Dance Faculty 2021-2022
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Nutcracker Three Hundred Sixty-Seventh Program of the 2012-13 Season ______Indiana University Ballet Theater Presents
2012/2013 Peter Ilyich Tchaikovsky NutcrackerThe Three Hundred Sixty-Seventh Program of the 2012-13 Season _______________________ Indiana University Ballet Theater presents its 54th annual production of Peter Ilyich Tchaikovsky’s The Nutcracker Ballet in Two Acts Scenario by Michael Vernon, after Marius Petipa’s adaptation of the story, “The Nutcracker and the Mouse King” by E. T. A. Hoffmann Michael Vernon, Choreography Andrea Quinn, Conductor C. David Higgins, Set and Costume Designer Patrick Mero, Lighting Designer Gregory J. Geehern, Chorus Master The Nutcracker was first performed at the Maryinsky Theatre of St. Petersburg on December 18, 1892. _________________ Musical Arts Center Friday Evening, November Thirtieth, Eight O’Clock Saturday Afternoon, December First, Two O’Clock Saturday Evening, December First, Eight O’Clock Sunday Afternoon, December Second, Two O’Clock music.indiana.edu The Nutcracker Michael Vernon, Artistic Director Choreography by Michael Vernon Doricha Sales, Ballet Mistress Guoping Wang, Ballet Master Shawn Stevens, Ballet Mistress Phillip Broomhead, Guest Coach Doricha Sales, Children’s Ballet Mistress The children in The Nutcracker are from the Jacobs School of Music’s Pre-College Ballet Program. Act I Party Scene (In order of appearance) Urchins . Chloe Dekydtspotter and David Baumann Passersby . Emily Parker with Sophie Scheiber and Azro Akimoto (Nov. 30 & Dec. 1 eve.) Maura Bell with Eve Brooks and Simon Brooks (Dec. 1 mat. & Dec. 2) Maids. .Bethany Green and Liara Lovett (Nov. 30 & Dec. 1 eve.) Carly Hammond and Melissa Meng (Dec. 1 mat. & Dec. 2) Tradesperson . Shaina Rovenstine Herr Drosselmeyer . .Matthew Rusk (Nov. 30 & Dec. 1 eve.) Gregory Tyndall (Dec. 1 mat.) Iver Johnson (Dec. -
Ballet and Folkdance Modern
BALLET AND FOLKDANCE י MODERN DAN ~ CE Giora Manor interviews Jiri Kylian. Jiri Kylian, artistic director of the Nederlands Dans Theatre, master, you should know more about these things. First of was asked in the course of his company's third visit to all, of course, one has to study classical dancing and folk Israel, in the spring of 1980, to lecture on the relationship dancing but real folk dance, no character dance. Character between modem dance, ballet and folk dance. It seemed dance is something that's been taken from ethnic dances, that this topic, fundamental to the understanding of perverted in a way and made into a brilliant kind of insert modem stage dance, was especially well suited to Kylian's for classical ballets. No, we didn't study that, we studied choreographic style, as he often uses elements which derive real folk dances. We wouldn't study, for instance, the from folk traditions. Instead of a lecture he chose to show czardas in general but would leam a specific Szekely some video-films of his work and asked me to discuss the Czardas, which is a Czardas from a certain part ofHungary. topic with him in public. We wouldn't study just the polka but a very specific Polka that comes from a ce.rtain part of Czechoslovakia, Poland or The Bat-Dor Dance Company, who were the hosts of the Russia. This is what 1 really think is important and 1 would Nederlands Dans Theatre during their tour, made their hall advise schools to follow this example because character available, and about three hundred dancers, folk dance dances are only a perversion of real folk dancing. -
Rosena Hill Jackson Resume
