New York City Ballet has announced that award-winning singer and actress Queen Latifah and the legendary clarinetist Richard Stoltzman will appear as guest artists at the company’s 2013 Spring Gala on Wednesday, May 8 at the David H. Koch Theater at Lincoln Center in New York City.

A celebration of the 25th Anniversary of NYCB’s 1988 American Music Festival, and the centerpiece of NYCB’s six-week spring season (April 30 through June 9), the one-time only gala performance will feature Latifah performing George Gershwin’s The Man I Love with the New York City Ballet Orchestra as part of an excerpt from Who Cares?, George Balanchine’s 1970 classic ballet set to the music of Gershwin.

Stoltzman will perform the “Interlude” from André Previn’s Sonata for Clarinet and Piano, as well as Leonard Bernstein’s Sonata for Clarinet and Piano, both of which choreographer Christopher Wheeldon is using as the score for a world premiere pas de deux that will debut as part of the gala evening. The program will also include the NYCB premiere of a new version of Wheeldon’s Soirée Musicale, which is set to Samuel Barber’s Souvenirs, and was originally created for the School of American Ballet Workshop performance in 1998.

Clarinetist Richard Stoltzman. Photo by Lisa Marie Mazzuco. Courtesy of New York City Ballet.

In addition, the gala performance will also feature Cool from West Side Story Suite, and the third movement of Glass Pieces, both choreographed by Jerome Robbins, as well as the pas de deux and finale from Balanchine’s Stars and Stripes set to the music of John Philip Sousa.

Originally from Newark, New Jersey, Queen Latifah (born “Dana Elaine Owens”) is an actor, rapper, singer and producer whose work in a variety of disciplines has earned her a Golden Globe Award, two Screen Actors Guild Awards, two NAACP Image Awards, a Grammy Award (plus six nominations), an Emmy nomination and a 2002 Academy Award nomination for Best Supporting Actress for her performance as the prison matron Mama Morton in the award-winning film adaptation of the Broadway hit Chicago.

Richard Stoltzman, originally from Omaha, Nebraska, is widely regarded as the world’s foremost clarinetist, and was responsible for bringing the clarinet to the forefront as a solo instrument, giving the first-ever clarinet recitals in the histories of both the Hollywood Bowl and Carnegie Hall. During his acclaimed career he has appeared with more than 100 orchestras around the world, and has produced an extensive discography of recordings. Stoltzman is the recipient of two Grammy Awards for Best Chamber Music Performance, the Yale School of Music’s Sanford Medal, and in 1986, he was the first wind player to be awarded the prestigious Avery Fisher Prize, which is bestowed upon American instrumentalists for outstanding achievement in classical music.

Benefit-priced tickets for the gala evening, which include the performance, a pre-performance reception and a black-tie supper ball following the performance, are available through the NYCB Special Events Office at 212-870-5585. Tickets to the performance only start at just $29 and are available at the David H. Koch Theater box office, online at nycballet.com, or by calling 212-496-0600.

New York City Ballet’s 2013 Spring Season will open on Tuesday, April 30 with a three-week American Music Festival featuring 25 ballets and the music of 18 American composers. The six-week season will continue through Sunday, June 9 with the final three weeks devoted to a retrospective of NYCB’s entire 2012-13 performance year with highlights from the Stravinsky, Tschaikovsky and American Music festivals, featuring performances of 33 different ballets with no two performances alike. For more information or to order tickets, visit nycballet.com.

Photo (top): Queen Latifah. Photo by Cover Girl. Courtesy of New York City Ballet.

Ellie Caulkins Opera House, Denver CO
March 2 2013

By Jane Elliot.

On Saturday, March 2, 2013, Denver’s Colorado Ballet presented a mixed bill program titled Ballet Masterworks. The program was a belated Valentine to ballet, cherishing the dance innovators of the past and celebrating the dance innovators of the present; it encapsulated the works of some of ballet’s most renown choreographers, including the legendary George Balanchine, contemporary ballet pioneer Glen Tetley, and the highly sought after American choreographer Val Caniparoli.

