Posts Tagged ‘Houston Ballet’

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Growth with the Eselgroths

July 23, 2014

by Emily Kammerlohr, Academy Intern

Week Five is where the rubber meets the road for the Summer Intensive Program students! Dancers from all levels scramble to perfect their moves in preparation for Week Six’s rehearsals and shows. Yet even amid all the craziness, the Eselgroths were both still smiling and ready to chat about how things progressed this summer! Check them out!

Lilian’s favorite piece from the Showcase is The Waltz of the Hours from Coppelia because it has everything: light bits, quick-paced sections, fun footwork- everything! She also mentioned that it’s a bit longer than what she’s used to dancing, but the exhaustion it brings is glorious because she loves it so much!

The kids were also quick to praise the instruction at Houston Ballet Academy! Lilian said that she “loves Rep class with Ms. Bryant!” Former company member Susan Bryant runs an excellent class, as Lilian said that they work very hard to keep their movements clean.

Clark said he adores Claudio Muñoz because “he is just so funny! He gives us great compliments and corrections, and is always so entertaining!”

Clark has really taken those corrections to heart, saying that the Summer Intensive has really helped him to dance cleaner. “My passé is higher, my turnout is better, and I’m more careful about the way my foot is pointed.”

As mentioned in the video, one of Clark’s favorite parts of the Summer Intensive is the opportunity to be around so many other men who dance! He’s one of the older boys at his studio, and as a Level 5, the ability to learn not only from the instructors, but also older boys, is priceless.

“I really look up to Valentin Batista in Level 7″ he said. “He gives me lots of advice on turns and tours, which is really helpful!” It also doesn’t hurt that Valentin is from Argentina- the home of Clark’s favorite soccer team!

“Second place…so close!” he mourned when I asked him about the World Cup.

This might be all from the Eselgroths, but next week, we’ll wrap up with a little something from all the students here at the Summer Intensive Program!

See you then!

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Checking in with Natalie Payne

July 21, 2014

 By Emily Kammerlohr, Academy Intern

 Time is just flying by and preparations for the final summer showcase are well underway here at the Center for Dance. This week, we’ll be highlighting one student’s path to the performance. Although her days are already brimming with learning, including jazz, gyrotonics, social, and Pilates classes in addition to ballet, Level 7 student Natalie Payne is working diligently to improve her technique for the show.

“I’m always working and focusing on my technique, but now I’m doing it in a way where I can be relaxed on top, and still really enjoy what I’m doing,” she said. “I think that you actually tend to dance better in class that way.”

Click below to hear her discuss the other ways she is preparing for the showcase, as well as her favorite non-dance aspects of the program!

The Level 7 students have been steadily working on Stanton Welch’s Paquita in variations class, but they also have dabbled with Aurora, the variation from Act I of Sleeping Beauty. Natalie mentioned that her class was “fortunate enough to have two lessons with former Houston Ballet principal dancer, Dawn Scannell. It was amazing to learn the variation from her, and hear what the story is behind it!”

We also laughed about the excited atmosphere in the building as the World Cup soccer tournament was often playing in the 5th floor lunch area. “A lot of the guys will go and watch the matches during their breaks,” she said.“We were in class with Claudio [Muñoz] and we had the studio door open. We suddenly heard this giant yell coming from the fifth floor kitchen! It was all the guys screaming because Argentina had scored. It’s been a really fun thing this summer, with everyone going for their teams. It’s been crazy!”

Clark and Lilian will be back next week to give their “multi-level” perspective on the so-called craziness of this summer!

 

Until then!

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It Takes Two

July 8, 2014

Tuesday, July 08, 2014

 By Emily Kammerlohr, Academy Intern

Lilian and Clark Eselgroth are a dynamic sibling duo hailing from North Carolina! I had lots of fun filming with these two – they really love each other and it shows! Lilian, level six, is poised and professional and Clark, level five, is an absolute hoot. Click on the video below to check them out!

Clark recently attended the YAGP (Youth America Grand Prix) in Atlanta and Lilian was able to assist him back stage.  She helped him tweak his performances and even did his makeup. What a good sister!  Clark mentioned that her guidance was so helpful because she participated in the event last year.

