Movements for Piano and Orchestra

(Suzanne Farrell, Jacques d'Amboise, and George Balanchine 

rehearsing Movements For Piano and Orchestra, 1958; photo by Martha Swope)

Another gem on the 6/12/11 Balanchine bill was Movements for Piano and Orchestra. This piece is significant because it was the breakthrough performance for the legendary Suzanne Farrell. Balanchine had a vision for his then muse, Diana Adams, to dance in this particular work. Instead, Adams got pregnant and Balanchine took it as a personal affront, which I find hilarious. In the must-see documentary Suzanne Farrell: Elusive Muse, former stage partner Jacques d'Amboise claims Balanchine said, 'She [Adams] stabbed me in the back!' Instead, it was suggested that Farrell, a relatively unknown peon in the company, take over Adams' role. While at first apathetic towards the idea, Balanchine was blown away by her performance, and the artistic alchemy that followed gave birth to ballet's "It" girl. 

Watch it HERE

The Man Who Played With Fire

(Arthur Mitchell and Diana Adams, 1957; courtesy BalletWest.org)

Last week I mentioned that New York City Ballet served up a program of significant Balanchine ballets. I liken it to a glass of orange juice pumped full of pulp. It was no ordinary day at the ballet for a modern day theater-goer. It was loaded with essential cultural nutrients, and one vital creation presented was the groundbreaking and controversial Agon.

(Diana Adams and Arthur Mitchell, 1957;

courtesy BalletWest.org)

Agon, which in Greek means "contest", debuted in 1957 at New York's City Center, starring Arthur Mitchell and Diana Adams. America was in a state of civil disarray, where the stench of racism permeated every recess of society, and here a Russian emigre comes and puts a black man and a white woman together on the most prestigious stage in the country. Brilliant. This is why I love Balanchine. He wasn't only an artistic rebel, bending the conventions of choreography, but socially, he took great pride in screwing with people's heads. Seriously, what other choreographer at that time would have taken such a risk? A black man wasn't supposed to breathe in a white man's direction, let alone dance provocatively with a white woman. His courage to confront what was taboo in such an innovative fashion, combined with the acerbic score so characteristic of Stravinsky, is what gives Agon its staying power.    

(New York City Ballet's Albert Evans and Wendy Whelan in Agon, 2008; 

courtesy ballet.co.uk; photo by John Ross)

Master Class with Carter Alexander and Parisa Khobdeh

(Alexander teaching Pointe class, 2011; photo by Bethany Adams)

I stopped by Chamberlain School of Performing Arts in Plano, TX today to get a sneak peek inside the classes of two talented guest teachers. First, I watched Ballet Technique class with Carter Alexander, Principal Teacher for Miami City Ballet School. He conducted a thorough class, as was evident in his calling attention to detail. During barre, for instance, he demonstrated the proper way one opens their arms. He flails his arms to the side as an exaggeration of how not to transition to second. "Pretend you're pushing through water." This time his arms had breath to them, instead of operating as unpolished mechanical appendages. "Pretending you're pushing through water gives weight to your arms." When administering a plie combination at the barre, he used differential imagery to communicate concepts. "This plie is a pulse, not a bounce." 

I had the opportunity to speak with Mr. Alexander during his break. Here's my interview with him before he taught Pointe class.

FWD: You're the Principal Teacher of Miami City Ballet School. What has been your biggest challenge as a teacher?

CA: "Teaching so many different kids...you want them to get jobs. We're trying to get students from all over the world to look like they came from the same school."

FWD: What's been the most rewarding aspect of your teaching?

CA: "Developing a working relationship with each student and getting to know them as people. Some grasp things quickly while others take longer. It depends on the individual, how they progress."

FWD: I remember when I was training, many of my classmates didn't know who Balanchine was. Have you observed a disparity in appreciation for ballet history between the generations, and what do you propose teachers can do to remedy it?

CA: "I try to talk about it and show videos in class to explain to them who came before us. I'm sure back in the fifties you had dancers who didn't know who Diaghilev was. I wanted to learn about my art, so I know I was interested in helping myself. However, you have some kids who are interested, and some who are not." 

FWD: While correcting a student's allegro combination, you warned them not to be "sloppy", but to have "coordination" and "organization" that stems from "having confidence". What other advice would you give a young dancer considering a performing career?

CA: "It's like what Balanchine once said. He said, 'I don't want dancers who want to dance. I want dancers who need to dance.' So give everything you have. A director doesn't want to have to pull it out of a dancer, but wants someone who gives readily. A dancer should be able to add their own dimension to the role, make it their own." 

FWD: I notice you didn't use any music in class. 

