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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RESEARCHING “ROMEO AND JULIET”

November 7, 2014

From February 26 – March 8, Houston Ballet will unveil a stunning new production of Romeo and Juliet, choreographed by Houston Ballet Artistic Director Stanton Welch and featuring scenery and costumes by the acclaimed Italian designer Roberta Guidi di Bagno. The production has been generously underwritten by Ted and Melza Barr. In this blog entry, Stanton discusses his extensive research to prepare to choreograph this classic work. 

Juliet Ball 2 - Sketch by Roberta Guidi di Bagno

Stanton Welch’s Romeo and Juliet; Sketch by Roberta Guidi di Bagno

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Guest writer: Stanton Welch, Artistic Director

Romeo and Juliet is a milestone work, a benchmark for a choreographer. Prokofiev’s score is so exquisitely evocative, with such a strong sense of the individual characters. There are parts of the score that are so moving and emotional that they can bring one to tears.

I have never created a work inspired by Shakespeare’s dramas before.

I first saw a ballet version of Romeo and Juliet when I was about six or seven, and my mother was performing as Juliet in John Cranko’s staging of the work. It was an intensely emotional experience for me, and I distinctly remember not wanting Juliet to take her own life. I grew up as a dancer, watching — and later performing in — the Cranko version with The Australian Ballet.

There were several other ballet versions of Romeo and Juliet that made strong impressions on me. I saw a wonderful 1954 Russian film version of Leonid Lavrosky’s staging featuring Galina Ulanova as Juliet with some very difficult partnering sequences that were breathtaking. And I also saw both live performances and video of Sir Kenneth MacMillan’s version of Romeo and Juliet, featuring a consummate performance by Alessandra Ferri as Juliet that dancers of my generation grew up watching and admiring.

Romeo and Juliet film (1954) of Leonid Lavrosky’s staging featuring Galina Ulanova as Juliet

I have also watched several film versions of Shakespeare’s play, including the 2013 version featuring Hailee Steinfeld and Douglas Booth. Franco Zeffirelli’s 1968 film version of Romeo and Juliet, with Olivia Hussey and Leonard Whiting, was also very influential on me.

To prepare to choreograph my version of Romeo and Juliet, I’ve returned to Shakespeare’s original text.  It is such a deep work, which reveals more levels, subtleties and nuances every time you read it.

What’s fascinating to me is that there are difference between what Prokofiev indicates in his score for the ballet and what Shakespeare wrote in his original text. This presents a conundrum for a choreographer: Do you follow Prokofiev’s lead, or do you adhere to Shakespeare’s text?

Stanton Welch’s Romeo and Juliet; Sketch by Roberta Guidi di Bagno

Stanton Welch’s Romeo and Juliet; Sketch by Roberta Guidi di Bagno

In my creative process, I’ve also been influenced by our designer Roberta Guidi di Bagno. With her Italian heritage, I think that she brings a very authentic take on the world of Romeo and Juliet.

As I begin to choreograph in the studio, I’m working with three couples, and they will each bring something unique and special to the work. The principal women creating the role of Juliet will be Karina Gonzalez, Melody Mennite and Sara Webb. The final version of the choreography will bear the imprint of each of the three couples upon whom it was created.

Karina Gonzalez_Headshot

Principal Karina Gonzalez

Principal Melody Mennite

Principal Melody Mennite

SaraWebb_Busath Photography

Principal Sara Webb

 

 

 

 

 

 

 

 

Monique Loudieres will come from France to coach the principles of all three casts of Romeo and Juliet. She’s a wonderful, musical actress – and such a warm and loving coach. I love her passion, and I believe that translates into the performances you see on stage.

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HOUSTON BALLET CAPS INNOVATIVE THREE YEAR INTERNATIONAL COLLABORATION IN GUATEMALA

September 30, 2014

From September 28 – October 3, 2014, Houston Ballet Academy Instructor Sally Rojas  will travel to Guatemala City, Guatemala for the third and final installment of an innovative, international collaboration with the Organizacion para las Artes focusing on training dancers aged 12- 18.

 Sally Rojas

Instructor Sally Rojas coaching students

Spanning from March 2012 until October 2014, the primary aim of the partnership is to strengthen the burgeoning relationship between Houston Ballet and Guatemala, and also to raise the standard of ballet training in Gautemala.  Geraldina Becca-Spross, President of Organizacion para las Artes, commented about the partnership, “Sally Rojas is not only a hard-working teacher, but also very understanding.  The young ladies she has instructed were amazed at her deep knowledge of ballet.  We know that only very hard work, concentration and practice will fully accomplish our goals in the long run.”