Lilian was able to watch two of Clark’s pieces from backstage, but for the very last one she watched him from the audience. She made sure he knew when he heard her clapping in the audience, he would remember to smile!

“That’s the only correction I really give him” she says, “is just to smile.”

Clark couldn’t pick just one favorite ballet, so he listed a top three: Swan Lake, Le Corsaire, and La Bayadère. Listed in no particular order, of course! He likes them because the variations have lots of jumps and, as he is working to perfect his jumps this summer, he would appreciate the opportunity to do them on stage. Also, he adds with a sly smile, “They’re kind of manly.”

Lilian is working to improve her technique this summer. She is avidly perfecting her turnout, as well as her strength when executing a move. Her favorite ballet to dance is La fille mal gardée because she really enjoys its comedic elements, and her favorite ballet to watch is Romeo and Julieta far cry from comedy!

“We’re doing that one here next spring!” I mention.

Both of their faces immediately lit up.

“We have to see that one!” Lilian says. “I haven’t seen it in person yet, only on video. So that would be amazing.”

That’s all from the Eselgroths – but don’t worry! They will return in week five to update us on the final performance. But in the meantime, you can check back next week for more news from Natalie Payne!

Until then!

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She’s Baaaack!

July 1, 2014

By Emily Kammerlohr, Academy Intern

Tuesday, July 1, 2014

Miss Natalie Payne, everyone’s favorite Aussie, has returned to once again provide an inside look into the life of a Summer Intensive Program dancer. “The training is so good here,” she says, forming a beaming smile. “I love working with all my teachers, as well as the new ones who come just for the summer.” Now a year-round student, Natalie feels “at home” here at the Center for Dance and hopes she can help other students to feel the same.

Click below to hear Natalie discuss her growth since we last saw her, tips for new students in the program, as well as how she fights fatigue during those long-haul flights from Australia!

Her favorite modern ballet is SechsTanze (Six Dances) choreographed by Jiří Kylián. The piece is quick-paced and witty – just like Natalie. After watching it myself, it was easy to see why she loves it! As for the classical, she could not stop raving about our very own Stanton Welch’s Swan Lake. “I saw it multiple times” she gushed. “It was beautiful.”

While Natalie had lots to share about the artistic elements of ballet, we also talked about some pretty quirky habits in her day-to-day life at the Center.

“What’s a must-have item in your ballet bag?” I ask as our time together winds down.

“Lip balm,” she laughs, “I’ve tried to go without it but I simply can’t! I’m obsessed! ”

She also always carries a small Pac-Man notebook with her to write down corrections during class. Did you spot it in the video?

Natalie sends love to her mom, dad and sister and will be back during week four to update us on her final performance, but I return next week to introduce you to our next two vloggers.

 

See you soon!

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Education and Outreach “Goes Global”

June 27, 2014

By Emily Kammerlohr, Academy Intern

Friday, June 27, 2014

Houston Ballet partners with the Evelyn Rubenstein Jewish Community Center (ERJCC) to put on “Jump, Jive, Move and Groove!” now in its second year.  This year, the program is hosted by Ripley House, a local service site of Neighborhood Centers, one of the largest charitable organizations in Texas, located at 4410 Navigation Boulevard.

Houston Ballet Education and Outreach staff partner with teachers from the ERJCC to design a summer camp curriculum which is modeled after the pedagogy created by Jacques d’Amboise at the National Dance Institute.  This year, over 50 children are taking two classes daily creating both dances and crafts. Following the theme “Wonders of the World” the young dancers are hard at work learning choreography for multiple pieces and creating costumes and props inspired by cultures from around the globe!

Education Outreach Photo

Sommers leading the group during warm ups

I was invited to join Outreach Coordinator and Curriculum Specialist, Jennifer Sommers, to observe a Tuesday morning class. We were joined by Michele Kitchen and Sarah Oakley, Education and Outreach staff acting as assistant teachers and the lead teacher for ERJCC, Valerie Handy. Live music was provided by Pedro Huertas and Pelaya Parlade.

