Cobb Energy Performing Arts Centre, Atlanta GA
April 12, 2013

By Deborah Searle.

In their second to last program of the season, Atlanta Ballet presented David Bintley’s Carmina Burana along with an opening flurry of color in Helen Pickett’s Petal. The two works, although both being quite contemporary, had nothing else in common and were an odd match for a program.

The flow of the evening was a little strange, with the show opening with a projected video interview with David Bintley about his version of Carmina Burana. It was insightful, but it was then followed by Pickett’s Petal and an intermission before we were presented with Carmina Burana. It would have been more fitting to play the video after intermission to directly precede Carmina Burana.

Petal is a light, airy and striking work. The gorgeous music by Philip Glass and Montgomery Newman is complemented well by the exquisite dancing. It was a great choice for a spring performance with bright color and flowing, effortless dancing. It has a beauty, energy and innocence about it, like new life in the spring time. The pas de deux work is daring and performed weightlessly. The ballet has a breezy, whimsical feeling, but it is a little too flighty and rushed at times.

Atlanta Ballet presents David Bintley’s ‘Carmina Burana’. Photo by Charlie McCullers.

The stage is set up like a large white box, with white curtains on the side of the stage, bringing in the wings. This white box has hues of yellow, orange and pink shone on it, lighting up the stage with spring color. The simple and stark stage is fresh and clean and it allows us to just focus on the dancing, but it is also unforgiving, with nothing to distract from the dancers when not completely in sync. Unfortunately, it showed that the dancers weren’t always perfectly in time with each other or executing movements with the same clarity.

That said, the dancers were all stunning and they suited the movement well. Petal is a lovely ballet and was a nice opener, although it didn’t suit being presented with Bintley’s Carmina Burana, which in opposition is so dramatic and dark.

Bintley’s Carmina Burana is an entertaining theatrical spectacular. The backdrops, costumes, lighting, music and not to mention dancing, are all dramatic. The music by Carl Orff is stunning, and being presented by the young singers of Georgia State University and Atlanta Ballet Orchestra, it was brought to life and a performance in its own right. The vocalists were brilliant and the live music really added to the experience.

The ballet was extremely comical at times, but also sultry and passionate.  The subject matter of three seminarians rejecting their faith to explore lust, love, greed and gluttony was interesting, although I personally found it a little disturbing and dark. There were fun, fabulous moments including chairs used to mimic horses, a huge roast swan danced gorgeously by the talented Tara Lee, pregnant dancing ladies and crazy clown-like obese men. There were some stunning lifts and powerful, dramatic moments with an engaging juxtaposition of humorous and serious, light and dark.

Carmina Burana was executed well by Atlanta Ballet, with each dancer embracing his or her character and dancing with commitment and strength, but I personally didn’t like the subject matter. Some of the costume choices were also questionable, including grey body suits with genitalia drawn on them. Although Bintley is definitely a clever story teller and accomplished choreographer, I didn’t really enjoy this ballet.

Photo (top): Atlanta Ballet’s Rachel Van Buskirk and Jonah Hooper in David Bintley’s Carmina Burana. Photo by Charlie McCullers.

By Kathleen Wessel.

Despite reports of a slow economic recovery and predictions of more budget cuts to the arts, the financial future for dance is not all doom and gloom.

In cities across the United States, dance companies – from small, fledging groups to big-name organizations with operating costs in the millions – are sustaining themselves even while government and corporate grant funding continue to shrink. And though they are often run like a business, very few (if any) dance companies can earn as much money through performance bookings and ticket sales as they spend.

Some artists respond by rejecting the traditional company model and working on a project-to-project basis; they hire dancers and collaborators for a single event then raise a lump sum to produce it. But for others who have built and want to maintain a company over time, fundraising is an ongoing process that requires repeat donors.

Nearly $300 billion was given to charities in 2011, according to Giving USA, which publishes an annual national survey of charitable giving (although only 4 percent went to arts, culture and humanities). Of that huge figure, almost three-quarters of charitable donations were from individuals, while 14 percent was from foundations, 8 percent from individual bequests and 5 percent from corporations. Government funding was not included in the report because it amounted to so little – less than 1 percent.

Nonetheless, a web search for dance funding turns up countless corporate and foundational grant opportunities. It seems, according to these percentages, that companies are better off focusing their attentions elsewhere, and it’s not surprising that many Development Departments have moved the expansion of “individual giving” to the top of their to-do lists.

But there is no annual application process to target individuals, no deadlines or specific requirements, and it can be difficult to know where to start. “It’s called ‘development’ for a reason,” says Lily Binns, Co-Executive Director of Development at the Connecticut-based dance company Pilobolus. Her main job is to cultivate relationships with people who want to support the organization. “It takes time to develop those relationships,” she says, “They come first, the money comes second.” Presumably, some arts-goers are skeptical. Like any consumers, they are choosy and can quickly tire of monetary requests. Thus the word “development,” used to describe the department that gets people to donate money, might sound like a euphemism.

Lisa Dabney, Director of Development at Atlanta Ballet, hopes to change that perception by finding ways to “bring people under the tent” with the company and make them feel like active “investors” rather than passive donors. Binns has a similar approach. At Pilobolus, she organizes a variety of events aimed at giving the community access to the company and the people in it. “You need repeated points of contact to make someone feel he or she has a relationship with the organization,” she says. Over time, an emotional connection emerges, and donors give because they believe in Pilobolus’ mission, not because they feel guilty or expect something in return. “Donor-ship can be thought of as collaboration. You’re inviting [people] to be a part of something that makes their lives better,” says Binns.