ROSENA M. HILL JACKSON 941-350-8566 [email protected] www.RosenaHill.com BROADWAY/New York Carousel Nettie Jack O’Brien/Justin Peck Prince of Broadway swing Harold Prince/ Susan Stroman After Midnight Rosena Warren Carlyle/Daryl Waters/Wynton Marsalis Carousel Ensemble Avery Fisher Hall/PBS “Live at Lincoln Center” Cotton Club Parade Rosena Encores City Center Lost in the Stars Mrs. Mckenzie Encores Z City Center Come Fly Away Featured Vocalist Marriott Marqui Theatre/Twyla Tharp The Tin Pan Alley Rag Monisha/Miss Lee Roundabout Theatre Co./Stafford arima,dir Oscar Hammerstein II: The Song is You Soloist Carnegie Hall/New York Pops Color Purple Church Lady Broadway Theatre Spamalot Lady of the Lake/Standby Mike Nichols dir. Imaginary Friends Mrs. Stillman & others Jack O'Brien dir. Oklahoma Ellen Trevor Nunn mus dir./Susan Stroman chor. Riverdance on Broadway Amanzi Soloist Gershwin Theater Marie Christine Ozelia Graciela Daniele dir. Ragtime Sarah’s Friend u/s Frank Galati, Graciela Daniele/Ford’s Center REGIONAL The Toymaker Sarah NYMF/Lawrence Edelson,dir The World Goes Round Woman #1 Pittsburgh Public Theater/Marcia Milgrom Dodge,dir Ragtime Sarah White Plains Performing Arts Center Man of Lamancha Aldonza White Plains Performning Arts Center Baby Pam/s Papermill Playhouse Dreamgirls Michelle North Carolina Theater Ain’t Misbehavin’ Armelia Playhouse on the Green Imaginary Friends Smart women soloist Globe Theater 1001 Nights Sophie George Street Playhouse Mandela (with Avery Brooks) Winnie Steven Fisher dir./Crossroads Brief History -
The Evolution of Musical Theatre Dance
Gordon 1 Jessica Gordon 29 March 2010 Honors Thesis Everything was Beautiful at the Ballet: The Evolution of Musical Theatre Dance During the mid-1860s, a ballet troupe from Paris was brought to the Academy of Music in lower Manhattan. Before the company’s first performance, however, the theatre in which they were to dance was destroyed in a fire. Nearby, producer William Wheatley was preparing to begin performances of The Black Crook, a melodrama with music by Charles M. Barras. Seeing an opportunity, Wheatley conceived the idea to combine his play and the displaced dance company, mixing drama and spectacle on one stage. On September 12, 1866, The Black Crook opened at Niblo’s Gardens and was an immediate sensation. Wheatley had unknowingly created a new American art form that would become a tradition for years to come. Since the first performance of The Black Crook, dance has played an important role in musical theatre. From the dream ballet in Oklahoma to the “Dance at the Gym” in West Side Story to modern shows such as Movin’ Out, dance has helped tell stories and engage audiences throughout musical theatre history. Dance has not always been as integrated in musicals as it tends to be today. I plan to examine the moments in history during which the role of dance on the Broadway stage changed and how those changes affected the manner in which dance is used on stage today. Additionally, I will discuss the important choreographers who have helped develop the musical theatre dance styles and traditions. As previously mentioned, theatrical dance in America began with the integration of European classical ballet and American melodrama. -
Twyla Tharp Th Anniversary Tour
Friday, October 16, 2015, 8pm Saturday, October 17, 2015, 8pm Sunday, October 18, 2015, 3pm Zellerbach Hall Twyla Tharp D?th Anniversary Tour r o d a n a f A n e v u R Daniel Baker, Ramona Kelley, Nicholas Coppula, and Eva Trapp in Preludes and Fugues Choreography by Twyla Tharp Costumes and Scenics by Santo Loquasto Lighting by James F. Ingalls The Company John Selya Rika Okamoto Matthew Dibble Ron Todorowski Daniel Baker Amy Ruggiero Ramona Kelley Nicholas Coppula Eva Trapp Savannah Lowery Reed Tankersley Kaitlyn Gilliland Eric Otto These performances are made possible, in part, by an Anonymous Patron Sponsor and by Patron Sponsors Lynn Feintech and Anthony Bernhardt, Rockridge Market Hall, and Gail and Daniel Rubinfeld. Cal Performances’ – season is sponsored by Wells Fargo. PROGRAM Twyla Tharp D?th Anniversary Tour “Simply put, Preludes and Fugues is the world as it ought to be, Yowzie as it is. The Fanfares celebrate both.”—Twyla Tharp, 2015 PROGRAM First Fanfare Choreography Twyla Tharp Music John Zorn Musical Performers The Practical Trumpet Society Costumes Santo Loquasto Lighting James F. Ingalls Dancers The Company Antiphonal Fanfare for the Great Hall by John Zorn. Used by arrangement with Hips Road. PAUSE Preludes and Fugues Dedicated to Richard Burke (Bay Area première) Choreography Twyla Tharp Music Johann Sebastian Bach Musical Performers David Korevaar and Angela Hewitt Costumes Santo Loquasto Lighting James F. Ingalls Dancers The Company The Well-Tempered Clavier : Volume 1 recorded by MSR Records; Volume 2 recorded by Hyperi on Records Ltd. INTERMISSION PLAYBILL PROGRAM Second Fanfare Choreography Twyla Tharp Music John Zorn Musical Performers American Brass Quintet Costumes Santo Loquasto Lighting James F. -