The company started the evening off strong, attacking George Balanchine’s technically ferocious ballet Theme and Variations with aplomb. It was, and still is, a ballet full of pomp and circumstance: tutus, tiaras, chandeliers, a regal air of confidence in every demanding step, and a distinct ranking between the ballet’s corps, soloists, and principal couple. Yet, despite all of this formality, Theme and Variations was not just another ‘tutu-ballet’. Balanchine took all of these tools, which were so frequently identified with the art form, and still managed to push the limits of the classical ballet vocabulary. He utilized his trademark intertwining, eye-pleasing patterns and fast, intricate pointe work, which was executed particularly well by the four female demi-soloists (Dana Benton, Asuka Sasaki, Shelby Dyer, and Caitlin Valentine-Ellis).

Colorado Ballet presents Balanchine’s ‘Theme and Variations’. Photo by Mike Watson.

Where the ballet did slightly lack was in the chemistry between its principal couple, Maria Mosina and Alexei Tyukov. Both proved they had the technical chops to plow through the ballet’s challenging and brisk choreography. However, at times, their faces showed the effort. Unfortunately, they were not alone in this performance quality and they didn’t seem to use either the music or each other as a driving force through their pas de deux. While the music called for more expansion, tempting them to luxuriate in a pose a second longer, both Tyukov and Mosina seemed more concerned with the technical execution of each step.

Next on the program was Caniparoli’s ballet In Pieces, which received its world premiere on February 22, 2013. A plot-less ballet that exhibited shifting temperaments from dark and brooding to coy and playful, it personified its simplistic title in that the ballet felt like several pieces strung together to make a whole. At times, the ballet was interesting and engaging (the audience gave it a very warm response), but ultimately, there was a disconnect between all of the ballet’s elements.

The difficulty of being original looms over every choreographer, but with hips thrust forward and classical positions manipulated by a turned in leg or contemporary arm gesture, Caniparoli’s piece felt particularly like ballet déjà vu. Moments of the ballet were even reminiscent of Christopher Wheeldon’s 2006 work for the New York City Ballet, Evenfall, including a duplicate movement of the ballerina bent forward while on her pointes to display the curvature of her modern tutu.

While the costumes seemed to play an integral role in the ballet, the artistic choice of putting the three men in tutu-like garbs was a slight detriment, often softening the men’s dramatic and masculine movements. Perhaps Caniparoli was playing with the idea of unisex notions with the costumes, yet the dancing seemed to present rather definitive male/female roles.

Colorado Ballet presents Glen Tetley’s Rite of Spring. Photo by Mike Watson.

Yet, the movement was danced superbly by all six dancers. Valentine-Ellis appeared to have no bones in her body as she undulated through her torso and sent ripples through her long arms; Dmitry Trubchanov took command of the stage; Christopher Ellis and Sharon Wehner were a pleasure to watch in their buoyant duet; and Jesse Marks and Chandra Kuykendall showed technical mastery in a series of difficult and inventive partnered moves. Additionally, the lighting by Lloyd Sobel had numerous stunning moments, including dramatic silhouettes that highlighted the dancers’ lean, muscular physiques and clean, balletic lines.

The evening rounded out with Tetley’s re-imagination of the iconic ballet Rite of Spring. His interpretation was vastly different than other notable versions (Nijinsky, Léonide Massine, Pina Bausch, among others). It was significantly pared down from the cumbersome costumes and Russian tribal tones of Nijinsky’s original ballet and most notably, the ballet was dominated by masculinity; this included an ensemble of scantly clad men and the role of the Chosen One was danced by a male (soloist Adam Still). These changes gave the ballet a different sense of theatrics and tone.

Originally premiered in 1974, the essence of its era is apparent in the choreography and costumes. But the ballet and Stravinsky’s score still felt poignant in 2013. Led by Adam Flatt, the Colorado Ballet Orchestra played the music brilliantly. And the movement was highly musical, capturing the score’s intense percussion and depth.  A few dancers appeared to struggle with some of the floor work, but for the most part, both the male and female ensemble were strong and responsive to the driving music and themes.

The evening was successful in blending many elements of the balletic spectrum. This melding of styles, eras, and choreographers seemed to go over well with the audience, who clearly supported the mission and vision of the more than 50-year-old ballet company. Hearing the oohs, ahs, and bravos from the patrons was a reassurance that ballet is not a dying art form, but continues to inspire, entertain, and spark conversation.