 Sally Rojas coaching students

Instructor Sally Rojas coaching students

On October 12-13, 2010,  Houston Ballet II, Houston Ballet’s second company, toured to Guatemala City with a mixed repertory performance at the Organizacion Para Las Artes.  One student from the group of Guatemalan dancers was awarded a scholarship to attend Houston Ballet Academy.

 Sugar Plum Fairy Sally Rojas

Sally Rojas as the Sugar Plum Fairy in The Nutcracker

A native of Caracas, Venezuela, Ms. Rojas is a former soloist who performed with Houston Ballet from 1985 to 2004 before becoming an instructor at Houston Ballet Academy. While in Guatemala City, Ms. Herrera leads teacher workshops and teaches master classes. In Houston, Ms. Rojas is also the artistic coordinator of Pink Aware, a program created by Houston choreographer Jane Weiner to promote breast cancer awareness through dance and the arts.

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DANCING JOHN NEUMEIER’S A MIDSUMMER NIGHT’S DREAM

September 5, 2014

By Kalyn Oden, PR Intern

Fairies, lovers, donkeys and a love spell gone completely wrong…Houston Ballet begins its 2014-15 season with the company premiere of A Midsummer Night’s Dream, choreographed by John Neumeier  and inspired by William Shakespeare’s famous comedy, from September 4 – 14 at Wortham Theater Center.

Houston Ballet 2014 A Midsummer Night's Dream

“A Midsummer Night’s Dream”; Artists of Houston Ballet; Photo by Amitava Sarkar

Now let’s get the scoop from two Houston Ballet dancers, principal dancer Karina Gonzalez and soloist Aaron Robison. Ms. Gonzalez will dance the leading female role of Hippolyta and Mr. Robison will be performing the leading male role of Theseus, Duke of Athens. You can see them both on stage in A Midsummer Night’s Dream at performances on September 4, 6, 12, and 14.

Can you relate to your character?

Karina Gonzalez: Not really. But she is a really fun and easy character to portray. Hippolyta is an elegant and beautiful queen who is going to get married to a guy who she is not even sure she loves. Then she enters her dream where she becomes this powerful and sensual woman, a woman that she can’t be in the real world.  In her dream, she is a sensual and powerful creature.

A Midsummer Night's Dream HB Gonzalez and Robison

“A Midsummer Night’s Dream”; Karina Gonzalez and Aaron Robison; Photo by Amitava Sarkar

How do you get into character?

Aaron Robsion: It often depends on what type of role I am doing. As the ballet is being taught, John Neumeier and the artistic staff will feed you detailed information about the characteristics of the role while explaining the story.

So then I will try to imagine myself in that period and try to interpret what John is saying, in my own personal way because he wants to keep the ballet present, with real human emotions, keeping the characters human and real.

Karina: We spend so much time developing the character, learning the choreography, the music and the steps.  So when it is time for the shows, you know exactly who you need to be. My role in A Midsummer Night’s Dream is easy to find. Before the show, I start to get ready at least one hour and half early, and I start getting into my character at that point.

How is this staging of A Midsummer Nights Dream different from other productions choreographed by George Balanchine and Sir Frederick Ashton?

Aaron: I think what makes John Neumeier’s version more unique and different from other stagings of the ballet is that it is much more realistic and there is a lot more emotional depth to the roles.

Karina: I know in this version of A Midsummer Night’s Dream, you are not going to see pretty sparkling fairies with tiaras and wings. The dream scene is completely different:  more dark, magical, and a bit animalistic in a way.

Is there another character you enjoy other than the one you are dancing?

Aaron: It has been very funny watching my two colleagues, who are very manly male dancers, take on the role of Thisbe. It is danced on pointe and is very entertaining.

Karina: I love the role of Puck. He is mischievous, strange creature but very likable. He is the one that gets everything confused and then he has to put everything back together. It is a really fun role, and I enjoy watching both casts’ unique interpretation of the role.

 Houston Ballet Gonzalez and Robison

“A Midsummer Night’s Dream”; Karina Gonzalez and Aaron Robison; Photo by Amitava Sarkar

Why are you excited about this ballet?