CA: "Yes, I prefer live piano accompaniment. I don't want to fuss with tempo checks on recorded music. Recorded music dictates to you. I like being able to call out the counts and control the tempo myself. I guess I don't like being told what to do."

For more information about MCB school and company, visit http://www.miamicityballet.org/

(photo courtesy of Parisa Khobdeh)

Next, I had the chance to observe Parisa Khobdeh's contemporary class. The petite and strikingly beautiful Khobdeh, a dancer with the dynamic Paul Taylor Dance Company in New York, gave a versatile class, engaging students in a mind-body experience. Her instruction evolved from a meditative warm-up (they literally sprawled out on the studio floor, flat on their backs, with their eyes closed for a good five minutes practicing visualization. I sat on a stool in the corner. I have to say, I was tempted to join them), to subtle conditioning, working their way up to contemporary adagio and finishing with power-packed combinations across the floor.

I really appreciated her concern for their stage presence, which she made a point of critiquing them on. Stopping a series of eleves in second in which the students held their arms out in a high, wide V-shape, she says pointing to her face, "This is looking lifeless. There's a lot of energy in your legs, but there's no life up here." It's this marriage of technique and personality that so many instructors fail to emphasize, that seeing her vouch for its importance resulted in me giving a sigh of relief that someone had finally brought it up. True, a brilliant technician is interesting, but when coupled with genuine expression, they are fascinating. 

After her class that made me feel like I just threw back a shot of espresso, I sat down with Parisa to get her insights into being a dancer and teacher. 

FWD: Did you have an a-ha moment where you knew you wanted to be a dancer?

PK: "The first time I saw The Paul Taylor Dance Company perform. What struck me was how expressive they were. My first experience as an audience member watching them, I was so moved. I never felt that way before. I didn't have an idea beyond technique, what a performance could be. I couldn't believe the athleticism."

(photo courtesy of Paul Taylor Dance Company)

FWD: What is one of the challenges you face as a teacher?

PK: "This canned music. A lot of recorded music informs us how we should move. There is nothing like live accompaniment in class. In New York, there is so much great music all around us. It brings about a different way of speaking. There's such versatility, and so much to explore."

FWD: What's the most rewarding aspect of your teaching?

PK: "Seeing students push themselves. The willpower is beautiful. It's a glorious moment when they take risks." 

FWD: I saw the documentary Paul Taylor: Dancemaker. I personally loved Cloven Kingdom. Do you have a favorite Paul Taylor piece?

PK: "Actually, Cloven Kingdom is one of my favorites also! But I don't have one favorite Paul Taylor piece. The breadth of his work is so wide and so deep that if you watch an evening of Paul Taylor with three pieces in a program, it looks like the work of three different choreographers. He goes from light to dark all in one program."

(photo courtesy of Paul Taylor Dance Company)

FWD: What advice do you have for young dancers considering a performing career?

PK: "It's hard. If you don't love it, don't do it. It's a profession where you won't make a lot of money... full of epsom salt baths, tears, moments of insecurity, and things that will challenge you as a person . And yet, it's for that challenge that is one of the reasons why I do it."  

For more information about Paul Taylor Dance Company, visit 

http://www.ptdc.org/ 

Visit Chamberlain School of Performing Arts for more information on summer intensives and fall classes:

http://www.chamberlainperformingarts.com/

Sunday, June 12, 2011, Balanchine Reigns

I wanted to see New York City Ballet this week sooooooooooooooooooooo BAD. In addition to presenting the dynamite Jewels, featuring our own former Dallasite Sterling Hyltin who is a principal with the company, the artistic staff also crafted a Sunday matinee performance of ALL Balanchine and Stravinsky. On the bill was Agon, Monumentum Pro Gesualdo, Apollo, Movement for Piano and Orchestra, and Symphony in Three movements. For everyone out there, especially any Dallas readers, who might not understand the significance of such a line-up, think of it this way: that event was my Mavs game. It was quintessential Balanchine neatly packaged into one show.

After searching the NYCB website for season updates and casting information, I discovered this news and was all over Expedia like white on rice. And Orbitz. And Hotwire. And AA, and Delta. I searched frantically for a last minute ticket to see my beloved NYCB for a Sunday afternoon of legendary brilliance. However, since I'm not independently wealthy, I concluded that dropping nearly $1000 on a blitz trip was not feasible for me at this time. And boy, am I bitter. Let me explain...


First of all, are the airlines insane? This crapshoot of fluctuating, and yet consistently steep ticket prices, is ridiculous. For a $899 coach ticket to New York, you better have a swim-up bar on board. Seeing that thousands of people fly every day, the ludicrous amount the airlines charge is completely uncalled for. We're all in the same cabin, headed towards the same destination, and unless that destination is Switzerland, there's no excuse for a flight within the States to be that high.   