On the day I visited, the kids were learning a new dance, an Indian-inspired number to the tune of Jai Ho. I later discovered, along with the students, that it roughly translates to “let there be victory” from Hindi. A fitting mantra for a successful class!

Before the students arrived, Sommers rehearsed the steps she planned to teach and ran through the educational song she created to close the class. It was set to a fun, easy-to-remember rhyme scheme and as she sang about India, we followed her hand motions to learn about its capital, native animals and geographical location.
The students were working to prepare a short showcase of dances to present to friends and family this morning, Friday, June 27th.  Both classes already had a Greek-inspired dance in their repertoire, and while the younger students later immersed themselves in India, the older students took on China.

 

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Students strike a pose during the Greek-inspired number

The Greek dance was electric! It had goddess-inspired poses, an Olympic opening and a triumphant cry of “Opa!” ended the piece.  The energy was hard to resist! Even the slumped shoulders of the older kids weren’t enough to convince me that they weren’t enjoying themselves. The smiles twitching on the edge of their lips gave them away.

As a classics major, it was only right that the students quiz me on their Greek dance.

“Did you recognize the goddess in our dance? What about the god?” They were so proud of themselves– I had to make sure to get it right!

There was an embarrassing pause as I racked my brain for possibilities. I had been so enthralled in the overall feel of the dance that I hadn’t picked up on it. After a quick hint from Sommers, I guessed that their outstretched right arms were arrows, and as their left hand rested on their hip, the curve of their arm represented the bow. They were Artemis and her brother Apollo – the hunting twins!

Between the two classes, I had a chance to visit with the students. They grilled me about the trip to Greece I took through my study abroad program, and I was able to share my love of ancient history with a kindred audience. I mentioned that in college, you can choose to study classics exclusively. I could see the wheels begin to turn in their heads. “You mean…if I go to college, I can talk about this stuff all the time?”

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Discussing history and dance

Moments like this are what make these programs essential. They not only provide a safe space for the kids to spend their summer mornings, all the while learning about cooperation, confidence and coordination, but they also serve to introduce the dancers to the endless possibilities for their futures.

While some of the students discovered a love for Greek culture and history through this dance, others’ preexisting passion was simply nourished through the program. Maybe a few of the students don’t love Greek history – but that of India or China may fascinate them.

Students with a knack for the artistic can hone their skills in arts and craft class and even the simplest notion that this program allows these kids to just dance is significant.

“Jump, Jive, Move and Groove” allows students, many of whom don’t normally have access to dance classes and live music, to discover their passions.

At the end of each class, Sommers leads the students in thanking the live musicians, the assistant teachers, as well as themselves for a job well done.   We said it in Hindi that day: pronounced “Dhan’yavāda” the sentiment flowed off everyone’s tongue as they celebrated a successful class.

 

For more information about Education and Outreach programming please click here.

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The 2014 Summer Intensive Program is Here!

June 20, 2014

By Emily Kammerlohr, Academy Intern

June 20, 2014

It’s that time of year again! On June 14th over 600 dancers from across the USA and around the world arrived in Houston for a jam-packed six week dance adventure.  The first week of the summer intensive program is drawing to a close, but the excitement here at Houston Ballet Center for Dance continues to build! The hallways are filled with student’s enthusiastic chatter, dance bags and energy.

Houston Ballet Summer Intensive 2013

 Houston Ballet Summer Intensive – Photo by Cameron Durham

Want an inside look at all this excitement? You’re in luck! Each week a student will take us into their world right here on En Pointe. They’ll show us what it’s really like to dance in Houston’s summer intensive, all while having fun. This year we’ll be featuring a seasoned veteran with lots of advice to impart, as well as a fresh-faced brother-sister duo who can’t wait to share their excitement with you!

These videos will be uploaded to the Houston Ballet YouTube and Facebook pages as well – so keep an eye out!

Ciao for now!