Aaron: I’ve always been a huge fan of John Neumeier’s work, and I am thrilled to be dancing the lead role in this fantastic production. It really is a dream come true. I hope the Houston audience enjoys watching this ballet as much as I am enjoying dancing it. This is definitely one of the highlights of my career, and I am also very excited to be dancing with Karina Gonzalez for the first time.

Karina: I have been dreaming of working with John Neumeier for a long time. And it has been fantastic to have him in the studios, giving us his inspiration and ideas of the ballet. Also,  he told me that he created the role of Titania for a Venezuelan dancer, Zhandra Rodriguez, one of the best ballerinas in my country. So I am excited to do this role and to try to fill her shoes. It is a wonderful ballet.  Also it is the first time that Neumeier’s A Midsummer Night’s Dream has been performed by an American company. So it is a must- see for all!

Describe this performance in 3 words or less.

Aaron: Romantic, humorous, thrilling.

Karina: A masterpiece.

 Houston Ballet 2014 Gonzalez and Artists of HB

“A Midsummer Night’s Dream”; Karina Gonzalez and artists of Houston Ballet; Photo by Amitava Sarkar

Why should people see this? What should the audience take away from the performance?

Aaron: People should come and see this ballet because obviously A Midsummer Night’s Dream is a very famous Shakespeare story, and this is the first time Houston Ballet will perform the work.   The production features great dancing and acting which shows off Houston Ballet very well. I hope the audience enjoys the ballet, and hopefully they will feel a sense of connection or can relate to a certain character.

Karina: John Neumeier it is one the most famous, and greatest choreographers of our time, so it is an honor to have his piece as part of Houston Ballet repertoire. I think it is a great interpretation of A Midsummer Night’s Dream that will be enjoyed by all. The audience should walk away feeling as if they were a part of three worlds of Shakespeare’s play created by Mr. Neumeier.

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From Setpember 4-14, 2014, American choreographer John Neumeier, artistic director of The Hamburg Ballet since 1973, is one of Europe’s most highly regarded dance makers.  Houston Ballet is pleased to introduce the first work by Mr. Neumeier into the company’s repertoire: his 1977 staging of William Shakespeare’s beloved romantic comedy A Midsummer Night’s Dream, acclaimed by the Hamburger Morgenpost as the “jewel in John Neumeier’s œuvre.”  Featuring lavish scenery and costumes by the acclaimed German designer Jurgen Rose, the ballet brings to vivid life the magic and merriment of Shakespeare’s classic text.

For more information: http://www.houstonballet.org/Ticketing_Schedule/Season_Calendar/A_Midsummer_Nights_Dream/

Check out the preview of A Midsummer Night’s Dream

Watch an interview with choreographer John Neumeier about A Midsummer Night’s Dream:  

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A VOYAGE TO ROME FOR ROMEO AND JULIET

August 21, 2014

By Laura Lynch, Houston Ballet Wardrobe Manager

Oh my, what an incredible adventure to travel to our production designer Roberta Guidi Di Bagno’s home in Italy to shop fabrics for Stanton Welch’s new production of Romeo and Juliet, debuting in February 2015. Yes, I’m talking Rome, Italy.

Roberta designed Romeo and Juliet with a wide variety of fabric/trim needs.  Roberta and I swatched locally for fabrics right here in our own backyard in Houston. However, there’s only so much to find locally. From basic burlaps to the most exquisite velvets and lurex yardages…. or as measured in Rome, meterages.

The Ball 2

Sketch by Roberta Guidi Di Bagno

I landed in Rome on Easter Sunday with no problem and taxied into the city to meet Roberta at her apartment. I was fortunate enough to be hosted right next door to Roberta in her rental apartment that just happened to be vacant at the time of my visit.

We spent the next seven days poring over the costume designs, discussing fabric choices, details of line and shape, changes to decisions already made, and simply solidifying our design books. The design book is our ‘bible’ of information. We made sure that we both had the same information in our respective books so that as we discuss things long distance, we are looking at the same information.

Juliet in gold

Sketch by Roberta Guidi Di Bagno

We spent one long day at D’ Alesso Leathers where we searched through hundreds of hides to choose for the various characters’ tunics and bodices. I have never seen such leathers. The hides are garment weight and many are manipulated with dye/paint and have designs, but also metallic fabric embossed to the back to give two tone effects. Some leathers look fresh and new, some very ancient and worn.

