Houston Ballet will host its second free Dance Talk of the 2013-14 season, “Stepping Out of the Spotlight,” on Tuesday, September 24 from 6:00 – 7:00 p.m. at Houston Ballet Center for Dance, 601 Preston Street, Houston 77002.

Dancer: Amy Fote; Ballet: The Merry Widow; Photo by Amitava Sarkar

Houston choreographer Jane Weiner will interview current principal dancer Mireille Hassenboehler and former principal dancers Barbara Bears and Amy Fote about dancing the title role in Ronald Hynd’s The Merry Widow, the exhilarating and challenging life of a dancer, and their transition to life after performing when they’ve retired from the stage.

Making the transition from a performing career to the next act of a dancer’s life can provoke a range of emotions that vary with each individual. For dancers who’ve experienced frequent injuries and who spend the last few years of their careers battling physical pain to continue to perform, retirement can be a blessed relief from a grueling physical regimen.

Dancer: Mireille Hassenboehler; Ballet: Symphony C; Photo by Amitava Sarkar

For dancers whose entire lives have been dedicated to and defined by their career choice, the transition to life after dance can sometimes be painful and disorienting. As the famous New York City Ballet ballerina Suzanne Farrell once observed after her retirement in 1989, “Nothing really prepares you for being an ex-ballerina.”

Some dancers have leapt into different, equally fulfilling careers with gusto. Former Houston Ballet Principal Dancer Lauren Anderson retired from performing professionally in 2006, and has found great joy in serving as Houston Ballet’s education/outreach associate. Former Houston Ballet dancer Nancy LeGros retired from the company, and has gone on to pursue a very successful career as an attorney.

Dancers: Barbara Bears and Nicholas Leschke; Ballet: The Merry Widow; Photo by Amitava Sarkar

Join us for our Dance Talk on Tuesday, September 24 from 6:00 – 7:00 p.m. at Houston Ballet Center for Dance for what promises to be a fascinating discussion with four gifted dance artists.  For more information on Dance Talks, please contact Education and Outreach Manager Chase Cobb at CCobb@houstonballet.org.

–by Andrew Edmonson, Houston Ballet Director of Marketing & PR

Modern dance legend Paul Taylor is beloved by the international dance community, but he has a special place in the heart of Houston Ballet.

Artists of Paul Taylor Dance Company; Sunset

The winner of a Kennedy Center honor, a MacArthur Genius Award, an Emmy, and the subject of the riveting Oscar-nominated documentary Dancemaker, Mr. Taylor has bestrode the modern dance world like a colossus for the last five decades, choreographing a series of brilliant works.

Houston audiences will have their first opportunity in a decade to see Mr. Taylor’s company performing three of his classic works (Airs, Esplanade, and Sunset) on Saturday, October 12 at 8 pm at Jones Hall for the Performing Arts, presented by Society for the Performing Arts. An added bonus is that the performance will feature live music by Houston’s Mercury.

Houston Ballet has had a special relationship with Mr. Taylor for over two decades, commissioning two works from him and sharing the stage of The Kennedy Center with the Paul Taylor Dance Company in 2003 in a special tribute to this visionary American artist.

Paul Taylor with Artists of Houston Ballet (2003); Photo by Paul Swen

In 1991, Mr. Taylor created Company B, one of the most popular works in the world choreographed in the 1990′s and the most popular original premiere in Houston Ballet’s history. Set to nine irresistible songs by The Andrews Sisters, the work premiered at The Kennedy Center in Washington, D.C., and was greeted by a thunderous ovation by an audience that included President George H.W. Bush and his wife Barbara. The New York Times pronounced it “an instant masterpiece” and “quite simply, the best dance premiere of the season,” observing “Company B hits as deep in the gut as it dazzles the eye with its outpouring of spirited choreography.”

The next day, the President invited Houston Ballet’s dancers to the private quarters of the White House. Company B quickly became a signature work for Houston Ballet, and the company performed it from Los Angeles to Moscow (at the Bolsohi Theater) to Beijing. Companies across the world went on to take the work into their repertories.