Stage Dance A
NOVATEUR PUBLICATIONS INTERNATIONAL JOURNAL OF INNOVATIONS IN ENGINEERING RESEARCH AND TECHNOLOGY [IJIERT] ISSN: 2394-3696 Website: ijiert.org VOLUME 7, ISSUE 8, Aug.-2020 THE E0ERGE1CE A1D F2R0AT,21 2F THE S8B-ECT 2F F2/.- STAGE DA1CE A. I. YESHIMBETOVA, Teacher at the National Academy of Choreography of Uzbekistan E-mail address: [email protected] ABSTRACT: This article is a historical excursus into the formation and role of folk-stage dance from its origins to the present. It outlines the contribution of the enthusiastic reformers of character dance - A.F. Bekefi, F.I. Kshesinki, A.V. Shiryaeva, A.I. Bocharova and A.V. Lapukhov. Outstanding dancers, and later teachers, they stood at the origins of the creation of a system for teaching character dance, brought up more than one generation of dancers who continued the formation of folk stage dance as one of the main subjects of a cycle of special disciplines in the vocational training system in ballet schools. KEYWORDS: History of Russian ballet, F. Bekefi / character dance F.I. Kshesinskaya, "mazurist" A.V. Shiryaev, Mariinsky Theatre A.V. Lopukhov, Leningrad Choreographic College Fundamentals of character dance, A.V. Shiryaev, A.V. Lopukhov, A.I. Bocharov Folk stage dance, Folk dance ensemble. INTRODUCTION From its very origins folk stage dance has become of the main subjects in the cycle of special disciplines and an important part of the system of professional ballet dance training. Having gone through a certain path of formation and historical development, folk stage dance has become an academic discipline, an important and integral part of classical ballet education. -
Program Notes
“Come on along, you can’t go wrong Kicking the clouds away!” Broadway was booming in the 1920s with the energy of youth and new ideas roaring across the nation. In New York City, immigrants such as George Gershwin were infusing American music with their own indigenous traditions. The melting pot was cooking up a completely new sound and jazz was a key ingredient. At the time, radio and the phonograph weren’t widely available; sheet music and live performances remained the popular ways to enjoy the latest hits. In fact, New York City’s Tin Pan Alley was overflowing with "song pluggers" like George Gershwin who demonstrated new tunes to promote the sale of sheet music. George and his brother Ira Gershwin composed music and lyrics for the 1927 Broadway musical Funny Face. It was the second musical they had written as a vehicle for Fred and Adele Astaire. As such, Funny Face enabled the tap-dancing duo to feature new and well-loved routines. During a number entitled “High Hat,” Fred sported evening clothes and a top hat while tapping in front of an enormous male chorus. The image of Fred during that song became iconic and versions of the routine appeared in later years. The unforgettable score featured such gems as “’S Wonderful,” “My One And Only,” “He Loves and She Loves,” and “The Babbitt and the Bromide.” The plot concerned a girl named Frankie (Adele Astaire), who persuaded her boyfriend Peter (Allen Kearns) to help retrieve her stolen diary from Jimmie Reeve (Fred Astaire). However, Peter pilfered a piece of jewelry and a wild chase ensued. -
2018 Annual Report