Romeo 2

Sketch by Roberta Guidi Di Bagno

You’ll just have to see the show to really get a look at the incredible selection we were able to acquire.

The next day Roberta and I spent at the Brothers Bassetti, a fabric store filled floor to ceiling with fabrics from tulles to velvets, brocades to chiffons, anything you can imagine. At Brothers Bassetti a clerk serves you with all your needs. It’s wonderful to have that one person there gathering and assisting to pull whatever fabrics you’re interested in. Roberta and I had already done much of our homework before arriving. Prior to visiting Rome, when Roberta was here in Houston, she and I had gone through our Bassetti swatches and made many preliminary decisions as to fabric assignment.

Blue door

Sketch by Roberta Guidi Di Bagno

Let me say that as wonderful as our local fabric shopping is in Houston, we simply do not have the variety that can be found in the large European cities. It was like a treasure hunt in the most beautiful setting. Everywhere you look is history. Walking to Brothers Bassetti, we walked past the Pantheon, and we left the fabric shop just as the Pope decided to visit one of the area churches. So we found ourselves in a taxi going round in circles.

The people of Rome were welcoming and Roberta was the perfect hostess. The fabrics we acquired are amazing and the Costume Shop here is certainly looking forward to the arrival of our goodies from Rome.

We are one step closer to beginning construction on this most amazing project.

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Houston Ballet will present the world premiere of Stanton Welch’s new staging of Romeo and Juliet, featuring opulent scenery and costumes by Roberta Guidi Di Bagno, February 26 – March 8, 2015. For more information, visit:  http://www.houstonballet.org/Ticketing_Schedule/Season_Calendar/Romeo_and_Juliet/

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Houston Ballet Academy Students Take Voyage Of Discovery And Inspiration In Germany At The Fourth Dance Education Biennale 2014 Dresden

March 21, 2014

–by Shelly Power, Houston Ballet Academy Director

From February 15 – 23, 2014, a group representing Houston Ballet Academy enjoyed a full week in Dresden, Germany, participating in workshops, classes, performances and a two-day symposium on the creative process. Being one of three international schools and the only school from America, we were privileged and honored to be a part of the Biennale.

Houston Ballet Academy Students in Germany 1

Houston Ballet Academy Dancers,  Jack Thomas and Charlotte Larzelere

As I reflect back on our trip to Germany it reminds me of the importance of Houston Ballet’s international relationships with the Prix de Lausanne ballet competition in Switzerland, with Canada’s National Ballet School, and with ballet schools in Japan. They not only help us continue the evolution of dance in the broad perspective; they also impact us personally.

Jason Beechey, Director of the Palucca Schule in Dresden, hosted the week, which inspired our students, challenged our thinking and allowed us to experience performances in the beautiful Semperoper Opera House as well as the Hellerau European Center for the Arts.

Our contingent included Houston Ballet II Ballet Master Claudio Munoz,  Houston Ballet II dancers James Potter and Jack Thomas, and level 8 students Charlotte Larzelere and Madison Young. Claudio arrived with our students on Saturday, February 15, and classes began early Sunday morning. The teaching staff was fantastic and featured  free-lance teachers Christine  Anthony, Artistic Director  Frederic Flamand, Choreographer and Ballet Director Marguerite Donlon, and Semperoper Ballet’s Principal Ballet Mater Gamal Goud — to name a few. Check out the entire roster at http://www.biennale-tanzausbildung.de/en/participants/teachers/.

The Student Workshops

Students rotated throughout the week, allowing for a different daily class experience. The workshop met daily, and students worked with the same group and leader all week, giving them time to get comfortable with the process. The end results of the workshop were informally demonstrated at the Hellerau European Center for the Arts, which is a creative space plunked right down in the middle of a residential area.  It has an important history for the Dresden community as well as for the creativity the space itself is designed to bring about.

Charolette Houston Ballet Academy

Houston Ballet Academy Dancer, Charlotte Larzelere

I witnessed each group as they maneuvered themselves through the process each leader created for them. Charlotte seemed to expand her long arms and legs and move more freely.  James absorbed a sense of confidence. Although already intense in his thought process, he seemed to deepen his conviction to the movement. Jack was inspired by the process in that he had never experienced improvisation in this way and gave of himself fully. Madison was a trouper as she observed the process because her injured toe prevented her from participating. However, through her observation, I believe she witnessed much of what I observed:  individual personal growth in each student.