Both Pilobolus and Atlanta Ballet host only one or two big fundraising events each year. “We would dilute them if we did a lot more,” says Dabney, who cautions newer companies against getting on what she calls “the event treadmill.” Large-scale events like silent auctions, black-tie galas and performance fundraisers are human resource intensive and can take more time to plan than they are worth if done too often. “Experiential meet and greets are better,” she says. Both Dabney and Binns agree that smaller gatherings designed to foster communication and contact between artist and patron should be the primary focus of development. Binns, in her role at Pilobolus, has spent a lot of time “working the crowds” and meeting people who are interested in the arts. She and her staff have planned cocktail parties, mixers for professionals, open rehearsals and community classes, and they invite potential donors to these events based on personal preferences and interests.

In 2011, Dabney and her staff launched a fundraising campaign to bring renowned choreographer Twyla Tharp to Atlanta Ballet to set her original work The Princess and the Goblin. Their goal was to raise the money entirely through individual giving. They targeted members of the community they thought would be interested in the project and put together a prospectus detailing specific costs. In a business meeting-like setting, Dabney’s department hosted a luncheon and told the crowd Atlanta Ballet was looking for “partners” who were interested in “making great art happen.” The staff followed up with the potential donors and discussed their levels of involvement. And it worked, says Dabney with a laugh, “Twyla came and put on a ballet.”

Smaller organizations without the budget to have a Director of Development or bring in a marketing consultant can nevertheless learn from these kinds of hands on, targeted fundraising initiatives. Dabney says a company’s email contact list is a great place to start. “Ask a close friend to donate a few bottles of wine and host an event in someone’s home,” she says, “Nothing elaborate, just invite [people from your contact list] over and get to know them in a different setting. Commit to having four of those every year.” Binns recommends keeping your eyes and ears open. If you hear a friend say, “You should meet this person, he loves the arts,” follow up, get his contact information, and invite him to a meet-and-greet.

“The fundraising economy is changing,” says Dabney. “There is so much static and noise, so much competition for dollars and time. People are looking for an enriched experience. They want to know about you and what you’re doing, especially if they are repeat buyers of your product.”

At Pilobolus, Binns makes a point not to ask for money at many of these smaller events. Development, she says, is social, “relational work.” Bring people together, get to know your patrons, and donations will be an inevitable outcome. Says Binns, “It feels good to give money to someone you love.”

Photo © Andres Rodriguez | Dreamstime.com

Cobb Energy Performing Arts Centre, Atlanta, GA
Saturday, March 23 2013

By Deborah Searle.

Atlanta Ballet’s New Choreographic Voices was a showcase of diverse and delightful contemporary ballet. Highlighting three bold works from three of the world’s leading and emerging choreographers, New Choreographic Voices challenged the dancers as well as the audience.

The evening opened with Rush by Christopher Wheeldon. Recently appointed as Artistic Associate of The Royal Ballet, Wheeldon is one of my favorite choreographers, so I was excited to see Atlanta Ballet present an encore performance of this work. With the dancers mostly in shades of red, purple and amber the work presented beauty in simplicity. The ballet was certainly challenging for the dancers and there was nothing simple about the steps, but they were all combined and artfully presented in a wonderfully effortless charade.

Jonah Hooper, Nadia Mara and Miguel Montoya in Gina Patterson’s ‘I AM.’ Photo by Charlie McCullers, courtesy of Atlanta Ballet.

With just a blue scrim as the backdrop the dancers’ work was clean, crisp and performed with perfection. Wheeldon explored interesting arm lines, partnering, patterning and cannons. At times the work was busy, but never messy, and always flawless. It was a floating flurry of color and beauty.

A pas de deux by Abigail Tan-Gamino and Jonah Hooper was a highlight. It was not terribly romantic or passionate, but there was something exquisite about their lines and the shapes they created. As the music grew more dramatic the dance became more desperate and I inched closer to edge of my seat.

Next we were treated to a world premiere. I AM by Gina Patterson was transportive. Patterson’s work always reaches beyond and resonates. I AM spoke of searching for who we really are; shedding our outer layers and facades to embrace our inner self. With clever use of grey coats and nude leotards and undergarments the dancers covered up and/or exposed their true natures on and off throughout the work. Do we use relationships to hide who we really are? In relationships are we really ourselves? The work asked so many questions within a tapestry of stunning, expressive dance with a feminine fluidity.

Nadia Mara and John Welker in Gina Patterson’s ‘I AM.’ Photo by Charlie McCullers, courtesy of Atlanta Ballet.

Beautiful gestural canons and melting movements, all danced to entrancing music, took my breath away. Through partnerships we saw a myriad of feelings: love, giddy joy, rejection, sadness, confidence and discovery. I AM was a triumph and the audience was obviously appreciative of Patterson’s mesmeric work and the dancers’ skillful presentation of it.

Changing moods completely, the evening closed with Ohad Naharin’s improvisational, ingenious Minus 16. The renowned Israeli choreographer, who is known for his signature free movement style called ‘Gaga’, presented Minus 16 as the first work of his three-year, three-work collaboration with Atlanta Ballet.

So as not to give the work away, I won’t tell you much, except that Minus 16 is a treat! I was thoroughly entertained and reminded of the joy of dance. Atlanta Ballet’s talented cast seemed to relish in the fun of it and took us all on an exuberant exploration of movement. Several audience members even experienced the work first hand!