Paul Taylor

In April 2003, Houston Ballet returned to The Kennedy Center again to premiere another work by Mr. Taylor, In the Beginning, a beguiling, comic re-telling of the Creation story, featuring four Adams and five Eves. First Lady Laura Bush attended the opening night performance, and welcomed the dancers to a luncheon she hosted at the White House the day after the premiere.

When Mr. Taylor brings his company to Houston on Sat., October 12, longtime Houston Ballet watchers will have a delicious opportunity to compare and contrast the different ways that Houston Ballet and Mr. Taylor’s dancers perform one of Mr. Taylor’s masterworks, Sunset. In 1991, Houston Ballet performed Mr. Taylor’s Sunset as part of its Cullen Contemporary Series.

Society for the Performing Arts presents The Paul Taylor Dance Company for one night only on Saturday, October 12 at Jones Hall for the Performing Arts. Visit http://www.spahouston.org/show?ShowId=72 for more information and to purchase tickets.

Artists of Paul Taylor Dance Company; Airs

Guest Writer: Suzie Cadey, Special Events Manager

On October 8, more than 600 guests joined together to kick off the 2014 Houston Ballet Ball, chaired by S. Shawn Stephens, at an extravagant celebration at the Galleria. The ice rink, covered with layers of protection, was transformed into an elegant and dazzling environment complete with food stations, bars, lounge furniture, and chandeliers.

© Gary Fountain and David Rossman.

On October 8, more than 600 guests joined together to kick off the 2014 Houston Ballet Ball, chaired by S. Shawn Stephens, at an extravagant celebration at the Galleria. The ice rink, covered with layers of protection, was transformed into an elegant and dazzling environment complete with food stations, bars, lounge furniture, and chandeliers.

The Ballet Ball, themed La Mille et Deuxième Nuit, or “The Thousand and Second Night,” will be held on Saturday, February 15, 2014, at the Wortham Theater Center. The exotic theme will usher in the American premiere of David Bintley’s Aladdin the following week, and Houston Ballet dancers begin Aladdin rehearsals at the Center for Dance shortly.

Dancer: Joseph Walsh; Ballet: Aladdin; Photo by Amitava Sarkar

The kickoff celebration piqued the guests’ interest in the Ball, which offers individual tickets starting at $1,500, as well as tables starting at $15,000.

Kickoff party hostesses Carmina Zamorano and Nancy Arreguin, co-owners of Carnan Properties, which celebrated its Houston grand opening during the evening, spared no expense in providing guests with a one-of-a-kind event.

© Gary Fountain and David Rossman

Seventeen Academy students, dressed in costumes from Houston Ballet’s American premiere of Aladdin (February 20 – March 2, 2014), performed a “costume parade” in the exquisite Sue Blane-designed costumes never before seen in the U.S.

Guests were also entertained by the performance by two majestic Lusitano horses, which shared the floor with the Academy students, and who pranced to the same music. Rafael Chavez, Zamorano’s husband, breeds and trains the beautiful horses at Haras dos Cavaleiros in Magnolia.

© Gary Fountain and David Rossman

A cocktail hour included a lavish spread from Zamorano’s Haras Catering, as well as wines from the family vineyards in Spain.

De Beers Jewelers, which is donating a stunning $20,000 necklace to the Ball auction, provided more than $1 million in diamond jewelry for the hostesses, Ball chair Stephens, and emcees KPRC’s Dominique Sachse and KHOU’s Katherine Whaley.

© Gary Fountain and David Rossman

In attendance were Lynn Wyatt, Beth Muecke, Nick Florescu, Jim Jordan, Diane Lokey Farb, Kristy Bradshaw, Diane and Phil Bazelides, Phoebe Tudor, Patti Murphy, and Philamena and Arthur Baird, among many other Ballet patrons.

© Gary Fountain and David Rossman.