Houston Ballet Academy - James Potter

Houston Ballet Academy Dancer, James Potter

In an interview later, James expressed how he was able to feel more assured overall because the process helped him to develop his own movement and emotion, which he plans to incorporate in his investment in future roles as a dancer. It is most difficult to put yourself out there in this manner — rather than copying what you believe a role should be.  You give of yourself to the role, and you become the role as one.

Performance Time!

Mr. Beechey invited us to bring two pieces of student choreography to Dresden. James Potter had just finished a new piece for his evaluations in the fall, and we invited him to bring a second piece he had done last summer for the choreographic workshop. Both pieces were performed in the Semperoper House on Tuesday night, February 23. Other schools joined him with an array of works that represented work from each school.

Before both pieces, we showed a video in which James and his dancers shared their journey in creating the work which had been filmed and edited by David Rivera of Houston Ballet. The audience loved both pieces as well as the film on the creative process.

During the week, we were fortunate to see The Forsythe Company perform Sider. Watching this improvisational piece develop on the spot was incredible. I found out later that the dancers heard commands through ear pieces that directed them when to stop and start and move to another section as well as hearing Shakespearean dialogue which crafted much of the story. I heard from audience members who had attended again the second night that the piece looked totally different from the first night. Now German audiences have experienced this type of performance many times before. However many of us saw this process for the first time.

The week ended for me with a performance of Romeo and Juliet at the Semperoper House danced by the Dresden Ballet company. The choreography and contemporary concept by Stijn Celis were unique. I am not sure balletomanes would enjoy it. But I was most impressed with the ballet dancer’s ability to tell the story in a language so different from classical ballet. Celis was brave in his choices, such as having Juliet (Julia Weiss) in tennis shoes, a white button down shirt and shorts. She danced beautifully. Elena Vostrotina as Lady Capulet is over 6 feet tall in her stilettos heels, and carried much of the show simply with her powerful walks across stage.  Jiří Bubeníček was incredible as Romeo.

The Symposium

Over two days, we discussed the creative process in several different scenarios during the symposium. We focused on how creativity affects the artist, an institution, the funding, an audience, the profession and education as a whole.

Houston Ballet Center for Dance

Houston Ballet Center for Dance; Photo by Nic Lehoux

I participated as a panelist in a forum in which we discussed how creative our own institutions were. Given that we offer several different venues at Houston Ballet that actually push the creative engine, I felt proud of our investment of time and energies. The Margaret Alkek Williams Dance Lab (the 175-seat black box theater at Houston Ballet’s Center for Dance) came to mind.  This space gives us the opportunity to create new works, present performances, and educate through Dance Talks and Studio Series. Also, through collaborations such as Pink at the Brown, we give artists the opportunity to give of their talents to raise awareness and resources, all in the name of breast cancer awareness and using the arts to heal.

Other topics such as the conflict between education and the profession were discussed, which highlighted the growth the US has made in college dance programs across the country, juxtaposed with German schools which offer B.A. and M.A.’s by the hundreds. We considered the usefulness of such degrees, and how Europe and America differ in hiring with such degrees.

The key note speech on Creativity and Promoting Creativity was presented by Professor Dr. Rainer Holm-Hadulla who is a specialist in psychiatry and has written a book on this topic. He walked us through the analysis of creative processes, revealing the implications for the promotion of ordinary and extraordinary creativity. That said, it is more about an individual’s interest in an art form than it is on DNA. Those who pursue what they love often end up succeeding in some manner. Those who are extraordinary might be individuals who take something out of chaos and form structure from it. Often those in our culture who have been extraordinarily creative have built an inner structure within themselves that may have been missing, thus producing an external art form such as painting, music or dance. I won’t go any further as I am afraid Dr. Hadulla might be horrified by my interpretation. But I found his thought process intriguing.

Houston Ballet Academy Dancers in Germany

Houston Ballet II dancers James Potter and Jack Thomas, and level 8 students Charlotte Larzelere and Madison Young

Wrap Up

The symposium wrapped up the week with the articulate and bright spirited Deborah Bull, Mistress of Ceremonies, capturing the inspiration and discovery that both students and directors experienced. Meeting with my colleagues from across the globe was also important as we were able to network and brain storm on how we might bring a new creative energy back home.