Emily

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HOUSTON BALLET ACADEMY 2014 SUMMER INTENSIVE PROGRAM SETS NEW RECORD

June 19, 2014

The studios and corridors of the Houston Ballet Center for Dance are buzzing with hundreds of young bodies and an influx of electric energy as Houston Ballet Academy’s 2014 Summer Intensive Program kicks into high gear.

 Houston Ballet Academy Summer IntensiveHouston Ballet Academy Summer Intensive: Photo by Cameron Durham

From June 16 – July 25, the Academy Summer Intensive welcomes 679 dance students from 45 states and 10 countries, including China, Australia, New Zealand, Belgium, Paraguay, Japan, Argentina, Israel, Brazil, and Mexico.  2014 marks the largest summer intensive program in the Academy’s 49-year history.

 Houston Ballet Academy Summer Intensive

 Houston Ballet Academy Summer Intensive: Photo by Cameron Durham

The young dancers — the majority of them teenagers — train intensively six days a week at Houston Ballet Center for Dance while also squeezing in time for some fun and field trips to Houston landmarks such as NASA.It is an exciting period of learning, growth, creativity and forging new friendships.

 Houston Ballet Summer Intensive

Houston Ballet Academy Summer Intensive: Photo by Cameron Durham

Claudio Munoz teaching students at the Houston Ballet Academy Summer Intensive

In January and February 2014, Academy teachers and coaches fanned out across the country to identify the most talented students at auditions held in 15 cities across America, from San Francisco to New York City. They also recruited from such ballet competitions as the Prix de Lausanne in Switzerland and Youth America Grand Prix in New York City.

 Houston Ballet Summer Intensive

Houston Ballet Academy Summer Intensive: Photo by Cameron Durham

The Summer Intensive culminates in a fully-staged performance.  On July 11 at 7:00 pm, the Academy joins forces with the young composers of American Festival for the Arts to debut new works by teenage choreographers set to specially created scores by AFA students at Houston Ballet’s Center for Dance, 601 Preston Street.  The performance is free and open to the public. Join us, and share the excitement of the 2014 Summer Intensive Program!

 

 

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Swan Lake in the Costume Shop: Memories of Kristian Fredrikson

June 6, 2014

Guest Writer:  Laura Lynch, Houston Ballet Wardrobe Manager

 

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Sara Webb and Connor Walsh in Swan Lake; Photo by Amitava Sarkar

It’s opening day of Swan Lake. This production brings with it so many bittersweet memories. Kristian Fredrikson, the internationally acclaimed production designer who created the scenery and costumes for this Swan Lake, died in November 2005 during the build of the show before it opened in February 2006. So many decisions were made without him. But we did our best to honor his design choices and I think we succeeded.

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Kristian Fredrikson. Courtesy of The Australian Ballet

Kristian was an incredible designer and human being! Swan Lake was the second design build with him here at Houston Ballet. Our first build with Kristian was for the Pecos section of Stanton’s Tales of Texas in 2004. It was during that build process that I fell in love with Kristian as a designer and friend.

Watching the dress rehearsals of Swan Lake over the past two days has brought back so many fond memories of him, his witty sense of humor and the particular way he spoke to the crew to explain his designs and what he expected of us.

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Artists of Houston Ballet in Swan Lake; Photo by Amitava Sarkar

Whenever I watch any of our productions that are built here in Houston Ballet’s Costume Shop, I see the talented artists that work with us to create these productions. I watch Swan Lake and I remember who built particular costumes and the process we went through to get the show built.

Swan Lake is a staple in any ballet company, and our dancers certainly have created a beautiful work for us all to enjoy. But beyond the dance, I see the people who created the physical aspects of the show on stage right alongside the dancers as they bring the story to life.

Enjoy the show, feel the magic and be transformed if only for a few hours.

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Houston Ballet will perform Swan Lake June 5 – 15 at Wortham Theater Center. Swan Lake tells the classic tale of Odette – a beautiful maiden transformed into a swan by an evil knight – and the prince who swears his enduring love for her. Tickets may be purchased at www.houstonballet.org

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

To watch a video preview of Swan Lake

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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.

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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.

JastonWilliams_200_Brenda Ladd Photo

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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