Photo (top): Colorado Ballet presents In Pieces by Val Caniparoli. Photo by Mike Watson

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 Laura Di Orio.

Ballet has been around since the Italian Renaissance courts of the 15^th century. It has shifted and molded according to history and the different cultures and people who have embraced the art form, and its traditions continue to be taught and learned all over the world. Over the centuries of ballet’s worldwide travels, several different schools, or methods, have been established, each one with its own notable characteristics and stylistic differences. Here, Dance Informa looks at several of those schools of ballet and what sets each apart.

The French School

From Italy, ballet spread to the French courts during the time of Louis XIV, in the 17^th century. Seeing as the majority of the ballet vocabulary is in French, this shows that this time in history was very important in the development of the art form. The French School of ballet training stresses cleanness, fluidity and elegance. As the focus of this technique is on great speed and quantity of steps, the music is played more slowly.

Famed dancer Rudolf Nureyev, who also directed the Paris Opera Ballet, played a major role in defining and leading the French School of ballet. During the time of his leadership at Paris Opera Ballet, Nureyev also choreographed alternate versions of such classic ballets as La Bayadère, Swan Lake, Romeo and Juliet, Raymonda, Cinderella and Sleeping Beauty.

Bournonville Method

The Bournonville ballet technique was devised by Dane August Bournonville, who trained with his father, Antoine, and other French ballet masters. He was strongly influenced by the French School of ballet. Some characteristics of the Bournonville method include: a graceful épaulement, with the upper body often twisting toward the working leg; a lowered eye-line to exude kindness; extreme attention to the placement of the arms (often in a preparatory fifth position); quick footwork; a contrast between the speed of the legs and the grace of the upper body; pirouettes in a low leg position; and little visible effort.

Dancers such as Erik Bruhn, Nikolaj Hübbe and Johan Kobborg were trained in the Bournonville method, and the Royal Danish Ballet, which originated in 1748 and was once directed by Bournonville, still contains many Bournonville ballets in its current repertoire.

Vaganova Method

Agrippian Vaganova, a Russian ballet dancer born in 1879, devised her own method of teaching ballet, now known as Vaganova technique. A dancer with the Marinsky Ballet, Vaganova retired early in her career, in 1916, to focus on her teaching. Qualities in the Vaganova method include expressiveness of port de bras, where all parts of the arm (from hand to elbow to shoulder) are important; extreme flexibility, but in an artful way; and a mobile lower back. Dancers trained in this technique are taught to be strong and clean, without stiffness.

Some of the greatest dancers, including Anna Pavlova, Natalia Makarova, Nureyev and Mikhail Baryshnikov, were trained through Vaganova’s pedagogy. Vaganova believed in precision within the teacher’s instruction, and the Vaganova Ballet Academy continues to have high demands for its students.

Cecchetti Method

The Cecchetti method of ballet technique was formed by Enrico Cecchetti, an Italian ballet master. Its focus lies mainly in anatomy, and the hope for those studying the method is that they learn to dance by internalizing rather than just imitating. Qualities of the Cecchetti method include: balance, poise, line, strength, elevation, elasticity, musicality, artistry, clarity and purity.

The Cecchetti training system has levels from beginner to professional, and during this progression new movements are only added once other movements have been mastered and refined. The hope within this training system is that dancers become well-rounded and versatile.

Royal Academy of Dance

The Royal Academy of Dance (RAD), an international dance examination board, was established in London, England, in 1920. Its method of ballet is known as the English style and is a merging of Italian, French, Danish and Russian methods. RAD’s focus is on attention to detail when learning ballet’s basic technique. As a result, progression from level to level in this method is slow, as difficult steps are only taught once a maximum level of technique is achieved.

The RAD offers two training programs for students: the Graded Examination Syllabus, which consists of 10 levels and incorporates classical ballet, free movement and character dance; and the Vocational Graded Syllabus, a more demanding, ballet-focused path designed for older children and young adults who desire a career in professional dance.

