2018 Annual Dance Recital Show Order
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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. -
March 6-7, 2021
Nutcracker2020 March 6-7, 2021 Lincoln Midwest Ballet Company Shari True, Artistic Director Artistic Director Shari True presents The Nutcracker Music by Peter Ilyich Tchaikovsky Saturday, March 6, 2021 2 p.m. and 7 p.m. & Sunday, March 7, 2021 1 p.m. and 5 p.m. Technical Director: Daniel Anderson, Stratum Productions Stage Manager: Melanie Rudy Assistant Stage Managers: Eric Himmelberger, Kayci Johnston Stage Crew: Jamie Stephens, Paul Watson, Jaylin Wiese Props Coordinator: Tonia O’Hare Head Costumer and Costume Builder: Maralee Maldavs Hair & Makeup Designer & Assistant Costumer: Donna Himmelberger Assistant to the Costumer: Emily Maldavs Lighting Designer: John Himmelberger Sound Technician: Marlan Hohnstein Rehearsal Assistants: Betsy Andersen, Ashley Rutt Executive Director: Kelly Duncan Due to Covid-19 guidelines, we regret that drinking fountains and refreshment booths are not open. Restrooms are available as needed. 3 Lincoln Midwest Ballet Company EXECUTIVE OFFICERS Marcia Kirk, President Debby Erickson, Vice President Kenton Sullivan, President-elect Christine Mann, Vice President Renee Yost, Treasurer Vicki Schulenberg, Vice President Lana Peterson-Pressler, Secretary DIRECTORS Cori Amend Toni Montanez DIRECTORS EMERITI Jim Beitel Joyce Latrom Joan Chopp Angie Muhleisen Michael Dowd J. Michael Rierden Nancy Ingham Susan Steinegger Linda Laird Lyn Wineman LMBC MISSION The Mission of the Lincoln Midwest Ballet Company is to promote excellence in the art of ballet through performances, education, and community outreach. LMBC extends our appreciation to all of the area dance studios. The success of The Nutcracker depends upon your passion for dance and the support and guidance you provide to the talented youth of our community. LMBC thanks the following individuals who gave their time and skills to staff our first aid site: Stacey Bergantzel, RN . -
Interpreting Musical Structure Through Choreography in Gershwin's
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-23-2019 Music in Motion: Interpreting Musical Structure through Choreography in Gershwin’s "An American in Paris" Spencer Reese University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Reese, Spencer, "Music in Motion: Interpreting Musical Structure through Choreography in Gershwin’s "An American in Paris"" (2019). Doctoral Dissertations. 2172. https://opencommons.uconn.edu/dissertations/2172 Abstract Music in Motion Interpreting Musical Structure through Choreography in Gershwin’s An American in Paris Spencer Matthew Reese, D.M.A. University of Connecticut, 2019 This dissertation explores the relationship between the theoretic interpretation of music (through analysis of a score) and the kinesthetic interpretation of it (through dance). While compelling choreography often evokes the same expressive qualities as a score, music and dance each have expressive and structural components. This study looks beyond expressive unity to examine how formal elements of a musical score are embodied in a choreographic interpretation of it. George Gershwin’s now-iconic symphonic poem An American in Paris, while conceived as concert music, was almost immediately interpreted in dance onstage. It also inspired larger narrative works, including a film choreographed by Gene Kelly and a musical helmed by Christopher Wheeldon. When a score is written for dance, the logistical considerations of choreography likely influence the piece’s composition. But in the case of Paris, the structural details of the music itself have consistently given artists the impression that it is danceable. Gershwin’s life and musical style are examined, including his synthesis of popular and Western art music. -
© 2017 Ballet Dynamics, Inc
© 2017 Ballet Dynamics, Inc. Ballet for Life: A Pictorial Memoir by Finis Jhung Copyright © 2018 by Finis Jhung. All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without the prior written permission from the author or the publisher. Published by: Ballet Dynamics, Inc., New York, New York Cover photograph by Michael Avedon Cover art and book design by James Donegan, James Did It, LLC Title page photograph by Michael Avedon Library of Congress Control Number: 2017916861 ISBN: 978-0-9913898-0-3 (Print Book) ISBN: 978-0-9913898-1-0 (E-Book) 10 9 8 7 6 5 4 3 2 1 1. Fine arts/Visual Arts/Artists ©2. Recreation/Leisure/Dancing2017 Ballet Dynamics, Inc. First Edition Printed in the United States of America Praise for Ballet for Life: A Pictorial Memoir “Thousands of lessons, hardships, joys, and triumphs . thousands of moments when generosity shapes the future. These are gifts along the journey of life! In this book, Finis Jhung shows—through his words, teaching, and career—that the journey is not successfully navigated without a stunning love for the work and a great deal of inspiration. As a teenager, I walked into Finis’s class with my dance bag and with countless hopes and dreams. Luckily for me, a stunning love for the work and a great deal of inspiration was waiting at the barre!”