Now, I can give you an encyclopedicly detailed history of each ballet and expound on why they are significant, but you would still be reading this post 10 days later. Instead, I'm going to trim the fat off a very big steak and just toss you the really good bites. 

Jewels

(Sterling Hylitin and Gonzalo Garcia in "Rubies" 

Photo by Paul Kolnik)

Balanchine's Jewels debuted in 1967. It's a full-length, three-part ballet, that includes "Emeralds", "Rubies", and "Diamonds". "Rubies" has always been my favorite. It's sensual and feisty, and I'm a sucker for Stravinsky. It's a visually stunning ballet that's a must-see for the Balanchine novice.

(Balanchine pictured with the original cast;

photographer unknown)

More "Rubies"...

(Boston Ballet's Melissa Hough and James Whiteside; 

Photo by Erik Jacobs)

(New York City Ballet's Teresa Reichlen; Photo by Paul Kolnik)

(Miami City Ballet; photographer unknown)

(San Francisco Ballet, Sofiane Sylve; 

Photo by Erik Tomasson)

Some "Emeralds"...

(Pacific Northwest Ballet's Rachel Foster, Benjamin Griffiths 

and Chalnessa Eames in 2009; Photo by Angela Sterling)

And "Diamonds"...

(New York City Ballet's Philip Neal and Maria Kowroski; 

Photo by Tom Phillips)

Since The Balanchine Trust does not allow footage of Jewels to be displayed on YouTube, if you want to the see the ballet in its entirety and you can't make it to a live performance, check out Paris Opera Ballet perform it on DVD!

http://www.amazon.com/Balanchine-Aurelie-Marie-Agnes-Jean-Guillaume-Clairemarie/dp/B000FA577G/ref=sr_1_1?s=dvd&ie=UTF8&qid=1307930727&sr=1-1

For more about the All Balanchine/Stravinsky bill,

stay tuned...

  

Review: Texas Ballet Theater Dallas School 25th Annual Spring Performance

by Bethany Adams

Texas Ballet Theater Dallas School had their 25th annual Spring Performance at SMU McFarlin Thursday, June 9. School Principal Lyndette Galen and Office Administrator Barbara Bredemeier, both lovely women, (trust me, I don't need to flatter them; if the opposite were true, my lips would be zipped), orchestrated an impressive program chock full of great music and choreography, that ran the entire style spectrum from classical ballet to finger-snapping jazz. They should also be commended for their multicultural approach that was showcased by the influence of African and Indian dance. Overall, when I wasn't busy dodging the woman's head in front of me who thought it was appropriate to sit her 9 year-old daughter on her lap (Sec C Row O Seat 7, you know who you are), I had a blast. And I've been to plenty of recitals to say they're not all created equal in terms of artistic vision and talent presented. These are some of the highlights I feel made their 25th recital memorable.

Opening was "Mozart", choreographed by Jan Miller, and performed by the School's Senior Ensemble. The Dallas School's Senior Ensemble is one of the best I've ever seen. It's as if you're watching the company. At one point, in the middle of the piece, six dancers exited into the wings leaving two, Tiffany Byrd and Rachel Kivlighan. Quintessential ballerinas with legs that started at their neck, they delighted the audience with a brief duet. Kivlighan whipped up some furious fouettes that blew me away.  From the moment they took their places on stage, they had the gait of professionals. In fact, before the show even started, Galen stepped out in front of the curtain to speak to the audience and offer special thanks to her staff. In an effort to pitch the company's performance of Don Quixote that is being put on this weekend at Bass Hall in Fort Worth, she said in her Aussie accent, 'How can we expict our giirls to lerrn how to wolk, stand, and dance like ballerinas if we niver take them to see a live performance?' In line with her reasoning, it was obvious throughout the program that her students had been properly trained. From the Senior Ensemble trickling down to the lower levels, every dancer, no matter their build or degree of adolescent gangly-ness, demonstrated good posture with straight backs and pointed toes. And if "Mozart" was any indication, those girls got a regular diet of live performances throughout their upbringing. 

In the arena of obscure modern, I liked "Facades" by Darrell Cleveland. I instantly recognized the music from Philip Glass' Glass Pieces and was very pleased. It's one of the most intriguing scores by a modern composer. My absolute favorite piece of the night was Cleveland's "Paradise". I had the opportunity to take class and rehearsal warm-ups with Mr. Cleveland in the past, and the guy is a dynamo. Never boring, he conjures up fresh choreography that gives you tunnel vision. "Paradise" opened to the silhouettes of the Senior Ensemble in front of an ice blue backdrop. When the lights came up to wild ponytails and colorful sarongs, it was a full-blown tribal affair. The rhythmic beating of drums got the dancers moving in ways beyond the tutu, gyrating and shakin' what their mama gave them. And I loved, loved, LOVED, the booty-pop on all fours. Well played. 

