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Home , Hershy Kay, Union Jack (ballet), Variations (ballet), Western Symphony

TEACHERS GUIDE AND PRE-PERFORMANCE INFORMATION FOR for YOUNG PEOPLE

A Miami City Ballet, Share the Dance Community Outreach and Educational Program Contact: Terry Schechter, Director [email protected] 305.929.7000.ext.1401

MCB BFYP 2015- 2016 |

TO: Classroom Teachers, Dance Teachers, Music Teachers and Fieldtrip Coordinators

FROM: Terry Schechter, Director Community Outreach, Miami City Ballet

SUBJECT: Ballet for Young People, Educational and Outreach Performances

2015-2016 SEASON PERFORMANCES:

Bailey Hall /Broward College: 11/ 19/ 2015

South Miami Dade Cultural Arts Center: 11/20 and 21/2015 Caleb Auditorium: 1/11/16 Adrienne Arsht Center for the Performing Arts: 2/13/16 Kravis Center for the Performing Arts: 2/26/16 ______

We look forward to seeing you at our upcoming Ballet for Young People performances. In order to ensure everyone’s comfort and enjoyment during the performance, we ask that you please follow these simple guidelines.

 ARRIVE 30 MINUTES BEFORE PERFORMANCE TIME- Ample time is needed for bus unloading and getting the students to their seats.

 OBSERVE PARKING DIRECTIONS- Each venue has different instructions please check the individual websites.

 ARRIVAL & DISMISSAL PROCESS- Please follow the arrival and dismissal procedures as directed by the venue This will be used to ensure an orderly departure.

 A VERY SPECIAL THANK YOU - To you the teachers, chaperones, fieldtrip coordinators and bus drivers. We know that filed trip days can be a challenge and we appreciate your efforts in providing your students with such a wonderful experience.

Thank you for your participation. If you have any questions please email the Community Outreach and Special Projects department, [email protected] with the Subject line: MCB BFYP

MCB BFYP 2015- 2016 | Please discuss theater etiquette with your students!

THEATER ETIQUETTE

• Arriving early for a performance is always a polite thing to do. Latecomers cannot be seated once the performance begins.

• This is a LIVE performance. Unlike television or the movies, the people on stage are there at that moment and are dancing for the audience’s pleasure. Any noise distracts them.

• We ask that you sit quietly in your seats and enjoy this exiting performance.

• No food, drink, chewing gum, skateboards, cameras, or recording equipment are allowed inside the theater.

• Cell phones, iPods, electronic games, and other devices should all be turned off or set to “silent” mode.

• Do not leave your seat before the lights go on because this is disruptive to your neighbors.

• Clap to show the dancers and musicians that you are enjoying the performance only when the dancing has finished. It is customary to applaud when the dancers take a bow.

Below are some suggestions of what to look and listen for during a performance.

A. Watch the dancers.

B. Listen to the music.

C. Look at their facial expressions, are they angry, are they sad, are they happy?

D. Look at their body and hand movements are they telling a story? Do they tell you what mood they are in?

E. Look at the costumes, lighting and set designs do they help you understand the story?

MCB BFYP 2015- 2016 |

BALLET FOR YOUNG PEOPLE Join MCB School Ensemble for an interactive, behind-the-scenes look at the art of ballet. Learn how ballet began, what it takes to become a professional ballet dancer and how a ballet is created. You’ll see performance excerpts from MCB’s repertoire, including Marius Petipa’s famed fairy-tale ballet The Sleeping Beauty, featuring Puss N’ Boots, Cinderella, and Little Red Riding Hood. Also enjoy ’s salute to the U.S.A. -- the high- spirited Stars and Stripes -- with all-American costumes, sets and music (danced to the patriotic marches of John Philip Sousa).

MIAMI CITY BALLET Established in 1985, Miami City Ballet is one of the nation’s top ballet companies with 50 company dancers and a repertoire of nearly 100 . The dancers are an international mix, they come to Miami City Ballet from many ballet schools around the world. In 2012, it welcomed Artistic Director Lourdes Lopez who was born in Havana, Cuba and raised in Miami. She was a principal dancer for 24 years with the and danced under choreographers George Balanchine and Jerome Robbins. Ms. Lopez later partnered with a choreographer named Christopher Wheeldon to create a dance company in New York named Morphoses. She had an impressive dance career and received many honors, such as the Jerome Robbins Award. Now she makes sure that all of Miami City Ballet’s dancers are doing their best onstage for you to enjoy!

MIAMI CITY BALLET SCHOOL Miami City Ballet School, which opened in Miami Beach in January 1993, trains students of all ages and levels in ballet. Under the direction of Darleen Callahan the Miami City Ballet School has expanded and now has an enrollment of more than 500 students, and no child of talent is turned away. In June 1997, Miami City Ballet accepted the first School graduate for a professional position with the Company and today more than half of the Company dancers graduated from the School. The School launched the Miami City Ballet School Summer Intensive Program in July 2001. The Summer Program draws approximately 200 students from around the world.