Minus 16 is a must see. It left everyone in the theatre on a dance ‘high’. I can’t wait to see what Naharin has in store for Atlanta Ballet next season.

The three dance works presented in New Choreographic Voices were all very different, yet thrilling, highlighting the versatility and many strengths of Atlanta Ballet’s gifted troupe of dancers.

Photo (top): Atlanta Ballet performing Ohad Naharin’s Minus 16. Photo by C. McCullers.

By Stephanie Wolf.

Atlanta, home of the Braves, hotspot for experimental foodies, site of the 1996 Olympics – it’s a city known for many things and a deep melting pot of diversity. Over the past several years, it’s also become a destination for artists interested in bringing Atlanta to the forefront of the nation’s contemporary art scene.

Lauri Stallings came to Atlanta in 2006 as the resident choreographer for Atlanta Ballet. She had no particular expectations from the position. But Atlanta bowled her over with its deep sense of community and rich arts. Thus, in 2009 after three years with the Atlanta Ballet, she decided to make Atlanta her home and carve out her own choreographic space in the city.

With four months of down time in between commissions, Stallings started meeting with local artists. There was no particular intention other than to “generate material, create synergy, and keep laboratory-ing this language of movement [that was developing],” says Stallings. Yet, something significant emerged out of the collaboration, an artistic entity that would become gloATL.

gloATL performs ‘Act of Devotion’. Photo by Thom Baker

In a free public performance on July 24, 2009 at the Woodruff Art Center in Midtown Atlanta, gloATL debuted its vision to the world. The response was overwhelming.

“It caused a bit of a torque in the city…some were outraged and some were completely enthralled,” says Stallings. The evening “reoriented all of those preconceived notions about the experience of contemporary dance” in Atlanta. Stallings saw a chance to “give the public a role [within the city’s art] and the courage to conduct their own dialogue as the art is happening.”

“There are folks in our city who don’t know what to call it…is that dance? Is that performance art? Is that experience?” This is the conundrum of contemporary dance. So, perhaps it is indefinable and Stallings seems to prefer this. It’s constantly changing and Stallings is always on the hunt for new spaces and ways to challenge her artists, thus generating and motivating dialogue about the art form and how it affects Atlanta.

What is especially unique about gloATL is its accessibility and adaptability to space. No street, building, museum or historic landmark is off limits. “gloATL is a vehicle for conversation and for folks to not to have to come find us, or wonder what seat can I afford,” says Stallings.

She talks about her process in creating these often free, site-specific works, claiming she is “turned on by the architectural bones…or the mapping of a public space.” At the beginning of the creative process, Stallings spends a lot of time alone in the space as a pedestrian rather than a choreographer. Her body will respond to the building or space’s “skeletal system”. And she follows up these initial visits with research to discover the “architectural residue,” as she calls it.

gloATL performs ‘Float’ in Atlanta’s famous Piedmont Park.

After completing this preparatory work, Stallings brings her dancers to the site, observing their instinctual physical responses to the space. “After digesting it, I throw it all away and get into the studio to generate lots of material,” says Stallings of the next step.

As the movement evolves in the studio, Stallings gradually goes back to the space and re-embraces its magic and mystery. “It’s like I marry it, divorce it and come back to say this relationship is great.” She calls the process “fairly layered” and says it “comes very slowly.” But the resulting work inspires all five senses of the human body, bringing about a dance experience unlike any other.

For the first three years, Stallings focused on defining gloATL’s identity. She describes these initial years as a “rather dense level of work and endurance to find that undeniable identity.” Ultimately, gloATL’s vision thrives on collaboration, providing for what Stalling calls a “collective platform.” Her dancers react to their instincts, an inclination to “be in the studio moving, dissecting, and sharing.” Dance is something inherent in them, something they have to do. “I ask them to do courageous things,” says Stallings admirably.

Now that this identity has been secured within the Atlanta community, she’s ready to start bringing in more outside choreographers to share in the vision.

As the company’s artistic vision grows and expands, the business side of the company must adapt as well. Currently, glo has no full time administrators, pouring its financial resources in the company’s five full time dancing artists. But Stallings does attribute much of the company’s success to Richard Carvlin, who is the stage manager for the Atlanta Symphony and has served as glo’s acting General Manager since its inception. She’s also grateful for her dancers, whose commitment to their art ensures the future of gloATL.

After three years of passionate work, the burgeoning company has much to look forward to. Right now, Stallings is shaping the company’s first Southeastern tour to expose rural areas to contemporary art. “It’s time to create bridges with artists in other communities,” she expresses. She hopes to continue to network and bring more contemporary artists to Atlanta for gloATL’s experimental art platform, Tanz Farm: A Dance Anthropology— a contemporary dance festival that brings artists and companies from all over the country to Atlanta’s Goat Farm Arts Center for a collaborative performance experience. Past performers have included Sidra Bell Dance New York and Seattle’s zoe/juniper.

Down the road, Stallings hopes to add one full-time administrator and expand the company from five dancers to seven. She would also like to continue to grow gloATL’s international reputation. Above all though, she stresses, “we don’t want to get bigger, we just want to get better.”

Top photo: gloATL performs. Photo by Thom Baker.

By Chelsea Thomas.

Veteran company member Brian Wallenberg recently danced his last performance with Atlanta Ballet after joining as an apprentice in 1998. Significantly, his last role was the same as his first, playing Jonathan Harker in Atlanta Ballet’s Dracula, choreographed by Michael Pink.