 

Watch this video in which Academy student and choreographer James Potter discusses his creative process for creating a new work for Houston Ballet Academy.

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Acclaimed Actor Steps into New Role in “The Young Person’s Guide to the Orchestra”

March 13, 2014

Over the last month, Houston Ballet has been pleased to welcome the beloved Texas actor Jaston Williams as a guest artist, performing the role of the narrator in Stanton Welch’s new production of The Young Person’s Guide to the Orchestra, which continues in performance at Wortham Theater Center through Sunday, March 16 at 2:00 pm.

 Artists of Houston Ballet_X7C5149

Ballet: The Young Person’s Guide to the Orchestra; Artists of Houston Ballet; Photo by Amitava Sarkar

Since 1982, Mr. Williams has served as co-author and co-star of the Tuna trilogy (including Greater Tuna and A Tuna Christmas), chronicling the citizens of the small fictional town of Tuna, Texas on and off Broadway, at The Kennedy Center, the Edinburgh International Arts Festival, the Spoleto Festival USA and on tours across America. He won the LA Dramalogue  and the San Francisco Bay Area Critics Awards for his performances in both Greater Tuna and A Tuna Christmas. A native of Austin, Mr. Williams toured for several years in Larry Shue’s The Foreigner, and received a nomination for best actor for Washington DC’s prestigious Helen Hayes Awards.

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Jaston Williams; Photo by Brenda Ladd

In this week’s blog, he spoke about his surprise at being asked to collaborate with Houston Ballet, his admiration for the work ethic of the dancers, and the solicitude of music director Ermanno Florio in working with him during the rehearsal process.

Houston Ballet: When you were first approached about appearing as the Narrator in The Young Person’s Guide to the Orchestra, what was your initial response?

Jaston Williams: I first met members of the Houston Ballet last year when they and I were being honored with the Texas Medal of the Arts Awards. I must say then when I got the call I feared they might have dialed the wrong number! But of course I’m honored to be a part of this production.

Houston Ballet: You’ve worked with actors and theatrical companies across the nation. What was it like to collaborate with dancers and orchestra musicians?

Jaston Williams: Sadly I can’t allow myself to watch the dancers in the performance because I will get so mesmerized that I’ll forget what I’m supposed to be doing. As for the orchestra the conductor has taken great care of me and has been beyond patient and helpful.

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Ballet: The Young Person’s Guide to the Orchestra; Artists of Houston Ballet; Photo by Amitava Sarkar

Houston Ballet: What has been the most challenging part for you about appearing as the narrator in The Young Person’s Guide to the Orchestra

Jaston Williams: My greatest challenge has been trying not to show my age among these beautiful young people. I fear I look like everyone’s grandfather when I’m up there on stage.

Houston Ballet: What has been the most rewarding part of the experience?

Jaston Williams: I find it humbling to observe the work ethic of dancers. We don’t work that hard in the world of theatre.

Houston Ballet: Is there anything else that you would like to share with us about your experience working with Stanton Welch, collaborating with Houston Ballet and its orchestra?

Jaston Williams: It has been a distinct pleasure to observe Stanton in all his brilliance and to be allowed to have this unique performance opportunity. I will recall it fondly.

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Houston Ballet continues its performances of The Young Person’s Guide to the Orchestra through Sunday, March 16 at 2:00 pm. For more information and to purchase tickets:  https://www.houstonballet.org/Ticketing_Schedule/Season_Calendar/Young_Persons_Guide/

Or call Houston Ballet’s Box Office at 713 227 2787 Monday – Friday 9 am – 5pm.

Watch a clip of Stanton Welch’s The Young Person’s Guide to the Orchestra, with narration by Jaston Williams.

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

March 5, 2014

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 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 - Headshot

Holly Hynes; Photo by Paul Kolnik

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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.

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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.

Costume sketch 3

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.

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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:

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

February 28, 2014

Christopher Gray and Artists of Houston Ballet

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!

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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?

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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

Aladdin César MoralesPrincess Badr al-Budur Nao SakumaThe Mahgrib Iain MackayThe Djinn of the Lamp Tzu-Chao ChouAladdin’s Mother Marion TaitThe Sultan, the Princess’s father Jonathan PaynAladdin’s Friends James Barton, Mathias Dingman

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

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/

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