"I've Got Rhythm" was a fun and flirty twist on George Gershwin with choreography by Lyndette Galen. Nine ballerinas en pointe boureed out of the wings from stage right carrying the only male, Quinton Tompkins, who held his own in a sea of pretty ladies. It was a clever entrance that got giggles from the audience. Laced with upbeat piques and a flurry of turns, it gave ballet a jazzy spin reminiscent of George Balanchine's Who Cares? also set to Gershwin.  

Kim Bredemeier's "Dog Days Are Over" and "Locomotion" were her best work. "Dog Days Are Over", set to the high-energy song by Florence and The Machine, had the dancers expressing that energy in a way that made you want to get up and jog along with them. "Locomotion" was a saucy update of the original by Grand Funk Railroad, with hip-swinging ladies dressed in dazzling emerald green sequined unitards that made them sparkle with every move. Look up "Fabulous" in the dictionary, and you would've seen a photo of those sensational costumes. 

"Tango" and "Tchaikovsky Waltz", both choreographed by Lyndette Galen, were wise choices for the respective age groups dancing them. "Tango" opened with the silhouettes of dancers executing steps in front of a fiery red backdrop. Finally coming forward in sharp Castillian Spanish uniforms, the exacting steps that a tango requires you to perform made the legion of young ladies look mature. The high caliber "Tchaikovsky Waltz" transformed young teenagers into women. The dark blue lighting, combined with frosty purple and white dresses, adorned the smooth classical choreography making it feel of an enchanting winter night.   

Terry Wolton's rendition of "Footloose" as a tap routine is what I have reference to when I talk about keeping things fresh. "Footloose" as a jazz number has been so overplayed in recitals and competitions past that it was refreshing to see it done in tap shoes. The dancers wore hot pink, neon green, and bright blue leotards, striped leggings that looked like the Where's Waldo? books, adding a touch of humor when they topped it off with bouncy tutus. Some of the girls even had tap shoes that looked like sneakers! 

Kudos to Fee Paterson's "Jai Ho". Being that TBT's Dallas School is located in Richardson, a suburb with a prominent Indian community, it was a thoughtful and appropriate ode to the culture. A burst of orange, red, yellow, green, and blue came in a group of dancers sporting Bollywood-inspired saris, bobbing their heads and twirling their wrists. Curry anyone?

"Namwhaa", choreographed by Gregory King, and performed by the never-disappointing Senior Ensemble, was fascinating to watch. The dancers took you on a safari of inhibition, wearing leotards that eluded to zebras, whipping their loose hair maniacally. The burnt orange backdrop reminded you of the setting sun in the plains of Africa. "Into the Spin", a contemporary duet by Fee Patterson featured Tiffany Byrd and Rachel Kivlighan, who carried themselves like seasoned professionals. Not to mention they looked like twins (at least from where I was sitting). Sparse, calculating, but at times fluid, the dancers combined gymnastics and dance with their acrobatic handstands and simultaneous mastery of classical technique.    

Concluding the 2-hour long evening was the "Grand Finale", with a cast boasting of Junior and Senior Ensembles accompanied by a sidekick group of younger dancers. Jan Miller knows what she's doing. As evident in her staging of "Mozart", she is an architect of classical ballet. At one point, a line of five Senior dancers did a series of tour jetes upstage, and with every landing, their luxuriant white tulle skirts fell in whisper-like layers, making them look positively radiant. But tying all this grandiosity together was a sense of obligation to each other. To the see the harmony despite the age differences tugged at my heart strings. Coming together for a picturesque ending pose, the Senior Ensemble showed themselves to be good role models to the youngest generation, and the greenest of dancers demonstrated their dedication.

Texas Ballet Theater Dallas School deserved every round of applause. With a staff churning out such a notable variety of work, and a class of students as talented and hardworking as theirs applying themselves to performance, we can look forward to the 26th annual recital of Texas Ballet Theater Dallas School with confident anticipation.

-June 11, 2011

Essential Read: "In The Wings" by Kyle Froman

 

This book gives you a behind the scenes look at one of the greatest ballet companies on earth through the eyes of one of its own. Filled with intimate moments of dancers in class, and stunning images of the dancers in performance, Froman offers the ballet novice and enthusiast alike a fresh perspective through the power of the lens.

Also, check out www.kylefromanphotography.com

(He's from DFW! Go Kyle!)