“It feels like the right full-circle experience and that’s what I want in life – for everything to come to a nice conclusion,” Wallenberg said in a phone interview between rehearsals and errands in early-February. “So this is basically the perfect end of an era for me.”

Wallenberg, now 35 years old and known for his quiet strength and seamless grace, was a late starter in the dance world. He didn’t begin dancing until age 16, and only started because he wanted to act on Broadway and reasoned he might need some dance training.

“I started dancing in Victoria, Texas with a woman named Debbe Busby. She taught me great basic ballet technique. It was pure classical ballet and it helped me get a good base,” Wallenberg recalled.

Brian Wallenberg and Jonah Hooper of Atlanta Ballet in ‘Dracula’. Photo by Charlie McCullers.

From there his interest in ballet only deepened. After training for only a year, he was invited to attend Houston Ballet Academy, under the direction of Ben Stevenson and Clara Cravey, where he took as many classes in ballet as possible. “I was learning and absorbing as much on ballet as I could. It was a very intense period in my training, but it was good because I learned so much,” he said.

When reminiscing on the path that led him to Atlanta Ballet 15 years ago, Wallenberg noted the importance of networking in the dance world. For him, the connection to Atlanta Ballet came through a ballet teacher.

“My ballet teacher in Houston knew one of the ballet mistresses in Atlanta. So my teacher contacted her, I came to audition in Atlanta and I got the job right away,” he said.

John McFall, Atlanta Ballet’s Artistic Director, also recalled the early days when Wallenberg auditioned and then joined the company.

“My image remains vivid and fresh of Brian the first day he joined us. Naive exuberance filled with the anticipation that an adventure was waiting just for him,” McFall reflected. “I think after a few weeks he realized that to reach the zenith of that adventure it was going to take an extraordinary effort. His was a compelling and virtuoso process that spirited him to the top.”

Brian Wallenberg with Kelsey Yip & Kristi Necessary of Atlanta Ballet. Photo by Charlie McCullers.

Through the years, Wallenberg climbed the ranks in the company and performed many soloist and principal roles. Some of his favorite roles were Peter Pan in McFall’s Peter Pan, Waltz Boy in George Balanchine’s Serenade, the Roasted Swan in Fernand Nault’s Carmina Burana and of course, Jonathan Harker in Michael Pink’s Dracula.

“Doing the role of Jonathan Harker in Dracula was definitely a huge highlight. It was the first lead role I did with Atlanta Ballet and it’s one of the reasons I got hired into the company. When John McFall saw me tackle this role I was offered a company contract with Atlanta Ballet. So that is a huge, huge highlight for me… It’s such a meaty role and I’m glad I got to take it somewhere even farther for my last performances,” Wallenberg said.

While most dancers dread the end of performing due to career uncertainties, Wallenberg said he is “looking forward to having more freedoms” and his life “shifting in good ways.” Instead of completely leaving Atlanta Ballet, he has been asked to stay on as the Social Media Coordinator and Videographer in the company’s Marketing Department.

This career development began after he started teaching himself filming and editing skills a few years ago. Soon thereafter, he started a video production company titled “Saturnblu Productions” with a focus on filming dance.

“A few years ago I started spending some serious time thinking about what was next in my career. It was very important to me to find something else I could be passionate about. The videography came out of that. To be able to work with dance on camera is the best thing ever.”

While still performing, he began working part-time in the ballet’s marketing department in 2009. By 2011, he was ready to embark on this new career full-time. He said it will be a “bittersweet” transition, but one he is ready for.

By being with Atlanta Ballet for 15 years, Wallenberg said he has experienced something few performers truly get to experience – the sense of family. Before retiring he was a part of the company’s veteran squad of older dancers, namely Tara Lee (17th season), Jonah Hooper (14th season), John Welker (18th season) and Christine Winkler (18th season).

“Every choreographer that has ever come to Atlanta Ballet has said something like, ‘Wow! You guys are really a family here.’ And it’s true. We’re really bonded. And I credit John McFall for picking personalities that really work well together that create that family environment,” Wallenberg said.

He has also been a part of the company’s recent growth and expansion, seeing the leadership change and new choreographers come in. Over the last decade he has witnessed a “solid company” become a “powerhouse.”

“It has actually been quite incredible to watch Atlanta Ballet take a new form and reshape itself. The company has grown and gotten so much stronger. The repertoire the company does now is fantastic. The choreographers that come in are world-class and they produce such amazing work… The repertoire has just gotten better, better and better,” he enthused.

Now in his new role in the marketing department, Wallenberg looks forward to sharing news about the company and its season performances. On this new chapter in his life he said: “I believe the universe opens up the right opportunities with where you need to go. I am really open to where this new career can and will go.”

McFall said it is obvious that Wallenberg “has become an advocate for dance and theater.” He added, ” In his new position as Social Media Coordinator and Videographer for Atlanta Ballet his handiwork will continue to inform and enlighten us.”

Wallenberg, even if now offstage, is certainly still someone to watch.

For more information on Atlanta Ballet’s 2012-2013 season, visit www.atlantaballet.com.

Photo (top): Brian Wallenberg in Carmina Burana for Atlanta Ballet. Photos courtesy of Atlanta Ballet.

By Stephanie Wolf.

Ever since she was a little girl and saw her older sister in dance class, Anne-Tyler Harshbarger wanted to be a ballerina. She went on to achieve this dream through illustrious careers with Houston Ballet and Atlanta Ballet, performing a wide range of classical and contemporary repertoire. But, Harshbarger couldn’t be defined solely by her balletic aspirations. There was a different, creative energy brewing in her, which would eventually evolve into Harshbarger’s diva of the nightclub alter ego, DJ Anne-Tyler. Now, the former ballerina is making a name for herself in the Los Angeles and international DJ scene.

