Almost one year to the day of canceling its Forged in Houston production, what would be one of many future engagements to be canceled in the months to come, Houston Ballet continues its year of pandemic pivots by launching a new series of works for the age of digital dance. While things aren’t gold and glimmering, as they were this time last year during its golden anniversary celebration, there are still silver linings for what a company without a live audience can bring to the virtual stage.
“I’ve yet to experience a ‘normal’ season in the company,” explains Saul Newport, a member of Houston Ballet’s Corps de Ballet. “After a year in the second company [Houston Ballet II], I joined halfway through the 2018/19 season as an apprentice. The 2019/20 season was a year full of surprises, firstly getting injured and then, just as I was getting back, COVID hit.” Newport isn’t alone, as many dancers across the globe have experienced the screeching halt to stage time early in their careers.
Fortunately, dance companies like Houston Ballet have found new ways to engage with audiences and keep dancers dancing, responsibly. Houston Ballet Artistic Director Stanton Welch’s newest creation, In Good Company, does just that. In Good Company, set to music by The Dead South and generously underwritten by Leticia Loya, promises at least one new video per week through the end of April.
“In Good Company to me is a celebration of community,” beams Newport. “The movement is infused with a strong sense of hope. We may not be physically dancing together at the moment, but we have the determination and optimism to keep the arts alive.”
While the dancers come together onscreen through creative editing, intricate staging and a nostalgic nod to the craft of filmmaking, they film their roles individually in the Margaret Alkek Williams Dance Lab in the Houston Ballet Center for Dance. Materials are learned at home by watching videos of the choreography before rehearsing in the studio with a ballet master. This allows for minimal time in-person rehearsing, which occurs in small groups with masked dancers. After rehearsals are complete, they film the choreography one at a time with just the necessary people in the room: Welch, Lisa J. Pinkham, lighting designer, David Rivera, Associate Director of Audio/Visual Services, Nicole Foreman, Audio/Visual Associate, and one Ballet Master. The dancer being filmed removes his or her mask for the final takes. The room is then fully disinfected and the air undergoes a purification process between dancers.
All of the intricate details come from the guidance of Houston Methodist to ensure the safety of dancers and staff. “One of the biggest differences this year from last year is the health and safety protocols Houston Ballet has implemented to keep us all safely dancing,” explains Newport. “During our workdays we have a few extra steps before taking class or rehearsals, like completing a health check on our phones, signing in and out for contact tracing and wiping down the barres before class.”
One of the “COVID blessings,” as Welch says during this time, is Houston Ballet can reach a larger audience by presenting works fully on social media. Dancers not native to their home theaters, like Newport, benefit from this as well. “It’s mind-blowing to think that anyone all over the world can view and enjoy what we’ve been working on recently. That being even more special for me because I’m from New Zealand, so my family and friends who wouldn’t normally get to see me dance now can.”
As a continuation of its commitment to creativity and its community while away from the stage, Houston Ballet presents eight weeks of these new dance films for free on its social media channels. Newport echoes the thoughts of the whole organization as he expresses, “I would like to say a huge thank you to everyone who has supported us during these unprecedented times. Your generosity and support have made it possible for us to bring you this premiere, and I can’t thank you enough. I hope you enjoy it!”
See Newport now in “Honey You,” and keep an eye out for him in upcoming songs: “The Dead South,” “Long Gone” and “The Ballad for Janoski.”
by Jacalyn Lawton