Balanchine Method

A more recent ballet style in the history of ballet is the Balanchine method, a style invented by choreographer George Balanchine and one most widely used in the United States. Dancers trained in the Balanchine method are taught to utilize more space in less time, which results in increased speed, height and length. Characteristics of this style include: extreme speed, a deep plié, an emphasis on line, en dehors pirouettes taken from a lunge in fourth position with a straight back leg and an athletic dance quality.

Balanchine leaned toward a more neoclassical style, with a focus more on the dance and less on a plot. Today, the Balanchine method is taught at the School of American Ballet, the official school of New York City Ballet, as well as at the schools of Miami City Ballet and Pennsylvania Ballet, among others.

Top photo: © Andrew Ross | Dreamstime.com

By Leah Gerstenlauer.

The world of classical ballet in America is riddled with abbreviations, from the training level — SAB, JKO, CPYB — through to the highest echelons of the profession — NYCB, ABT, SFB, PNB… The ponderous list of schools, companies and styles could easily send a dance parent attempting to determine the educational and professional fate of an eager, talented child into an anxious state. After all, choosing the wrong training program could positively destroy a promising career, could it not?

One successful school in New York City is leading by example to oppose this narrow mentality. Founded by Rose Caiola as Studio Maestro in 1995, Manhattan Youth Ballet (a.k.a MYB) provides pre-professional classical education to young dancers from around the nation. Alumni have gone on to dance with companies such as American Ballet Theatre, New York City Ballet, Nederlands Dans Theater, and Barcelona Ballet, among a wide range of others.

What makes MYB more than just another abbreviation for high-quality classical training? “We don’t try to be like any other school,” MYB Head Faculty Deborah Wingert says. “We just want the best out of our kids.” Wingert’s phrasing highlights a key aspect of the MYB ethos: talent, intelligence, and artistry all exist within the school’s students. The job of its teachers is to draw these possibilities out of their pupils — understanding that these possibilities vary from child to child — rather than impose a particular aesthetic or notions of right and wrong, good and bad upon them.

This open and encouraging atmosphere does not, however, bar the development of solid technique. MYB adheres to a clean, graded curriculum with a firm basis in the Vaganova method. But whether in the classroom or on the stage, students are reminded that ballet is not always black and pink, nor is it an insular, stagnant art form. “It’s important that our students get a strong base, but are well-rounded,” Director of Programming Erin Fogarty affirms. “Every company you see, from NYCB and ABT, to the Bolshoi and Nederlands Dans Theater — they’re all doing everything. The technical aspects of each style are so important and really relevant in today’s world.”

New York City Ballet’s Daniel Ulbricht leading a men’s class during the 2012 MYB Summer Intensive. Photo by Igor Burlak.

In light of this reality, MYB both nurtures individual aptitudes and nudges its charges in new directions, a strategy facilitated by the academy’s diverse roster of educators. The permanent faculty includes Wingert, NYCB alumna and Balanchine repetiteur; Fogarty, once a member of Carolina Ballet and Ballet NY; Head of Classical Repertoire Marina Stavitskaya, a former Kirov dancer and a graduate of the Vaganova Academy; Head of Primary Levels Natalia Boesch, whose performance resume features contracts with PNB, ABT, and Staatsballet Berlin; Artistic Advisor Daniel Ulbricht, a current NYCB principal and frequent MYB guest star; and Choreographer-in-Residence Brian Reeder, an internationally-respected dance-maker whose performing career spanned continents.

Given this all-star team of artists, one might imagine that MYB has more than enough resources to provide its students with a comprehensive, versatile dance education. Yet one of the school’s greatest assets, its leadership insists, is that it refuses to remain an island. “The fact that we have a rotating group of guest teachers that is constant and consistent is a huge help” in creating the ideal learning environment, Wingert says. “We [the faculty] also try to go out and teach various places… We share those experiences and inform one another of those different worlds.”

By reaching into the greater dance community, MYB is not only enriching life within its studio walls, it is building an extended family for itself — a family upon which Wingert and her colleagues frequently call on their students’ behalf. “We have students in companies around the country, and we stay in touch with them,” says Boesch. “Erin knows a lot of directors, I know a few… and we call them when we’re sending our kids out to audition.” It is this notion of palpable care for and pride in its student body that sets MYB apart from the region’s larger schools.