At sixteen, Harshbarger attended her first rave in North Carolina. “I was blown away by the unbelievable vibe the music created. There was a sense of unity and acceptance and love through dance that I had never felt before…this world was a non-judgmental one where I could explore movement in a safe place.” She was instantly hooked to the music and dance of the “underground party” world. “Collecting music became an obsession. Eventually, I got my own decks and the rest is history.”

Anne-Tyler Harshburger in Atlanta Ballet’s ‘Nutcracker’. Photo by Charlie McCullers, courtesy of Atlanta Ballet.

Her first DJ gig had her spinning vinyls in a derelict Atlanta warehouse for a designers’ showcase. “I prepared for hours for it,” says Harshbarger. It was a memorable night, which sent her on a new and exciting journey. From there, in conjunction with her career as a featured dancer with the Atlanta Ballet, Harshbarger found more success in the Atlanta DJ scene. Juggling two careers had its challenges, but that didn’t deter Harshbarger from pursuing both of her passions. “At times it was exhausting,” she says. “But the love of what I was doing kept me full of energy. I needed the variety and contrast of both classical and electronic to feel inspired.”

In May 2011, Harshbarger officially left Atlanta Ballet to focus on her budding DJ-ing career. As she transitioned, she noticed many similarities between the two professions. “They are both about letting go and expressing your true self, taking risks, overcoming fear, and connecting with an audience. Dancers and musicians are vessels through which the power of music flows.”

Anne-Tyler Harshburger performs with Atlanta Ballet. Photo by Charlie McCullers courtesy of Atlanta Ballet.

Like ballet, being a professional DJ isn’t the most conventional career trajectory, begging the question: how does one become a professional DJ? “A lot of it was being at the right place at the right time,” Harshbarger says in regards to the initial years of getting her career up and running. But, ultimately, she achieved success through her raw talent, gusto for music and movement, and diligence. “Word of my enthusiasm and talent traveled fast…I believe a big part of it was simply my desire to do it. When I want something, I make it happen.”

While the DJ scene has primarily been a “man’s world”, female DJs are starting to gain fame and recognition. Harshbarger feels grateful to be a part of this burgeoning demographic, but she doesn’t “preoccupy [herself] with gender” and pursue this passion solely to make a social statement. “I have faced both adversity and advantage as a lady DJ. Most important is talent. The music always comes first in my book.”

DJ Anne-Tyler likes to shake things up with her musical repertoire and often allows the ambience and vibe of a party to influence her mixes. “I started with house music and it will always be my fave to spin,” she explains. “But these days I play everything: techno, drum n’ bass, chill out, lounge, nu disco, 80’s, 90’s, indie rock, hip hop, R&B, pop remixes, dub step – you name it.”

Now, DJ Anne-Tyler is a mainstay in the LA nightclub world. She spins five nights a week at Los Angeles clubs like Supperclub, W Hotel Hollywood, Palihouse, Katana, and Caffe Roma, among others. Word of her skills has also taken her to a number of other U.S. and international cities. “In 2013 I’m very excited to return to my stomping grounds of Houston and Atlanta. Also on the agenda for the new year are Amsterdam, Berlin, London, Tel Aviv and Ibiza.”

This won’t be Harshbarger’s first time DJ-ing in Ibiza, Spain, the world’s electronic music Mecca. In the summer of 2008, she was a resident DJ at the city’s hot nightclub, Amnesia. She continues to go back each summer, expanding the scope of her international fan base and challenging herself as a maestro of the turntable. Her life of mixing music and beat juggling for the world’s hottest clubs and parties keeps her on the move a lot, but she doesn’t mind the go-go-go lifestyle. “I love to travel. It is very exciting for me to go on these adventures.”

Photo by Havana Club, ATLnightlife.com

Dancing is still very much a part of Harshbarger’s life and, likely, will always be in some capacity. “I still go out dancing a lot, I dance in my apartment all the time, and I do barre on my terrace sometimes.” She adds, “Since I’ve been in LA I’ve taught private lessons and have some master classes coming up. I also produce an event every Friday in Beverly Hills where I dance and create the costumes. It’s a Euro-style performance art house music scene.”

When she’s in Hollywood she isn’t holding back. Harshbarger has found many other artistic outlets such as acting, modeling, and building her new clothing line. She’s graced the pages of magazines like MODE, Jezebel, and The Atlantan; and her film and television credentials range from established shows like The Walking Dead, Drop Dead Diva, and What Not to Wear, to commercials and music videos.

The future is looking prosperous for DJ Anne-Tyler. On November 30 she was seen as a DJ in the world premier of the motion picture horror flick The Collection. She is also the brains behind ENJOYMUSIC ENJOYLIFE, a “whimsical lifestyle brand created for DJs, musicians, and music lovers.” Find out more about it at enjoymusic.com. Through her mash-up of beats and her graceful moves, DJ Anne-Tyler hopes to inspire others to chase their dreams.

Top photo: Anne-Tyler Harshbarger by Jonah Hooper

The Fox Theatre, Atlanta, GA
December 7 2012

By Chelsea Thomas.

Fairytale magic is at the heart of the beloved ballet The Nutcracker. An American ballet institution, which ironically has roots in Russia, The Nutcracker is as ingrained in the nation’s holiday traditions as watching A Charlie Brown Christmas on cable, stringing lights across the tree in the family living room, and drinking hot chocolate and eggnog by the fire.  