© Gary Fountain and David Rossman

For more information about the Ball, contact Suzie Cadey at (713) 535-3230, or scadey@houstonballet.org

On Thursday, November 7, 2013 from noon until 1pm at Houston Ballet’s Center for Dance, Houston Ballet and the Jewish Book and Arts Fair join forces to present a free reading by author Tina Sutton of her acclaimed book, The Making of Markova, about the great 20th century English ballerina Dame Alicia Markova. For more information, contact CCobb@houstonballet.org

“The Making of Markova” by Tina Sutton. Book Cover.

British Lilian Alicia Marks became the most acclaimed classical ballerina of her generation. She overcame oppressive anti-Semitism, poverty, envy, sexism, and more. This is a spellbinding story of a smart, self-reliant, adventurous woman, proudly Jewish and ahead of her times. Given unprecedented access to Dame Markova’s journals and correspondence, Tina Sutton paints a full picture of the dancer’s astonishing life and times of one of the 20th century’s great artists. A writer, researcher, and journalist for over 35 years, Tina Sutton is a feature writer for The Boston Globe. “… Wonderment lights up every page” —Booklist, starred review.

To learn more about The Making of Markova please visit, http://themakingofmarkova.com.

Houston Ballet has been extremely busy during the month of October, preparing for two major tours: to New York’s Joyce Theater from October 22-27; and to the Theatre des Champs Elysees in Paris, France October 31 – November 4.

Image Courtesy of Houston Ballet

Over the last decade Houston Ballet’s Director of Production Brian Walker has managed the production aspects of Houston Ballet’s tours to Moscow, Spain, Montreal, New York City, and to many cities small and large across the U.S. In this blog entry, Brian discusses the challenges and rewards that Houston Ballet’s production staff faces when the company takes to the road.

 Brian Walker; Photo by Kaye Marvins Photography, Inc.

1.)  If Houston Ballet opened at the Joyce on Tuesday night, when did the Houston Ballet crew arrive in NYC to get ready for the show?

We arrived Sunday evening and started working Monday morning at 9am.

2.)  How much time did production have to tech the show in Manhattan, compared to what you would have in Houston?

We loaded in for 8 hours on Monday and had 4 hours Tuesday morning. Our typical load in before the first tech rehearsal consists of about 36 hours total.

3.)  Does having 7 shows a week (-vs- our usual 4 shows a week in Houston) present any special challenges for the wardrobe department in terms of laundering the costumes?

Mary Clare (our wardrobe person) did have to stay late after each show to do laundry, but that’s a normal part of our process. On Saturday, when we had two shows, it was definitely more of an ordeal trying to get things cleaned and dried between shows. Mary Clare didn’t have a crew to assist, so she spent a lot of time during the matinee working to get things started so she had enough time to get it all done. 

4.)  What are the challenges of working in a much smaller theater (Joyce with 500 seats) versus working in your home theater, Wortham Theater Center (2300 seats, and our home venue)?

Because the Joyce doesn’t have the ability to fly any of their legs or other goods out, they have to come up with creative ways to get rid of things. 

For Stanton Welch’s ballet Play, for example, Stanton wanted to reveal the back wall.  When we did the ballet at the Wortham, all of the legs, borders and up stage goods were flown out to reveal the backstage. At the Joyce, the legs cannot fly out and are hard flats, so they don’t go away. The upstage goods had to be “west coasted” which means bundling and tying them to the pipe that they’re hanging on. 

Lighting Designer, Lisa J. Pinkham; Photo by Brian Walker

Play also used several moving lights in the original version. Our lighting designer Lisa Pinkham had to adapt those looks to conventional lights for the Joyce because we didn’t have moving lights, nor the time to program them.

5.)  What has it been like to work with the Joyce tech staff?

The Joyce Tech Staff are fantastic. They’re really good at what they do and have a keen eye on how to approach their venue and are very helpful in getting our show up and running.

6.) What’s been the most challenging aspect of the tour for production?