—Andy Blankenbuehler, three-time Tony-winning choreographer for Hamilton, In the Heights, and Bandstand “Finis Jhung has had a long and remarkable career as dancer, teacher, choreographer, and company artistic director—and now, he has written a pictorial biography that beautifully describes his life in dance. -
Dorathi Bock Pierre Dance Collection, 1929-1996
http://oac.cdlib.org/findaid/ark:/13030/c8pc33q9 No online items Finding Aid for the Dorathi Bock Pierre dance collection, 1929-1996 Processed by Megan Hahn Fraser and Jesse Erickson, March 2012, with assistance from Lindsay Chaney, May 2013; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ ©2013 The Regents of the University of California. All rights reserved. Finding Aid for the Dorathi Bock 1937 1 Pierre dance collection, 1929-1996 Descriptive Summary Title: Dorathi Bock Pierre dance collection Date (inclusive): 1929-1996 Collection number: 1937 Creator: Pierre, Dorathi Bock. Extent: 27 linear ft.(67 boxes) Abstract: Collection of photographs, performance programs, publicity information, and clippings related to dance, gathered by Dorathi Bock Pierre, a dance writer and publicist. Language: Finding aid is written in English. Language of the Material: Materials are in English. Repository: University of California, Los Angeles. Library Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. -
Making an American Dance
Making an American Dance: Billy the Kid, Rodeo, and Appalachian Spring LYNN GARAFOLA Few American composers had a longer or more intimate association with dance than Aaron Copland. He discovered it as an exciting form of thea ter art in Paris during his student years, which coincided with the heyday of Serge Diaghilev's Ballets Russes and Rolf de Mare's Ballets Suedois. In the Paris of the early 1920s new music and ballet were synonymous. Stravinsky, Prokofiev, and Falla were stars of the "Russian" troupe; Satie, Milhaud, and Honegger of the "Swedish" one. In 1923, like so many other young composers, Copland attended the revival of Stravinsky'S Rite of Spring and the first performance of his Les Noces, as well as the premiere of Milhaud's La Creation du Monde. Copland's first orchestral score, which he began in Paris, was a ballet. Although it was never produced, he recy cled parts of it in his 1929 Dance Symphony, an independent orchestral work, and his 1934 ballet for Ruth Page, Hear lef Hear lef. "Ballet was the big thing in Paris during the 1920s," he told Phillip Ramey in 1980. "One of the first things I did upon arriving in Paris in 1921 was to go to the Ballets Suedois, where I saw Milhaud's £Homme et son Desir."] Copland discovered ballet in the aftermath ofDiaghilev's modernist revo lution. Through his successive choreographers-Michel Fokine and Vaslav Nijinsky before World War I, Uonide Massine, Bronislava Nijinska, and George Balanchine during and after the war-Diaghilev transformed not only what ballet looked lil(e but also how it sounded. -
California State University, Northridge
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE AGNES DE MILLE'S DANCE IN THE AMERICAN MUSICAL THEATRE AND ITS INFLUENCE ON BROADWAY A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Theatre Arts by Michelle Arlene Burkow January 1987 The Thesis of Michelle Arlene Burkow is approved: Paulette Shafranski, PhD William H. Zucche~ PhD Noreen C. Barnes, PhD, Chair California State University, Northridge ii DEDICATION This thesis is dedicated to my mother, who always encouraged me to try and achieve any goal I set for myself; and also to my grandfather Aron, who taught me about life and the joy of learning. ACKNOWLEDGEMENT I wish to thank the following people: Dr. Noreen Barnesforher faith and discerning eye; Dr. Paulette Shafranski for her neverending insights into the psyche as they relate to dance and life; Dr. William Zucchero for his knowledge of the little-known facts of American theatre; James Bell for his unselfish giving in regard to the art of acting; Alice Ashford for her love of the dance and amusing anecdotes; Tom Callas and David Cosio for their wonderful explanations on Broadway dance and music; and especially, Mrs. Walter Prude, for having given the world a part of herself expressed through acting and dance artistry. iii TABLE OF CONTENTS Chapter Page Dedication . iii Acknowlegement .................................. iii Abstract ........................................ v Introduction . 1 1. De Mille's Early Dance Endeavors .••••••.••.. 5 2. De Mille's "Country" Shows and Their Revivals 13 A. Revivals ................................ 24 3. De Mille's Other Post-Oklahoma! Works ..•.•.• 36 4. De Mille's Influence on Other Choreographers and Future Broadway Musicals .••......•••. -
Drums Sound in Hackensack: Agnes De Mille and the Jooss Ballet Clare Lidbury ABSTRACT in 1941 Agnes De Mille Created Drums Sound
Drums Sound in Hackensack: Agnes de Mille and the Jooss Ballet Clare Lidbury ABSTRACT In 1941 Agnes de Mille created Drums Sound in Hackensack for the Jooss Ballet. There is no film of the work and few photographs but the work is documented in her choreographic notes, letters to and from de Mille, dancers’ recollections, and reviews. From these can be learned why and how de Mille created the work, what it was like, and why it was significant to the Jooss Ballet. With its American theme, historical setting, dream sequence, and a female character at the center of the work it may be seen as a forgotten stepping stone in de Mille’s choreographic development. KEYWORDS: Agnes de Mille, Jooss Ballet, Drums Sound in Hackensack, Frederick Cohen, Dartington, Trude Rittman, American Ballet During the summer and fall of 1941, while she lived and worked in New York City, Agnes de Mille created Drums Sound in Hackensack for the Jooss Ballet.* Her work was the first for the company by a choreographer other than Kurt Jooss, indeed, in the whole lifecycle of the Ballets Jooss only two choreographers besides Jooss created work for the company.† There is no film of the work and few photographs but the work is documented in de Mille’s choreographic notes, reviews of the work, the recollections of dancers who performed in it, * Jooss’s company was known as “Ballets Jooss” in the United Kingdom and Europe and as the “Jooss Ballet” in the United States and South America. Here I use the namethat seems appropriate in the context. -
Playbill Production & Design by Rachel M
LoomisChaffee Department of Theater & Dance Rodgers & Hammerstein’s Music by Richard Rodgers Book and Lyrics by Oscar Hammerstein II Based on the play “Green Grow the Lilacs” by Lynn Riggs Original Dances by Agnes de Mille Director—David McCamish Music Director—Susan Barone Chrzanowski Choreographer—Kate Loughlin Production Manager—Candice Chirgotis Oklahoma! is presented through special arrangement with R & H Theatricals: www.r&h.com • Cover illustration & design by Patricia Cousins • Playbill production & design by Rachel M. Engelke • Set design sketches by Karen Sparks Mellon 1 Safeties • For the safety of the actors, please no flash photography of any kind. • The exits are located to the right of the audience and through the lobby. • Restrooms for patrons are located in the red brick building next to the NEO. • By direction of the Fire Marshal of the Town of Windsor, patrons may not occupy the aisles or the lobby during the show. ** Please note: there will be two guns fired onstage in Act I, and one gun fired onstage during Act II.** Courtesies • Please turn off all cellphones, smartphones, and other personal electronic devices, and refrain from using them during the performance. • Due to contractual agreements with the publisher, absolutely NO audio or video recording of this show are permitted. • Patrons who have forgotten or misplaced their tickets will be placed on the waitlist. • Please unwrap all cough drops before the show. Otherwise, no food or drink (except water) is allowed in the auditorium. • The show’s running time is just over 2 hours, plus one ten-minute intermission. Gratitudes • The Art Department, and most particularly Mark Zunino, for allowing our sound designer to nest in the Visiting Artist’s studio apartment. -
Agnes De Mille Theatre Allet (1905 ~ 1993) Diana Byer, Artistic Directorbexquisite Little Ballets