MCB SCHOOL ENSEMBLE The Miami City Ballet School Ensemble is comprised of the top-level students in the Pre-Professional Division of the School, who serve as ambassadors to the community, while receiving valuable live performance experience. They perform in MCB’s signature education and outreach program Ballet for Young People as well as in other special events and public performances throughout South Florida. Each Season’s programming includes a diverse repertoire- from Petipa to Balanchine, - encompassing both classical and contemporary works.

To learn more about Miami City Ballet, visit miamicityballet.org

MCB BFYP 2015- 2016 |

A DAY IN A DANCERS LIFE Professional Ballet dancers are like professional athletes. Their workday is designed to help them stay in top physical condition to perfect their craft and learn their parts for upcoming performances.

A Dancer day begins with:

Company class: 90 minutes Professional ballet dancers all around the world whether they are beginners or prima ballerinas, start their day by taking a class. This is an extremely important part of dancers' day. The morning classes are taught by the ballet mistress/or ballet master and follow the same basic structure daily. During the first half of the class, while holding on to the barre, the dancers do movements that warm and stretch their muscles, loosen their joints, and keep them flexible. They also do exercises that strengthen their balance, equilibrium, and control. For the second part of the class, the dancers move away from the barre to the center of the studio. Here, again under the directions of the ballet master /mistress, they do unsupported exercises, sequences and combinations that include pirouettes, jetes and other traveling steps. The sequence of exercises is designed to help the dancers increase their stamina, perfect their techniques, and improve the overall quality of their dancing. All classes end with a reverence (a special curtsy) to the ballet master or ballet mistress thanking them for the class.

Rehearsals: all day When dancers are preparing for performances the rest of a dancer's day is taken up with rehearsals, which are held in different studios throughout the day. Rehearsals dates and times are posted two days in advance. The dancers must check the schedule each day and keep track of when and where they have rehearsal what they are going to rehearse and when they get there! A ballet dancer could be rehearsing three or four different pieces at the same time. Rehearsals usually last until about 6:30pm. After rehearsal, or if the ballet dancer has a break during the day, a dancer might spend time preparing their shoes, in costume fittings, physical therapy or at the gym working on their strength and conditioning.

Stage rehearsal: A day or two before opening night of a ballet performance, the dancer’s crew, artistic staff, and technicians finally get into the theater to rehearse. If the company is to perform a new Ballet, a world premiere, this is the choreographer's first opportunity to see his work on the stage. This is when he/ she will make a lot of last minute decisions about placement, movement, and spacing of the dancers, as well as the lighting to achieve the desired effect.

Dress rehearsal: At last the dancers get to perform a piece for the first time in costume and with a full orchestra instead of a piano or piped music, very different from dancing in the studio. During a dress rehearsal, the choreographer or artistic director will stop the dancers and musicians to correct anything that doesn't look or sound right, or to make last minute adjustments. Hopefully, the months of hard work have paid off and everybody is ready.

Performance: The house lights dim, the audience grows quiet as the orchestra begins to play……..the curtain rises……It is time for the performance.

MCB BFYP 2015- 2016 | Stars and Stripes

For all its exuberant patriotic touches, Stars and Stripes contains as much pure dancing as many full-length classical ballets. The work is divided into five “campaigns,” each of which uses different Sousa themes. The fourth campaign is a , , and coda set to the “Liberty Bell” and “El Capitan” marches. When asked why he chose to choreograph a ballet to Sousa’s marches, Balanchine replied: “Because I like his musIc.”

Stars and Stripes has been performed for many memorable occasions, including Nelson Rockefeller’s inauguration as governor of New York, tributes for Presidents John F. Kennedy and Lyndon B. Johnson, and the opening ceremonies for the New York State Theater at Lincoln Center. The ballet is dedicated to the memory of Fiorello H. LaGuardia, Mayor of New York City and founder of the City Center of Music and Drama.

John Philip Sousa (1854-1932), the “March King,” was an important figure in the history of American bands and American band music. He enlisted as an apprentice in the Marine Band in 1868, serving for almost seven years. In 1876 he joined Offenbach’s orchestra at the centennial exposition in Philadelphia. In 1880, at the age of 25, he became the leader of the United States Marine Band, a post he held for over 12 years. A Sousa concert usually consisted of 25 to 36 pieces, one of which was, inevitably, The Stars and Stripes Forever.

Hershy Kay (1919-1981) established himself as a preeminent orchestrator of musicals with ’s in 1944. His works for ballet include Cakewalk, Clowns, , The Concert, Stars and Stripes, Who Cares? and ; his works for musical theater include , Once Upon a Mattress,, , , and Barnum. A composer in his own right, also reconstructed Louis Moreau Gottschalk’s Grande Tarantelle for Piano and Orchestra, which later became the Balanchine balletTarantella. Mr. Kay’s work also includes a children’s record, Mother Goose.

MCB BFYP 2015- 2016 |