The most challenging aspect for this tour would have been putting Play back together. It’s been several years since we’ve done the ballet, and it was only done by Houston Ballet on the Wortham stage. 

Touring often requires an adapted version of shows we do at home, but having to adapt Play on the road to a unique venue, not having done it recently presented some challenges. It definitely gave us a place to start the next time we present the ballet outside the Wortham and we have a better idea of how Stanton would like to approach the ballet.

7.) What’s been the most rewarding aspect of the tour for production?

The most rewarding aspect for Stage Manager Michelle Elliott was getting to perform in New York. We all dream at one point or another of getting to do a show in New York City. This was Michelle’s first time stage managing a show in New York and she really enjoyed the experience. 

Stage Manager, Michelle Elliott; Photo by Brian Walker

From November 7 – 10, “Candy Cane Lane,” the thirty-third Nutcracker Market will roll into Reliant Center, welcoming over 100,000 guests and featuring over 300 national and international merchants with unique holiday gifts ranging from food to home décor to jewelry to clothing.

In 2013, Houston Ballet Director of Special Events Patsy Chapman celebrates twenty-five years organizing and executing this beloved holiday event.  In this blog entry, Patsy looks back at how the market has grown and evolved, and shares some of the secrets of what makes the event so successful.  Click here for more information about The Nutcracker Market.

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From first year gross revenues of $28,000, the Nutcracker Market now generates more than 100 times that amount, raising a net total of more than $3.8 million in 2012. Since its inception in 1981, the Market has raised more than $39 million for Houston Ballet, its Academy and Scholarship Programs.

Patsy Chapman, Director of Special Events for the Ballet, and the driving force behind the Market’s success, has seen total sales grow from $13.7 million in 2009 to $15.6 million in 2010, to $16.4 million in 2011, and $17.7 million in 2012.  She has three explanations for the continued success of the Market – the very nature of the holiday season, the fresh environment every year, and the world’s best shoppers!

“People love to celebrate the holidays, in good times and in bad,” she said. “The Nutcracker Market gives them a reason to focus their energies on family, the spirit of giving, and spreading holiday cheer.  Every year we try to give them a totally new experience with a different theme.”

The 2013 chairman, Cynthia Brown, selected “Candy Cane Lane” as the theme.  Some past themes are:  Waltz of the Flowers, A Shopping Safari, Rockefeller Center Christmas, Puttin’ on the Dog, and Holiday Under the Big Top.

With only two full-time staff dedicated to planning and coordinating the annual Nutcracker Market – Chapman and her assistant – the event now represents a nationally-renowned holiday shopping extravaganza for over 104,000 attendees. She gives much of the credit to over 1,000 volunteers who work tirelessly every year to make the Market a reality.

“Some people put in 18 hours of work in one day because they love Houston Ballet and being a part of the Nutcracker Market,” Chapman said. “I’m in awe of those who choose to give their time and talents out of the goodness of their hearts.”

When Chapman first joined the organization, roughly 80 merchants offered their products at the Market. That number is now 300+ merchants from 149 cities in over 32 states. Between 15 and 30 new vendors are approved each year, out of around 400 who apply.

The Market used to be held in a 120,000 sq. ft. space at the George R. Brown Convention Center. As the event drew more attention from vendors and shoppers, it required more space, so it expanded to a 226,000 sq. ft. space in Astrohall, then to a section of Reliant Center. In 2009, the Nutcracker Market took over all of Reliant Center — over 1 million square feet!

“I always wonder what we can do to top the year before,” said Chapman. “One year, I heard a little girl ask, ‘Grandma, are we in Heaven?’ and I knew we had done well. But that just raises the bar for the next Nutcracker Market.”

The 2013 Nutcracker Market takes place November 7-10. For more information, visit www.nutcrackermarket.com and www.facebook.com/nutcrackermarket.

Watch a video preview of The Nutcracker Market.