N EW Y ORK Agnes de Mille theatre allet (1905 ~ 1993) diana byer, artistic directorbexquisite little ballets Agnes de Mille (September 18, 1905 – October 7, 1993) was an American dancer and choreographer. Her accomplishments to the the- ater have left an impression on the growth and resilience of theatrical dance as one sees it today. She developed her own style. She added lyricismN andEW comedy,Y ORK which is perceived as a divergence from the culturalthe dancea formstre of the era. Thosea aspectsll becameet her signature trademarksdiana byer, artistic seen indirector manyb of her best exquisiteknown littleand balletsbeloved works. de Mille was born in the Harlem section of New York City and Marked as her moved to Hollywood with her family. She aspired to become an most extensive phases Photo by Beryl actress, which seemed appropriate being that her uncle was the of dance training, her Towbin illustrious Hollywood filmmaker and director, Cecil B. de Mille. work with Marie Rambert at As it turned out, her desire to perform for the camera wasn’t Ballet Club proved to be highly significant. It was there that fully realized. She was told that she wasn’t “pretty enough.” she met emerging choreographers Frederick Ashton and Antony So, she studied and performed the piano and also staged drama Tudor who she’d later work with at American Ballet Theatre. productions. She then began studying dance, including ballet. Classical ballet was the most widely known form of dance at Throughout the 1930’s de Mille spent much of her time train- that time, but she lacked the physical attributes needed to have ing, but was never able to support herself as a dancer or cho- a career in classical ballet. -
Florida State University Libraries
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2017 It's like I've Walked Right out of My Dreams: Dream Ballets in the Broadway Musical Natalia Alexis Perez Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC “IT’S LIKE I’VE WALKED RIGHT OUT OF MY DREAMS”: DREAM BALLETS IN THE BROADWAY MUSICAL By NATALIA ALEXIS PEREZ A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music 2017 Natalia Alexis Perez defended this thesis on July 13, 2017. The members of the supervisory committee were: Charles E. Brewer Professor Directing Thesis Michael Bakan Committee Member Michael Buchler Committee Member The Graduate school has verified and approved the above-named committee members and certifies that the thesis has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I am indebted to my advisor, Dr. Charles Brewer for his constant support and encouragement. Throughout this writing process, there were many moments of uncertainty, and without Dr. Brewer’s unwavering belief in me, I wouldn’t have been able to complete this project. I appreciate how he always let me come to conclusions on my own and encouraged me to be the scholar he knew I could be. I would also like to express my gratitude to my other committee members, Dr. Michael Bakan and Dr. Michael Buchler, both of whose suggestions helped this thesis reach its full potential. -
Pittsburgh Ballet Announces Updates to 2021
FOR IMMEDIATE RELEASE CONTACT: Katie Drozynski Media Relations & Content Marketing Manager 412-454-9117 / [email protected] Pittsburgh Ballet Theatre Announces Updates to its 2020-2021 Season & the Promotion of Three Dancers PBT’s updated 2020-2021 Season will include performances rescheduled due to the coronavirus. Cooper Verona and Marisa Grywalski. Photo by Duane Rieder. PITTSBURGH, PA (April 22, 2020) – Pittsburgh Ballet Theatre (PBT) has announced updates to its upcoming 2020-2021 Season in response to programs rescheduled due to the coronavirus (COVID-19) crisis that forced the closure of non-essential businesses, including PBT and the Cultural Trust venues in which the company performs. In March, PBT announced the postponement of BNY Mellon presents “Here + Now,” a mixed-repertory production featuring works by Pittsburgh-native Kyle Abraham, longtime PBT collaborator Dwight Rhoden, renowned Spanish choreographer Nacho Duato and the world-premier of an original piece by PBT Artist in Residence Staycee Pearl, sponsored by AE&E Fund. Shortly thereafter, the company also postponed its performances of “Balanchine + Tchaikovsky” with the PBT Orchestra, a program featuring choreography by George Balanchine set to the music of P.I. Tchaikovksy. Both BNY Mellon presents “Here + Now” and “Balanchine + Tchaikovsky” have been incorporated into PBT’s upcoming 2020-2021 Season. The season will now feature a total of six programs, beginning with “Balanchine + Tchaikovsky” with the PBT Orchestra in October. “Cinderella” with the PBT Orchestra, originally scheduled as the season opener, has been rescheduled for February, replacing “The Merry Widow.” BNY Mellon presents “Here + Now” will be featured at the August Wilson African American Cultural Center in April, alongside the “Modern Masters” program.