And that sense of care and pride is naturally non-discriminatory. Wingert, Fogarty, and Boesch speak about alumni who chose to pursue other interests upon leaving the school with as much respect and admiration as they express for those working as dancers. “Sometimes, the kids realize they’re not going to be dancers,” Wingert reflects, “and that’s okay with them because they know that what they’re doing is real.” Boesch adds, “It’s a professional level of training, whether they’re going to be professional or not.”

A crucial facet of that professional education revolves around attitude — how students behave with teachers, peers, and guests. The positive, familial philosophy surrounding MYB comes from the top down, according to Fogarty, who cites the magnanimity and vision of Executive Artistic Director Rose Caiola as an inspiration to the faculty and their ever-receptive pupils. “I don’t want to paint a perfectly rosy picture that there’s no competition [amongst the students],” Wingert admits, “but there is a sense of generosity and sharing, and they do look out for one another.”

As far as competition is concerned, none of the school’s dancers need fear that he or she will be left off stage. MYB presents shows throughout the year in the black box theater of Manhattan Movement and Arts Center (MMAC), the modern performing arts complex that the academy has called its home since 2008. Caiola’s vast experience as a producer in the performing arts world ensures that students will always have ample opportunity to learn and present classic repertory and to experience new works, often as they are being created.

In June of 2012, MYB made history as the first school to perform Jerome Robbins’ jazzy Interplay. Earlier in the year, Wingert and Boesch collaborated to set A Midsummer Night’s Dream on their students, with Ulbricht guest starring in the role of Oberon. “We’re always lucky that we get beautiful Balanchine,” Wingert says, and with a full-length performance of Serenade in the works, this year is no exception. Selections from The Sleeping Beauty, set by Stavitskaya, will round out the spring season.

But before ringing in the New Year, MYB will revive a work that is rapidly becoming a local classic in its own right: The Knickerbocker Suite. Much more than a mere alternative to that other holiday staple, The Nutcracker, the hour-long Knickerbocker — scheduled to run from December 12 through the 16th at MMAC this year — presents a richly entertaining, family-friendly story set in culture capital New York City. The show gives kids and their parents something they can relate to, Fogarty and Boesch explain. It brings recognizable aspects of the city, like the Statue of Liberty, the angels at Rockefeller Center, and iconic sports teams, to the stage. The festive ballet even offers up a dancing posse of peculiarly coordinated pigeons. “Knickerbocker reminds our kids that art can be made out of what we live with every day,” Wingert asserts. “That’s the magic.”

For students at Manhattan Youth Ballet, such lessons about their practice are integral to the education they receive year round. The thriving school, fast approaching its 20-year anniversary, continually strives to address not only dance technique and artistry, but the intelligence and flexibility necessary to truly excel in the art form. And that type of three-dimensional training, Wingert says, “prepares you for life — it’s not just ballet.”

To read more about Manhattan Youth Ballet and it’s upcoming performances, visit www.manhattanyouthballet.org. For more information on Manhattan Movement and Arts Center, visit www.manhattanmovement.com

Top photo: Dancers perform in MYB’s June 2012 show. Photo by Erin Baiano

By Stephanie Wolf.

The New York dance scene is saturated with burgeoning choreographers and dance companies, giving Manhattinites an overwhelming catalogue of dance happenings to attend on any given night.  With so much established and new dance in the city, how is an ambitious choreographer to stand out?

Recognizing this surplus of dance, former New York City Ballet Soloist Tom Gold has decided to follow a less conventional approach to showcasing his choreography. By building an international touring company, Gold has succeeded in establishing a global presence with his troupe of dancers and avoided getting lost in the crowd. Now, riding on recent momentum from sold-out performances at the Guggenheim in Bilbao, Spain, Tom Gold Dance is evolving rapidly and ready to make its balletic mark on American soil.