From October 22 – 27, 2013, Houston Ballet returned to The Joyce Theater in New York City. Corps de ballet member Harper Watters shares the highlights of the trip for him, including guerilla photo shoots in Greenwich Village with acclaimed dance photographer Jordan Matter.

1. What was one of your favorite moments about the tour?

Houston Ballet had the privilege of working with guerrilla dance photographer Jordan Matter. He is most well known for sending dancers out into everyday scenarios and having them strike athletic positions. This is exactly what the dancers of Houston Ballet did. My shoot was in Greenwich Village with demi soloist Soo Cho and soloist Nao Kusuzaki.

Photo by Jordan Matter; Dancers: Harper Watters, Nao Kusuzaki, Soo Youn Cho

After watching Soo scale the steps and railing of a beautiful brown stone home, our second location was a busy intersection with the brand new Freedom Tower as the back drop. As the girls and I hit our pose pretending to hale a cab in arabesque and Jordan lay in the middle of the street to capture the moment, I was suddenly hit with a rush of adrenaline. It was such a thrilling moment to be in the middle of New York City dancing and being photographed. As cabs wizzed by and onlookers began taking pictures you couldn’t help but get caught up in the moment.

Other dancers who were photographed took pictures down in the subway, in the middle of times square, and even in the fountain of Washington Square Park. The whole experience provided memories I will never forget.

2. Was this your first tour with Houston Ballet? Tell us about your experience.

This was my first tour with Houston Ballet, and it was definitely an incredible way to start my touring experience by heading to the center of the arts world, New York City.

The minute you drive into the city you can’t help but feel immersed by the culture of the city. The pace is definitely much faster than what we’re used to in Texas, so it amplified our excitement to get out on stage and perform. In true New York fashion, we were thrown right into our busy schedule. The first day we had class, then a dress rehearsal, then our first show later that night.

The response was overwhelming and it was made even more special by the attendance of familiar Houston Ballet faces and past Houston dancers and ballet stagers. Over all this tour was a success and we firmly left our footprint in New York.

3. What was it like to perform in the Joyce Theater?

This was my first time ever attending the Joyce Theater, but I am certain that it will definitely not be my last. It might not be the grandest of theaters in scale, but what it lacks in size in makes up for in its artistic reputation.

Photo Courtesy of Houston Ballet

Just like when you enter the city, when you enter the Joyce, you immediately feel the presence of the past companies who have graced the stage. Companies such as Paul Taylor, Alvin Ailey, and Mark Morris have brought their greatest works to the stage, inspiring Houston Ballet to bring their most thought provoking and contemporary choreography. It’s an incredibly intimate venue, where you can easily hear the murmur of the crowd when they are wowed by a lift or moved by a gesture. You can’t help but feel like a part of something special when you perform at the Joyce.

4. Did you have time in between to visit any attractions in NYC? If so, which ones?

Unfortunately due to the number of rehearsals and performances that we had, it was really difficult to make it to any New York attractions. Aside from a pizza shop or seeing Orlando Bloom walk out of the stage door of Romeo and Juliet, there wasn’t much site seeing. However, a few of the dancers did stumble upon what some would call a New York attraction, and that was the graffiti art of Banksy.

All month long the British Artist began going borough to borough painting random images in the least expecting of places. Normally his work sells for thousands of dollars, but with NYC as his canvas, he painted on the wall of a laundromat an image of a young girl bashing a pre-existing fire hydrant and on a street corner an image of a man spray painting “I love NY”. Once he would paint his image at night, an instagram photo would appear on his website giving little armies of people clues on how to go see it. It was a treat to be able to witness a few in real life and only added to the artistic experience Houston Ballet was a part of at the Joyce.

Photo Courtesy of Harper Watters

5. How was opening night? Where you on stage or in the audience?

Opening night was a huge success. I was in the audience which made the evening that much more gratifying. As the theater slowly emptied out into the lobby after the show, there was a constant murmur of conversations going on and on about how much they enjoyed the evening. One woman said she was “pleasantly surprised” by the beauty of Pacific and one couple could not stop discussing the different dance genres that were showcased in the finale of Play. On a personal level, I was really touched by Twilight and was so pleased to see that it received such an excited response.