Annual Report 2018 Dear Friends, welcome anyone, whether they have worked in performing arts and In 2018, The Actors Fund entertainment or not, who may need our world-class short-stay helped 17,352 people Thanks to your generous support, The Actors Fund is here for rehabilitation therapies (physical, occupational and speech)—all with everyone in performing arts and entertainment throughout their the goal of a safe return home after a hospital stay (p. 14). nationally. lives and careers, and especially at times of great distress. Thanks to your generous support, The Actors Fund continues, Our programs and services Last year overall we provided $1,970,360 in emergency financial stronger than ever and is here for those who need us most. Our offer social and health services, work would not be possible without an engaged Board as well as ANNUAL REPORT assistance for crucial needs such as preventing evictions and employment and training the efforts of our top notch staff and volunteers. paying for essential medications. We were devastated to see programs, emergency financial the destruction and loss of life caused by last year’s wildfires in assistance, affordable housing, 2018 California—the most deadly in history, and nearly $134,000 went In addition, Broadway Cares/Equity Fights AIDS continues to be our and more. to those in our community affected by the fires and other natural steadfast partner, assuring help is there in these uncertain times. disasters (p. 7). Your support is part of a grand tradition of caring for our entertainment and performing arts community. Thank you Mission As a national organization, we’re building awareness of how our CENTS OF for helping to assure that the show will go on, and on. -
Student Guide Table of Contents
GOODSPEED MUSICALS STUDENT GUIDE TABLE OF CONTENTS APRIL 13 - JUNE 21, 2018 THE GOODSPEED Production History.................................................................................................................................................................................3 Synopsis.......................................................................................................................................................................................................4 Characters......................................................................................................................................................................................................5 Meet the Writers.....................................................................................................................................................................................6 Meet the Creative Team........................................................................................................................................................................8 Presents for Mrs. Rogers......................................................................................................................................................................9 Will Rogers..............................................................................................................................................................................................11 Wiley Post, Aviation Marvel..............................................................................................................................................................16 -
Cast Biographies Chris Mann
CAST BIOGRAPHIES CHRIS MANN (The Phantom) rose to fame as Christina Aguilera’s finalist on NBC’s The Voice. Since then, his debut album, Roads, hit #1 on Billboard's Heatseekers Chart and he starred in his own PBS television special: A Mann For All Seasons. Chris has performed with the National Symphony for President Obama, at Christmas in Rockefeller Center and headlined his own symphony tour across the country. From Wichita, KS, Mann holds a Vocal Performance degree from Vanderbilt University and is honored to join this cast in his dream role. Love to the fam, friends and Laura. TV: Ellen, Today, Conan, Jay Leno, Glee. ChrisMannMusic.com. Twitter: @iamchrismann Facebook.com/ChrisMannMusic KATIE TRAVIS (Christine Daaé) is honored to be a member of this company in a role she has always dreamed of playing. Previous theater credits: The Most Happy Fella (Rosabella), Titanic (Kate McGowan), The Mikado (Yum- Yum), Jekyll and Hyde (Emma Carew), Wonderful Town (Eileen Sherwood). She recently performed the role of Cosette in Les Misérables at the St. Louis MUNY alongside