Atlanta Ballet’s Nutcracker, which kicked off its 53rd season with a red carpet premiere on Friday, December 7, took its magic spell to a new level this year by adding the expertise of master illusionist Drew Thomas, most recently a finalist on NBC’s hit reality-TV series “America’s Got Talent”. Set to the enchanting and famous Tchaikovsky score, the opening act introduced various illusions through the role of Drosselmeyer, played by 18-year Atlanta Ballet veteran John Welker.

Welker easily performed a handful of tricks that complemented The Nutcracker’s Act I party atmosphere. The first trick, a floating handkerchief that flew out over the audience and then back onto the stage, was a delicate introduction to Drosselmeyer’ mysterious stage sorcery without seeming too forced or performance conscious. Another trick, the classic “now-you-see-it-and-now-you-don’t”, introduced two Meissen Dolls (dancers Peng-Yu Chen and Jared Tan), who then performed stiff and highly-entertaining solos.

The final and perhaps most impressive trick involved the appearance and disappearance of the Nutcracker Doll (played by young Tristan Bogost). Drosselmeyer had brought young Marya (the main character who is known in other productions as “Clara”) a life size Nutcracker doll. Complete with a soldier’s uniform and red, rosy cheeks, the doll was soon broken by Marya’s destructive little brother Nicholas. Drosselmeyer took the Nutcracker Doll to a table and gestured as if to fix him, all the while hidden behind a scrim showing his shadow, seemly projected by stage lights from behind.

Suddenly, after Marya ventured behind the scrim in a last ditch effort to revitalize the Nutcracker with a kiss, the scrim was pulled back and a new, taller, older Nutcracker emerged, played by new company member Alexandre Barros. The audience almost audibly gasped as children pointed and moved closer to the edge of their seats.

Yet, even with the success of these new and well-placed magic tricks directed by Drew Thomas, Atlanta Ballet’s Nutcracker stands out the most for it’s own continually charming and beneficent magic spell – that beautiful combination of childlike innocence, gentility, romance, humor and good cheer. From the first scene of familial warmth in the Petrov family home to the formal, poised pas de deux between the Sugar Plum Fairy and Cavalier, The Nutcracker is brimming with the magical and ethereal qualities of the holiday season.

The real magic that families return to see year after year is in the battle between the bold Nutcracker and evil Rat King, the snowflakes dancing in and out of wintry evergreen tapestries, the cool, sultry movements of the Arabians, the humorous, rambunctious Trepak and the elegant pirouettes and arabesques of the Sugar Plum Fairy. As long as Atlanta Ballet remembers this, it’s Nutcracker will continue to be the holiday tradition that regional residents flock to every December.

Famous dance critic Edwin Denby commented on the meaning of The Nutcracker in 1944 when he wrote: “The Nutcracker is really a dream about Christmas…it succeeds in turning envy and pain into lovely invention and social harmony.” Perhaps it is this “lovely invention” and “harmony” patrons readily flock to see.

Alessa Rogers, dancing the role of Marya, was a pleasure to watch as she performed the footwork and childish facial expressions with gusto and zeal. At once delicate and graceful, Rogers also brought a bold, fresh enthusiasm to her roles that was lacking in others, such as Abigail Tan-Gamino as she danced Dew Drop.

Photo: Atlanta Ballet’s Nutcracker. Marya and Sugar Plum Fairy. Photo by C. McCullers.

The Academy Theatre, Avondale Estates, GA
Sunday November 11 2012

By Chelsea Thomas.

On a Sunday afternoon in a small theater outside Atlanta, the new City Gate Dance Theater Company debuted its four-member ensemble with a dramatic, heartfelt evening of contemporary and lyrical ballet.

The company was founded in January 2011 by the husband-and-wife duo Robert E. and Jennifer L. Mason. Seeking to combine “performing and visual arts, dance theater and cinema into one stimulating and timeless event,” the pair pulls from their individual backgrounds in theater and modern dance.

Holding a B.F.A. in dance from Florida State University, Jennifer L. Mason is a triple threat in the dance world: muscular, flexible and graceful. With an inclination towards drama and a knack for breathtaking extensions, she also calls upon her training with Alvin Ailey American Dance Theater with Lester Horton-inspired movement.

City Gate Dance Theater Company of Atlanta presents ‘Just Be’. Photos by Richard Calmes.

Before marrying Robert and founding the company, Jennifer danced with Urban Ballet Theater, Dance Iquail and Surfscape Contemporary Dance Theater. She has also been a guest artist for local Ballethnic Dance Company and a soloist for UniverSoul Circus. While she is relatively new to choreography, it appears she takes no dreams captive.

Her husband Robert E. Mason brings a dramatic, theatrical flair to the close-knit outfit. Also sharing instruction under Alvin Ailey American Dance Theater, he mostly received formal training with Atlanta Ballet. Recently, he was a member of New York’s Amalgamate Dance Company and he has toured with the cast of Oprah Winfrey’s National Tour of The Color Purple.

The couple’s company is clearly their love child, making evident his theater experience and her contemporary balletic style. Opening the show, the couple performed a short, yet extremely intense pas de deux.

Set to the music of Carmina Burana, the work Bold was certainly just that. Fusing solemn expressions with many jumps, lifts and tricks, the Masons exhibited their clear trust in one another. Unfortunately, the small stage size limited their ability to feel and dig into the work. The space constrictions left the piece feeling restricted and somewhat jilted. This attendee is left wondering how Bold might have appeared in a larger venue.