The 3 other ballets on the program I was with in or covered, so when Twilight was performed in NY, it was the first time I had seen the pas. It is really a testament to the choreographer, Ben Stevenson, that something created over 10 years ago can still have such an emotional impact on audiences today. There was no denying the strength, grace, and technique the pas de deux required and it felt great to know that New York truly appreciated past Houston Ballet, Ben Stevenson, and the Houston Ballet of today featuring the world’s leading choreographers and our artistic Director Stanton Welch.

The night appropriately ended with a champagne toast, and kind words from the representatives of The Joyce Theater. The evening was poignantly summed up by the head of the Joyce when he said, “This time of year is Fall, and it is the most beautiful time in New York. However, tonight, New York Falls for Houston Ballet.”

6. What was the funniest things that happened to you or someone on the tour?

One of the funniest things I experienced on tour was during the photo shoot with Jordan Matter. My photo session had just ended and another group of dancers had met us at Washington Square Park to begin their photo session. All the dancers had looked up his body of work and had sort of developed a slight idea of what we were getting ourselves into.

As the three girls walked up to meet us, one of them mentioned how beautiful the fountain was. Little did they know that Jordan had planned for them to be photographed inside of that fountain. In the end they were great sports about the whole thing and were more than willing to jump, turn, and kick in the water.

At one point though, the jets of the fountain were hitting one of the girls square in the face. Jordan loved how the girls were positioned, so to not ruin the shot, she tried to work with the water hitting her face and execute her pose. It did not go over well, and thankfully a new formation was made, but for that brief moment I got a pretty great laugh. When the shoot was over and the girls stepped out of the fountain, he asked “Do you girls have a towel”? The looks on their faces were priceless.

Photo by Jordan Matter; Dancer: Harper Watters

On Thursday, December 5 from 6:00 – 7:00 pm, Houston Ballet will host the next installment of its FREE Dance Talks discussion series featuring Dance Magazine Editor at Large Wendy Perron at Houston Ballet Center for Dance, 601 Preston Street, Houston 77002.

Wendy Perron: Editor-at-Large, Dance Magazine

Ms. Perron will read from her new book Through the Eyes of a Dancer, and be interviewed by Nancy Wozny, editor in chief of Arts + Culture Texas, about her celebrated career as a modern dancer and choreographer as well as the topic of her new book:  dance writing from the perspective of a dancer. After the discussion, Ms. Perron will sign copies of her book. For more info, contact CCobb@houstonballet.org.

Dance Talk Website: http://www.houstonballet.org/Education_Outreach/Dance_Talks/

You may now kiss the bride!

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

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

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

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

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

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

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

Photo by Jaime Lagdameo

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

Did it take place in Houston or somewhere else?

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

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

Tell us about your prince charming?

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

Photo by Jaime Lagdameo

When, where and how did you two meet?

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

Describe your husband in 3 words or less.

Compassionate, selfless, intelligent

Mr. and Mrs. Rick and Melody Walsh

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

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

Melody Mennite in Romeo and Juliet; Photo by Amitava Sarkar

–by  Kassandra Tak, Marketing/Public Relations Intern

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

Nao Kusuzaki; Photo by Pam Francis

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

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

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

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

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

Q. How did you feel playing Snow Queen?

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

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

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

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

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

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

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

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

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

Watch a video preview of The Nutcracker: 

-by Kassandra Tak, Marketing/Public Relations Intern

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

Dancer Headshot: Derek Dunn; Photo: Amitava Sarkar

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

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

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

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

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

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

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

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

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

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

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

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

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

Watch a video preview of The Nutcracker:  

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

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

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

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

Joel Woellner at Prix 2013; courtesy of Prix de Lausanne

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

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

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

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

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

Priscilla Nathan Murphy

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

Sabrina Lenzi and students of Houston Ballet Academy

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

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

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

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

-by Stephanie Brown, Public Relations Intern

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

Behind the scenes shots by Stephanie Brown

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

Watch video of Christopher Gray as the Djinn in Aladdin.