Tom Gold Dance's Russell Janzen and Likolani Brown

The origins of TGD are almost out of the movies; glamorous and serendipitous. He formed the troupe in 1999 when he was invited to bring a group of dancers to the South of France. Word spread quickly and, shortly after, acclaimed international ballerina Alessandra Ferri asked Gold to help her assemble dancers to tour Italy.  From there, the Guggenheim in Bilbao extended an invitation to TGD and the company just completed its fourth year of performances as part of the museum’s Works & Process series. One opportunity led to the next, including tours to Bermuda, upstate New York, and more recently, Israel. Now Gold had a fledgling company. He enjoys the process and being “in charge of his life…and able to call the shots”—rather than at the mercy of an artistic staff’s creative will.

Yet founding a ballet company has not always been Gold’s ambition. He began experimenting with choreography in his high school years at the Chicago Academy for the Arts. But when Gold moved to Manhattan to join the New York City Ballet, “choreography took a back seat.” He asserts, “I’ve always loved dancing and choreographing,” but he was fully focused on dancing during his performing career. It wasn’t until well into his time with New York City Ballet that the choreographic itch came back into his life.

In a trend of edgy, contemporary dance, Gold sticks to what he knows best, classical ballet.  His company performs “ballet at its best [with] beautiful movement and beautiful dancers.” The repertoire is a “nice range of American ballet,” including works by George Balanchine, Jerome Robbins, Twyla Tharp, as well as Gold’s own choreography. There’s usually a narrative because Gold loves to use movement to tell a story, and he often pulls his choreographic inspiration from music. “I always try to do something that is challenging, educational, but entertaining for the audience. I want the audience and dancers both to have a great time,” he says enthusiastically, “like sugar, but it’s educational. It goes down easy but it will teach you something.”

Currently, the company is mostly comprised of dancers from major companies like New York City Ballet, American Ballet Theatre, and Pacific Northwest Ballet. But Gold hopes to build his own roster of dynamic artists and, eventually, bring in more emerging choreographers. It’s still in “the infant stage,” but prospering rapidly. Recently TGD gained its nonprofit status and is now actively fundraising to enable more domestic performances and expansion.

The company is based in Manhattan, using the city as a “springboard.” And while Gold intends to build a stronger national presence, particularly in New York, he loves travel and believes “global growth” will always be at the heart of Tom Gold Dance.

Down the road, the company has a lot to look forward to. At the beginning of November, it tours to Cuba for the International Ballet Festival of Havanna, performing works by Tharp, Balanchine and Gold. It’s a huge honor for the troupe as the festival is one of the oldest of its kind in the world and occurs only every two years. Additionally, Gold plans to expand the company’s New York performance season and there is the possibility of a tour to Hawaii in 2014. Energized and excited for the future of his company, Gold’s passion for choreographing, his dancers, and the art form in general shines through. His infectious attitude will surely take the troupe far.

Top photo:
Tom Gold Dance’s Amanda Hankes, Sara Mearns and Abi Stafford. Photo by Arthur Elgort.
Photos courtesy of Dan Dutcher Public Relations.

How much do you know about George Balanchine, one of the 20th century’s most famous choreographers?

By Rain Francis.