Yet, for all the constraint evident in Bold, the next work, perhaps the most natural and seamless of the evening, Transformed, held a graceful, freeing sensitivity. Even though more dancers filled the stage, audience members forgot about the small space and were allured into the vulnerable, aching movements.

Perhaps the most memorable image is that of the dancers pulling upon their loose dresses’ soft fabric, almost Martha Graham-esque. When pulling the thin fabric from their bodies their hips would jut out to the opposite direction and their heads would fall back, portraying a deep, burning desire to be liberated of the dresses’ emotional bondage.

Although the meaning was left broad and undefined, Transformed still accomplished an intimate rendering of the classic redemption story – women struggling, women triumphing. In the end, the dancers removed their dresses, representing their burdens, and welcomed life free of guilt and pain. If City Gate Dance focuses on this work’s vulnerability and its soft, organic storytelling, they will have a successful, relevant company that will make it through the rough economy.

Next on the bill was Loved, a humorous, albeit strange, duet. Regine Mayter, an experienced modern dancer hailing from Haiti, joined Robert for a back-and-forth love affair that first introduced him as a drifter and then as a desperate lover. Set to a montage of various love songs, the three-part work climaxed with Mason’s dramatic, gesture-heavy pleas for Mayter to come back to him. At its worse it was playing the border of interpretive dance as Mason cried and plunged to the floor with the lyrics, yet at its best, the work gave the show passion and the audience a good chuckle.

The last two works of the evening were contextually confusing, one vague and bewildering, and the other somewhat unrelated. However, the Masons managed to pull them into the broad theme of Just Be with heart and candor.

The work Fearless came first, with a contradictory and ominous underlying subtitle of “broken hearts” in the bulletin. At first introducing the recently-transformed women dancers as confident and reaching for the stars, the piece took an unexpected turn with odd adulterous sentiments and manipulative ties. While the movement was strong with smooth transitions, the context distracted from the evening’s larger tone.

The shows final piece, Healed, was a reworked dance originally performed at Atlanta-based Dance Canvas’ fourth annual showcase in January 2012. Interestingly enough, Healed resulted in death when the protagonist passes away from breast cancer. It was a touching, yet an unusual choice for ending the company’s debut performance. At once it exhibited the company’s strengths – lyrical, tender movement with strong extensions – and it’s weaknesses – the tendency to push too far for the theatrical and the predictable.

All in all, keep an eye on this company. The Masons have drive and passion that may mold and breakthrough with the times.

By Emily C. Harrison MS, RD, LD

I don’t know any dancers who have money to throw away.  Here are a few tips to help stretch those hard earned dollars.

Get your protein from more plant based sources

Protein from beans, peas, nuts, whole grains, seeds and soy is so much cheaper than animal based protein. Think about how much more a steak costs verses some beans and rice. If you buy the dried beans from bulk bins you will save even more.  Black eyed peas and most beans are sources of protein, iron, potassium, folate and fiber. In general, plant based meals are lower in fat and calories but high in nutrients.

You can make totally organic (and delicious) homemade chili and rice and even add kale for about $2.00 per serving.  It’s easy to throw everything in a slow cooker or make something ahead of time for an easy meal after a long day of rehearsals.  Quinoa is a wonderful high protein grain that you can get for less than $0.50 per serving, and it cooks faster than rice for a quick week night meal.

Soy is a versatile and cheap source of protein. Add some tofu or edamames to a veggie stir fry.  Eat more plants in place of meat and dairy – you’ll be fighting off cancer and reducing your impact on the environment while saving money!

Think critically about your grocery store

Food companies are businesses, and their ads are designed to get you to buy food and more of it. The system is designed for higher and higher profits, but that’s not always what’s best for our waist line, wallets, or our health. The word “natural” is now used on everything from chips to cookies and ice cream.  “Natural” has no legal definition in the U.S. so it gets overused.  It can lure people into believing that chips are somehow good for you just because the word natural is on the package.

Health claims are also a big part of the advertising market. Some companies will put random vitamins and “functional” ingredients into all kinds of foods and beverages touting health claims that might be flimsy at best or even dangerous. One example is mega doses of vitamins in beverages. No one needs 1000mg of vitamin B or C in a juice. The body wasn’t meant to absorb nutrients in this way and it can cause problems.  Our bodies absorb nutrients best through real food.  Stick to the outside aisles of a grocery store where you will find fewer boxes and bags and more fresh ingredients.  We all like convenience, but we pay for it.  Candy bars are right at eye level at the checkout counter and high fat foods are placed at high traffic areas for a reason.  Bargains aren’t bargains if they are full of sugar, fat, or refined flour.

Is it really a bargain?

Buying in bulk might not always be a good thing. No one really needs a gallon container of cheese puffs.  Big box retailers of wholesale food items might be selling you much bigger portions of unhealthy packaged foods. Is a 20 pack of croissants really a deal when each one packs up to 400 calories?  Use care and read food labels if you shop at the big wholesale stores.

Some terms on packages are legally defined and can help when deciding what to buy. The term “organic” has strict guidelines in the US and while the system isn’t perfect, it is better to buy organic. But keep in mind that organic cookies are still cookies – enjoy them in moderation.  It’s better to buy organic fruits and veggies, even though they usually cost more.