Norm Lewis and Hugh Panero. Katie is a recent winner of the Lys Symonette award for her performance at the 2014 Lotte Lenya Competition. Thanks to her family, friends, The Mine and Tara Rubin Casting. katietravis.com STORM LINEBERGER (Raoul, Vicomte de Chagny) is honored to be joining this new spectacular production of The Phantom of the Opera. His favorite credits include: Lyric Theatre of Oklahoma: Disney’s The Little Mermaid (Prince Eric), Les Misérables (Feuilly). New London Barn Playhouse: Les Misérables (Enjolras), Singin’ in the Rain (Roscoe Dexter), The Music Man (Jacey Squires, Quartet), The Student Prince (Karl Franz u/s). -
Twyla Tharp Goes Back to the Bones
HARVARD SQUARED ture” through enchanting light displays, The 109th Annual dramatizes the true story of six-time world decorations, and botanical forms. Kids are Christmas Carol Services champion boxer Emile Griffith, from his welcome; drinks and treats will be available. www.memorialchurch.harvard.edu early days in the Virgin Islands to the piv- (November 24-December 30) The oldest such services in the country otal Madison Square Garden face-off. feature the Harvard University Choir. (November 16- Decem ber 22) Harvard Wind Ensemble Memorial Church. (December 9 and 11) https://harvardwe.fas.harvard.edu FILM The student group performs its annual Hol- The Christmas Revels Harvard Film Archive iday Concert. Lowell Lecture Hall. www.revels.org www.hcl.harvard.edu/hfa (November 30) A Finnish epic poem, The Kalevala, guides “A On Performance, and Other Cultural Nordic Celebration of the Winter Sol- Rituals: Three Films By Valeska Grise- Harvard Glee Club and Radcliffe stice.” Sanders Theatre. (December 14-29) bach. The director is considered part of Choral Society the Berlin School, a contemporary move- www.harvardgleeclub.org THEATER ment focused on intimate realities of rela- The celebrated singers join forces for Huntington Theatre Company tionships. She is on campus as a visiting art- Christmas in First Church. First Church www.huntingtontheatre.org ist to present and discuss her work. in Cambridge. (December 7) Man in the Ring, by Michael Christofer, (November 17-19) STAFF PICK:Twyla Tharp Goes music of Billy Joel), and, in 2012, the ballet based on George MacDonald’s eponymous tale The Princess and the Goblin. Back to the Bones Yet “Minimalism and Me” takes the audience back to New York City in the ‘60s and ‘70s, and the emergence of a rigor- Renowned choreographer Twyla Tharp, Ar.D. -
Dress Code Dancewear Selections Must Present a Clean And
Dress Code Dancewear selections must present a clean and professional appearance allowing the instructor to clearly see the dancer’s body. This includes refraining from wearing dance attire with large graphics and logos. Bare legs, bare midriffs, loose or sloppy warm-up pants, cut-off tights, and plastic sweat pants are not permitted in classes. Personal grooming is also important. Hair must be securely fastened off face and neck in order not to interfere with the execution of turns and jumps. Students must also refrain from wearing heavy or sharp hair ornaments and jewelry. There are several days during the year when the Instructors may allow less rigid dress, e.g., Halloween, Valentine’s Day, St. Patrick’s Day, etc. The Instructor will announce these days in advance. Ballet Studio Classes – Technique and Pointe Daily Class Dress code • Women: Any solid single-color leotards and pink tights. Leg warmers may be worn in cases of injury and with instructor approval. Leg warmers must be knit, tight fitting, and a light pastel color in order to be less visually distracting– pink is recommended. For Pointe classes, the same dress code applies. Skirts or rehearsal tutus may be worn only at the request of the instructor when working on variations. • Men: Any solid single-color form fitting t-shirt, leotard or the like, tucked in (no large graphics), black or gray tights, white socks and white shoes, or socks and shoes of the same color. Leg warmers may be worn in cases of injury with instructor permission and must be knit, tight fitting and black or gray.