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

Christopher Gray; Photo by Amitava Sarkar

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

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

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

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

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

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

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

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

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

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

Artists of Houston Ballet; Aladdin; Photo by Amitava Sarkar

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

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

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

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

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

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

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

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

Holly Hynes; Photo by Paul Kolnik

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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.

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

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

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

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

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

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

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

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

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

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

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

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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:

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.

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.

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.

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.

–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 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.

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 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; 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 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.

-by Jennifer Sommers, Houston Ballet Outreach Coordinator and Curriculum Specialist

Mireille Hassenboehler and Andrew Murphy, artists of Houston Ballet; Swan Lake; Amitava Sarkar

Darren Aronofsky’s 2010 film Black Swan traces the psychological breakdown of a ballerina preparing to dance the leading role in Swan Lake in a fictional New York ballet company. When it premiered on the big screen, it received fantastic reviews such as these:

“To induce a state of dread and mesmerize with beauty is a rare, paradoxical achievement.”  –USA Today

“Wild and wooly, the movie is a breathtaking head trip that hails from a long tradition of backstage melodramas…” –Philadelphia Inquirer

 And reviews that panned it like these:

 “For all its dazzling allure, Darren Aronofsky’s Black Swan, a feverishly psycho thriller set in the hermetic world of classical ballet, proves a meaningless exercise in Grand Guignol exhibitionism.” –NPR

 “Not just any kind of trash, it’s high-art trash, a kind of “When Tutu Goes Psycho” that so prizes hysteria over sanity that it’s worth your life to tell when its characters are hallucinating and when they’re not. –The Los Angeles Times

But what do dancers who have prepared for and danced Odette/Odile in Swan Lake think of the movie? That’s what we will find out when Houston Ballet concludes its 2013-14 Dance Talks series on May 27, 2014 at 7:00 pm with a special screening of Black Swan at Sundance Cinemas, followed by a panel of current and former Houston Ballet principal dancers. The dancers will share their thoughts about the film’s portrayal of the lead dancer, life in world-class ballet company, and what it’s like to prepare for and dance the lead role Odette/Odile in Swan Lake.

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

Former principal dancer Dawn Scannell, who danced her first Swan Lake for Houston Ballet on opening night in 1996 with Carlos Acosta, will moderate the panel. She will be joined by a group of favorite Houston dancers including: former principal dancer Lauren Anderson, who first danced Odette/Odile in 1996 with Sean Kelly; Barbara Bears, who first danced the lead in Swan Lake with Li Cunxin in 1991 while she was still a corps de ballet member; Mireille Hassenboehler, who danced the Stevenson version of Swan Lake with Carlos Acosta and performed with Andrew Murphy on opening night for the premiere of Stanton Welch’s Swan Lake; Sara Webb, who has danced both the Stevenson and Welch version and is preparing to perform Odette/Odile again in June; and Karina Gonzalez, who Houston will see in Swan Lake for the very first time in June.

Join us on Tuesday, May 27th, at 7:00 PM, at Sundance Cinemas, 510 Texas Avenue, for a fun and insightful night of ballet and film!

 For more information about our Dance Talks visit: http://www.houstonballet.org/Education_Outreach/Dance_Talks/

Barbara Bears and Connor Walsh in Swan Lake; Photo by Amitava Sarkar

Seating for the free screening of Black Swan is first-come, first-served, and tickets may not be obtained in advance.  Please note that Black Swan is a psychological horror film, and is not suitable for younger or more sensitive audiences.

-by Stephanie Brown, Public Relations Intern

Houston Ballet is exploring the diverse artistic genius of George Balanchine, William Forsythe, and Jiří Kylián in its program Modern Masters, currently running now through June 1st. The imaginative and powerful choreography of these three masters can be described as immensely challenging, yet a pure joy and honor to perform.