“Low fat” means that the food item must have 3 grams or less of fat per 100 grams, or no more than 30% of calories from fat.  This can be helpful when looking at food labels. But one trick to be aware of is that “low-fat” baked goods often have way more sugar content than regular to make them taste better.  So those low-fat treats might still have close to the same number of calories.

Prepare food at home and avoid packaged foods

Less packaging = Less cost. Planning ahead can save you lots of money. Having fruit and veggies ready to go at home make it easy to grab them while you are racing out the door to class. You are much more likely to eat well on a budget if you don’t have to pick something up from a convenience store or restaurant.  Have grapes washed and ready to eat in your fridge, peel and cut carrots yourself and put them into your own reusable containers. Keep a box of 140 calorie granola bars in your car. When snacks are easy to grab, you are less likely to eat junk food which will cost you more money and many more calories.

Eat in season and reduce portions

Off season tomatoes shipped from miles away not only taste terrible, but are much more expensive. Shop local, support your farmers markets, and buy in season. You will get better quality food, with higher nutrients and your hard earned food dollars will stay in your local economy.

One of the main reasons for weight struggles are out of control portions.  Make smaller portions and serve food on smaller plates.  Restaurants are notorious for gigantic portions. A certain well known pizza chain’s “personal” pizzas can have upwards of 1000 calories for an individual serving. When eating out, split an entree with a friend. You’ll save money, and won’t overload calories. Ask if you can order a child’s portion. Chances are that it is actually a more reasonable portion size.

You CAN eat well on a tight budget: plan ahead, make your own food, shop local, and eat more plants.
Emily Harrison
Emily Cook Harrison MS, RD, LD
Emily is a registered dietitian and holds both a bachelor’s and master’s degree in nutrition from Georgia State University. Her master’s thesis research was on elite level ballet dancers and nutrition and she has experience providing nutrition services for weight management, sports nutrition, disordered eating, disease prevention, and food allergies. Emily was a professional dancer for eleven years with the Atlanta Ballet and several other companies. She is a dance educator and the mother of two young children. She now runs the Centre for Dance Nutrition and Healthy Lifestyles. She can be reached at emily@dancernutrition.com www.dancernutrition.com

Top photo: © Digitalpress | Dreamstime.com

By Emily C. Harrison MS, RD, LD

Even mild dehydration can affect performance.  Staying hydrated is extremely important to a dancer’s performance because the first signs of dehydration are fatigue and poor balance.  Thirst actually only kicks in after the body has lost 1-2 liters of water. If you are thirsty then you are already dehydrated.

The science:

Water makes up approximately 60% of body weight and is the largest component of the human body.  The muscles we work so hard to develop as dancers (skeletal muscles) are about 73% water, your blood is about 93% water and even bones and teeth contain some water. Water is critical for maintaining homeostasis within the body and important in the thousands of biochemical and physiological functions our bodies go through every day. Water aids in digestion and is important in the transport and elimination systems of the body.

Overheating and performance:

It’s important for dancers to know that being properly hydrated helps keep the body from overheating. Helping the body promote heat loss when dancing full out will improve athletic performance and aid in recovery. This is especially important for dancers wearing hot costumes and performing under stage lights. Sweat losses during performance can be significantly more than during rehearsal of the same piece. This is why drinking regularly (even small, regular sips) is an important habit during a show.

How much is really needed? Can a dancer get fluids from other things besides water?

The American College of Sports Medicine recommends that athletes (we all know that dancers are athletes) start their exercise already hydrated with about 17 ounces of beverage taken before you begin. Then drink 5-10 ounces every 20 minutes or so. This means that your reusable water bottle should be your constant companion in the studio or backstage.  Every dancer is a little different but pre-professional and professional level dancers should aim for about 2800-3500ml (94-117 oz) of fluids every day.  That’s about 12 – 15 cups.  About 20-25% will come from foods like fruits and veggies, but about 80% comes from what you drink.  Aim to get most of your fluids through water, but juices, sports beverages, and even tea and coffee can be counted toward that goal. Some dancers find that mixing 50% sports beverage with 50% water in their reusable bottles helps them get through long rehearsals or classes. This is because sports beverages contain a source of readily available energy (calories) and electrolytes that are lost in sweat.

But I want something besides just water…..

Prevent dehydration by eating lots of fruits and veggies.  Consider melon, squash, oranges, apples, pears, grapes, leafy greens and salads in addition to beverages like tea, whole fruit popsicles, sports beverages, smoothies, soy milk, almond milk, and yogurts.

What about caffeine?

Caffeine makes us more awake and is known to enhance athletic performance. But there can be too much of a “good” thing.  Caffeine is a central nervous system stimulant, not a source of energy.  Yes, caffeine can also promote water loss and dancers should limit caffeine, but those beverages can still count toward your daily intake. I always recommend limiting or avoiding sodas. They are empty calorie bombs and can make bones weaker.  One cup of coffee is fine, but being overly jittery doesn’t help your dancing.

So be good to your body and good to the earth by taking your reusable water bottle with you everywhere and refilling it often.
Emily Harrison
Emily Cook Harrison MS, RD, LD
Emily is a registered dietitian and holds both a bachelor’s and master’s degree in nutrition from Georgia State University. Her master’s thesis research was on elite level ballet dancers and nutrition and she has experience providing nutrition services for weight management, sports nutrition, disordered eating, disease prevention, and food allergies. Emily was a professional dancer for eleven years with the Atlanta Ballet and several other companies. She is a dance educator and the mother of two young children. She now runs the Centre for Dance Nutrition and Healthy Lifestyles. She can be reached at emily@dancernutrition.com www.dancernutrition.com