1. George Balanchine was born in which country?

a) USA

b) Germany

c) Russia

d) Poland

2. With which composer would you MOST associate Balanchine?

a) Tchaikovsky

b) Stravinsky

c) Ravel

d) Gerhswin

3. Which of the following is NOT represented in Balanchine’s Jewels?

a) Sapphires

b) Rubies

c) Emeralds

d) Diamonds

4. Which group of dancers was Concerto Barocco choreographed on?

a) New York City Ballet

b) Ballet Russe de Monte Carlo

c) Julliard School of Dance

d) School of American Ballet

5. How many times did Balanchine marry?

a) none

b) twice

c) four times

d) five times

6. Which dancer created the lead role in The Prodigal Son?

a) Serge Lifar

b) Vaslav Nijinksy

c) Leonide Massine

d) Mikhail Baryshnikov

7. Which ballerina created the role of the Sugar Plum Fairy in Balanchine’s The Nutcracker ?

a) Maria Tallchief

b) Suzanne Farrell

c) Gelsey Kirkland

d) Patricia McBride

8. Which was the first ballet Balanchine choreographed in America?

a) Tchaikovsky Pas de Deux

b) Serenade

c) Agon

d) Apollo

9. Which of the following Greek muses is NOT present in the ballet Apollo?

a) Terpsichore, muse of dance

b) Caliope, muse of epic poetry

c) Clio, muse of history

d) Polyhymnia, muse of mime or hymns

10. Theme and Variations is choreographed to a score by which composer?

a) Stravinsky

b) Prokofiev

c) Satie

d) Tchaikovsky

ANSWERS: 1 – c; 2 – b; 3 – a; 4 – d; 5 – d; 6 – a; 7 – a; 8 – b; 9 – c; 10 – d

Photo: English National Ballet. Thomas Edur and Agnes Oaks performing Balanchine’s Apollo. Photo by Patrick Baldwin.

By Rebecca Martin.

Talk about opening a can of worms.  With the release of Jennifer Homans’ book Apollo’s Angels, which charts the history of ballet, has come a flurry of debate about the epilogue included at the end of the book.  In it, Homans suggests that ballet is either dead or dying.  Such a statement is sure to inspire a response from ballet lovers, dancers, and students alike whether that response is a wise nod of agreement or a furious rebuttal. 

“After years of trying to convince myself otherwise,” Ms. Homans writes, “I now feel sure that ballet is dying.”

The crux of Homans’ argument centres on the idea that pieces like George Balanchine’s Divertimento No. 15 have become trivial and no longer have the ability to move audiences.  While many works of art fail to survive the passage of time, in the instance of classical ballet and modern ballet pieces that have lasted for decades and are still being performed and enjoyed to this day, it is not the piece which has become trivial.  It is the audience’s exposure to newer works, greater technique and more impressive staging of productions that has changed the way we view the older works.   Choreographer, dancer, ballet master, and director Robert Kelly says, “to say ballet is dying is the same as saying ‘classical music is passe’ or ‘surrealism is dead’. It’s an art form with a wonderful heritage and a rich history”.  Indeed, much like popular songs or fashion statements that were a big hit upon release and are now a source of ridicule and are mostly forgotten, many ballet pieces will be lauded upon premiere and just as quickly dismissed from memory.  They will become dated and trite.  Not every production will become a classic, nor will every performance be memorable. 

Australian Ballet performs The Possibility Space by Nicolo Fonte. Photo Jeff Busby

The Australian Ballet’s Artistic Director David McAllister feels that ballet is alive and well. “There are so many companies around the world creating a myriad of new works that explore the ballet technique and use it in completely new and innovative ways. Productions of the 19th century ballet canon are being updated and presented using 21st century technology and techniques in ways that inject new life for today’s audiences. Young dancers are still joining ballet classes around the globe and dance is being seen by an ever-growing audience thanks to an online world of Facebook, blogs and Youtube.” 

Technology is enabling smaller projects to get off the ground, receive exposure and funding.  Where once ballet was seen as an activity for the upper class and entertainment for the elite, ballet companies are reaching out to younger audiences and moving with the times.  However, the high cost of seeing a major ballet company remains beyond the reach for many families, students and adults alike. 

Homans neglects to point her assessment of ballet’s vitality to the modern day productions that are wowing audiences, challenging dancers and standing up to repeat performances.  Granted, it is too early to tell whether many, if any, of these pieces will become classics and will ensure the longevity of the art form.   She dismisses contemporary works outright as “gymnastic or melodramatic excess” suggesting that only the tutu ballets of old have any place in the current climate.  Such an opinion sounds an awful lot like the same criticism that was thrown at early rock and roll or Allen Ginsberg’s revolutionary poem Howl.  Groundbreaking art will always have its critics and there will always be an element of adjustment as dance moves forward.  Best it does that than stays stagnant and fades into oblivion. 

Certainly, ballet is a structured art form and there can only be so many variations before it stops being ballet, while other forms of dance such as hip hop or jazz can take many different forms and remain true to its origins.  This isn’t a criticism, rather an observation.  Ballet’s structure allows it to remain consistent over time and won’t fall prey to disintegration.  Having said that, in order to keep new and younger audiences who are exposed to such a vast array of mediums for entertainment interested in ballet, it is essential that the art embraces technology and utilises its various forms to engage people.  As our attitudes change towards entertainment, so too must the entertainment itself evolve.  McAllister sees ballet continuing to “evolve and develop to reflect the environment that we live in. In each generation there are people who innovate and bring new ideas and new energy to ballet. Their works add to the canon and their masterpieces become the classics of the future. While it’s important to maintain and present the great works of the past that are the foundation of ballet, it is equally crucial to develop and nurture the choreographers of today to keep the evolution of our art form vital and alive!”

Julie Kent and Marcelo Gomes of American Ballet Theatre in Romeo and Juliet. Photo Rosalie O’Connor.

Ballet companies are employing more fashion focused advertising with bright colours, and an edgy take on a classical tradition.  A couple of years ago, San Francisco Ballet had the image of two dancers kissing in the back of a convertible car on their promotional posters.  Many bars and stores put up the posters, which for them was the first dance poster they had ever displayed.  The Australian Ballet’s dancers can be frequently seen between the pages of fashion magazines, as well as sports and other publications.  The idea is to present ballet dancers as sexy, vital and modern, in contrast to the outdated image of them as stuffy, one dimensional and old fashioned. 

Despite this, ballet still has limitations in this modern climate. As Sarah Keough from the Washington Post writes, “money problems weigh on ballet like a stone around its neck: salaries, rent, costumes, toe shoes, insurance, musicians, storage and so on. Debt is a big factor in all the conservative programming out there.  But the main problem is this: ballet suffers from a serious lack of confidence that is only growing more and more paralyzing.”  She goes on to say, “there’s nothing more boring than safe, pretty art. Nothing feels less relevant. Ballet needs to think bigger. Yes, money is tight, but ballet here has gotten itself into trouble by aspiring to opera-house prestige without the more stable budgets of its European counterparts. To survive into the future, I think the average ballet company would do better to downsize, aim for excitement, stir the pot — and drop the full-length ballets, which are better left to the few larger, richer operations”.

Alexei Ratmansky rehearsing with New York City Ballet. Photo Paul Kolnik

It’s not all doom and gloom for ballet lovers, however.  With choreographers like Twyla Tharp, Christopher Wheeldon, and Alexei Ratmansky amongst others, pushing the boundaries of ballet and creating works that blend abstraction with classical lines, ballet remains a living, breathing art form.  A glaring omission from Homans’ assessment of modern ballet is American choreographer William Forsythe who turned ballet on its head at the end of the 20th century and challenged dancers technically and audiences intellectually.

The people are telling us that ballet is as essential and popular as ever.  McAllister states that audiences for The Australian Ballet are growing every year, with subscription rates the highest they’ve been since the early 1990s. 

Landestheater Coburg Ballet Master and international dancer Griffin Doug suggests that the pulse of ballet is strong in Europe. “I see (ballet) as the only ‘high-art’ that can be relied upon to bring constant houses. With the exception of well known musicals, dance programmes are the normally safe bet for a theatre intendant. Houses may not be sold out every night but performance for performance over a season the dance nights sell more seats than other performances.  For McAllister, however, “it’s not just about seat numbers (but) more about giving audience members a whole ballet experience.”

 As Doug points out, ballet has the important asset of being a universal language which allows a production to traverse the globe without the barriers of communication.  And as all dancers can attest, a ballet class can be taken in any language anywhere in the world with little to no confusion.  The language of dance is the same wherever you go.  “Of all the live performance genres, ballet is the most adaptable to change. Dance is easily performed in large and small house settings, also in impromptu and carefully rehearsed productions. Dance can be performed with full symphony accompaniment, but is also accepted by audiences with pre-recorded soundtracks. Far from being a dying art form or a museum art form, dance is alive and well. It is the most adaptable of art forms with the widest audience base.”

Ballet itself is the foundation for all other forms of dance.  A jazz dancer with classical technique is more often than not far superior to someone without ballet training, and the same can be said for musical theatre, cabaret, tap and even hip hop dancers.  With the surge in popularity for dance thanks to the plethora of television shows, movies, and film clips showcasing the broad appeal, diversity and skill of the art, ballet is not going anywhere in a hurry.

Top photo: Aurelie Dupont & Herve Moreau of the Paris Opera Ballet. Copyright Anne Deniau