Photograph from The Four Temperaments, Choreography by George Balanchine, © The George Balanchine Trust. Dancers: Artists of Houston Ballet (Lauren Strongin [right]). Photo by Amitava Sarkar

The dreams of Soloist Lauren Strongin are finally coming true; she will be dancing in George Balanchine’s The Four Temperaments and Jiří Kylián’s Petite Mort. We spoke with Lauren to find out what she loves about these two choreographers, as well as the challenges and triumphs she has faced in her journey of preparing for Modern Masters.

Soloist Lauren Strongin; Photo by Amitava Sarkar

Houston Ballet:  Explain to us the art of dancing a George Balanchine piece. How does Balanchine stand out from other choreographers?

Lauren Strongin:  Balanchine was a revolutionary. His style permeates many contemporary choreographers work. Even within the Modern Masters program, his influence on Kylián and Forsythe is noticeable. His musicality and requirement for extreme precision always pushes me. There is always a sense of accomplishment after performing one of his works.

Houston Ballet:  Tell us about your solo in George Balanchine’s The Four Temperaments. What are some challenges you have faced in dancing this piece?

Lauren Strongin:  The Four Temperaments is a ballet I remember seeing while in school in Stuttgart, Germany. I was in awe of the use of modern movements incorporated into a seamless non-narrative. I loved the way the body was used as a means of expression rather than relying on facial emotion or pantomime techniques to get his vision across. It’s a classic Balanchine that I am honored to perform not one, but two roles in. It’s a ballet I’ve always hoped to dance.

Photograph from The Four Temperaments, Choreography by George Balanchine, © The George Balanchine Trust. Dancers: Artists of Houston Ballet. Photo by Amitava Sarkar

It’s sexy in an understated way. There is a confidence that is built into the choreography. The challenge in dancing a Balanchine ballet is to let the movement and musicality drive the emotional intent. His works are physically very revealing and require pure use of technique and precision. His ballets always make me feel like I am improving on myself. This experience working with Judith Fugate, who has staged The Four Temperaments for Houston Ballet, has also been such a treasure, that I feel confident and excited to be a part of this ballet.

Ballet: Petite Mort; Artists of Houston Ballet; Photo by Amitava Sarkar

Houston Ballet:  Jiří Kylián is another great choreographer honored in Modern Masters. Explain to us what you have learned from Kylián’s choreography and how his style differs from other ballets.

Lauren Strongin: Kylián to me is genius. His use of movement is so fluid and natural. I find his work to be very thoughtful and genuine. He is confident in what he is trying to say and therefore does not over decorate or add unnecessary movements to fill in his work. He is a true original, and I am always honored to dance in his ballets. It seems that his works have a living quality to them, as if they have a soul.

Houston Ballet:  You are performing a pas de deux in Jiří Kylián’s Petite Mort. I understand this is a very sensual piece; how does it make you feel and what do you do to prepare for this role?

Lauren Strongin:  Petite Mort is a ballet I had always hoped to dance at some point in my career. I’m thrilled to have the chance, now, to be a part of it. It’s also an honor to be coached once more by Ros Anderson. She’s such an expert on Kylián’s work and always makes me feel very confident and secure in the movement.

It is a very sensual ballet and to me really explores individual personal relationships between couples. Each couple is expressing a different part of a partnership. It’s a ballet that makes the audience and dancers want to focus on every detail, so as not to miss a moment. It’s a true masterpiece.

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Houston Ballet continues its performances of Modern Masters through Sunday, June 1, 2014 at 2:00 pm at Wortham Theater Center.  For tickets and more information, visit:  https://www.houstonballet.org/Ticketing_Schedule/Season_Calendar/Modern_Masters/

Guest Writer:  Laura Lynch, Houston Ballet Wardrobe Manager

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.

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.

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: