DOCSLIB.ORG

Startribune - Print Page 9/24/12 9:20 PM

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Startribune - Print Page 9/24/12 9:20 PM StarTribune - Print Page 9/24/12 9:20 PM One family's half-century dance legacy Article by: CAROLINE PALMER Special to the Star Tribune April 24, 2012 - 2:47 PM Businesses that last 50 years are successes. Dance troupes that do so are minor miracles. Creativity and perseverance help longevity. So does bucking the status quo. These are all elements of Minnesota Dance Theatre's story, which spans three generations of dancers. This week MDT marks its golden moment with four performances of "Carmina Burana" at the Cowles Center. Loyce Houlton, at left, with daughter Lise and granddaughters Raina (in mirror) and Kaitlyn in 1993. A statistic shows how rare the MDT story is. Among 299 nonprofit David Brewster, Star Tribune file American troupes in the Dance USA directory, MDT joins just 20 others with 50 or more years in operation. The list includes some of dance's best-known names, such as American Ballet Theatre, CARMINA BURANA New York City Ballet and Alvin Ailey American Dance Theater. Who: Minnesota Dance Theatre In 1946, 20-year-old Minnesota native Loyce Houlton went to What: "Carmina Burana" and Golden Gala New York City to study with legends like Martha Graham and When: 8 p.m. Thu. 4/26, 6 p.m. Fri. 4/27, 6 p.m. Sat. George Balanchine. She came home to marry, raise a family and 4/28 (Gala), 2 p.m. Sun. 4/29 teach. By 1961 she and several colleagues founded a school, the Where: The Cowles Center, 528 Hennepin Av. S., Contemporary Dance Playhouse. In 1962, Loyce launched MDT Mpls. to combine ballet traditions with emerging movement trends. Tickets: $26-$32 ($50/$250 for Gala tickets), 612-206- 3600, thecowlescenter.org. "She wanted to be absolutely current, embracing everything at the same time," said daughter Lise Houlton, who became MDT artistic director in 1995 after Loyce died at age 69. Famous dance students Out of humble beginnings grew a vital artistic resource. Famous students and protégés included Prince, Toni Pierce-Sands of TU Dance and Charles Askegard (formerly of American Ballet Theatre and New York City Ballet) -- not to mention Lise and her daughters Kaitlyn and Raina Gilliland. Thousands more gripped an MDT ballet barre in various Minneapolis locations over the years. Guest artists forged bonds between dancers locally and New York. Loyce fostered a populist spirit. MDT opened the Cedar Village Theatre (now the Cedar Cultural Center) for free "People's Concerts" and performed in protests both global (the Vietnam War) and local (the Red Barn development in Dinkytown). "There were so many political arguments at the time," said Lise, 57. "Being a feminist, she was always in the middle of them. I'm very grateful to have had that experience as a teenager. I was dancing to Janis Joplin and Jimi Hendrix." None of this could have happened without single-minded dedication. Loyce "had her standards," said John Linnerson, a longtime technical director and production manager for MDT. "She was always going around the clock, always collaborating. There was an overwhelming intensity. It was fascinating to watch it grow, it took so many twists and turns." Among them was MDT's near demise in the 1980s due in part to mounting debt and a failed merger with Seattle's Pacific http://www.startribune.com/printarticle/?id=148279645 Page 1 of 2 StarTribune - Print Page 9/24/12 9:20 PM Northwest Ballet. 'Nutcracker Fantasy' Loyce choreographed more than 90 dances, but MDT is best known for her "Nutcracker Fantasy," which premiered in 1964 at the Moppet Playhouse (forerunner to the Children's Theatre Company). The holiday favorite, hailed for its innovative use of the Tchaikovsky score, was performed for two decades at Northrop Auditorium and then revived with a "Skimp" version at the Aveda Institute in 1991 followed by annual seasons at the State Theatre. In 2011 the show moved to the Cowles. Linnerson notes the production's triumphs and disasters, including when a fog machine spilled water onto the stage, sending the dancers sliding. "It's been great to be a part of it," he said. "I really believe it could outlast other 'Nutcrackers.'" Such memories stir Raina Gilliland, now an MDT company member. "I was probably 3 when I was an understudy mouse," she said. Last year the 22-year-old shone in the marquee role of Sugar Plum Fairy. Family ties One aspect of MDT's history is family. Loyce inspired Lise into a dance career -- and the two did the same for Raina and Kaitlyn. "As a parent I pushed them with great enthusiasm toward concert piano, basketball, anything but dance," said Lise, who knew the rigors of the profession. "But I think they experienced Loyce at her best and there's something in there that takes hold." Kaitlyn, 24, a former New York City Ballet dancer who teaches at the School of American Ballet and is enrolled at Columbia University, recalls her grandmother's commitment. "She was always very professional, very demanding, even of students," Kaitlyn said, recalling a stint at age 5 in a circus-themed dance. "In dress rehearsal I tripped on my way up to the stage and fell on my face. I was laying there in my poodle costume, more humiliated than hurt. She swept me off my feet and let me cry in her lap. She was still my Nana." Looking to the future Lise returned to MDT after dancing with the Stuttgart Ballet and American Ballet Theatre. Seventeen years later she balances the hard work of honoring her mother's legacy while setting the stage for MDT's future, commissioning dances and tending to the day-to-day needs of a five-member company (plus three apprentices) as well as a school with nearly 200 students. According to Raina, her mother gets the balance right. "She brings the same energy Nana brought, she tries to keep the spirit of Nana in the studio. It's a collective energy." When Lise shouts out reminders like "Bigger, better, more!" or "Magic, magic, magic!" during rehearsal, said Raina, "It's something that everyone can chant together." "I'm very fortunate to be working with extraordinary dancers," said Lise. "The challenge is supporting the product -- first who's going on stage and then what's going on stage and making sure everyone in the organization remembers that. My great joy is what happens in the studio, and that's what I do best." Somewhere Loyce is smiling. © 2011 Star Tribune http://www.startribune.com/printarticle/?id=148279645 Page 2 of 2.
Load more

Recommended publications
  • Summer Session
    General Studio Policies Mission Statement Tuition We are dedicated to share the love of dance Tuition is payable by the first class. 160 Tyler Road N, Box 11 with students, to develop pride and confidence in self Red Wing, MN 55066 Competition Students and to help students grow and develop to the best of 6513859389 Competition students have requirements for their abilities with dance and within themselves. [email protected] summer dance. Please refer to the handout for requirements for each team. Inform the studio We will commit ourselves to in writing if you are unable to attend required quality instruction and excellence in dance. classes and also submit your plan for classes to take to make up the summer requirements. Summer Session Dance Dress Code Ballet Intensive June 17 – 20 Any color or style of leotards and tights, unitard, Studio Etiquette & Rules or dance clothing may be worn to most classes. Technique Intensive Boys may wear shorts and a t-shirt. Hip-hop RESPECT OTHERS. July 8 - 11 dress may be more casual wear. No loose Please arrive for class ready and on July 15 – 18 clothing. time. July 22 – 25 Dress code in ballet intensive classes must be Dress codes must be followed. pink ballet shoes, pink tights, black leotard, and Workshop July 27 no jewelry. Hair must be in a bun with a hairnet Label all shoes, equipment, and around the bun. In ballet class, boys wear shorts sportswear with name. Auditions July 28 (above the knee) and a tank shirt. This dress code allows the instructors to see body lines to Food and drink must be kept in the help with corrections and to prevent injury.
    [Show full text]
  • September 4, 2014 Kansas City Ballet New Artistic Staff and Company
    Devon Carney, Artistic Director FOR IMMEDIATE RELEASE CONTACT: Ellen McDonald 816.444.0052 [email protected] For Tickets: 816.931.2232 or www.kcballet.org Kansas City Ballet Announces New Artistic Staff and Company Members Grace Holmes Appointed New School Director, Kristi Capps Joins KCB as New Ballet Master, and Anthony Krutzkamp is New Manager for KCB II Eleven Additions to Company, Four to KCB II and Creation of New Trainee Program with five members Company Now Stands at 29 Members KANSAS CITY, MO (Sept. 4, 2014) — Kansas City Ballet Artistic Director Devon Carney today announced the appointment of three new members of the artistic staff: Grace Holmes as the new Director of Kansas City Ballet School, Kristi Capps as the new Ballet Master and Anthony Krutzkamp as newly created position of Manager of KCB II. Carney also announced eleven new members of the Company, increasing the Company from 28 to 29 members for the 2014-2015 season. He also announced the appointment of four new KCB II dancers, which stands at six members. Carney also announced the creation of a Trainee Program with five students, two selected from Kansas City Ballet School. High resolution photos can be downloaded here. Carney stated, “With the support of the community, we were able to develop and grow the Company as well as expand the scope of our training programs. We are pleased to welcome these exceptional dancers to Kansas City Ballet and Kansas City. I know our audiences will enjoy the talent and diversity that these artists will add to our existing roster of highly professional world class performers that grace our stage throughout the season ahead.
    [Show full text]
  • Nutcracker Media Release R1
    FOR IMMEDIATE RELEASE November 14, 2014 Contact: Erika Overturff (Founder and Artistic Director), (402) 541-6946 Print-quality photos are available for download here. BALLET NEBRASKA'S NUTCRACKER BLENDS NEW FEATURES, OLD FAVORITES The premiere of a new French scene and the debut of a new Sugar Plum Fairy and are among the features of this year's edition of Ballet Nebraska's The Nutcracker. “I’m always looking for ways to maintain the ballet’s story and charm, while adding fresh touches,” said artistic director Erika Overturff, who choreographs and stages the holiday classic, as well as dancing the role of the Snow Queen. “Personalizing the ballet for your own company and audience is something that every company has done since the beginning – it’s part of the tradition of The Nutcracker.” The French scene – often called “Mirletons” or “Dance of the Reed Flutes” – gets a makeover this year, with new concept, choreography and costumes, Overturff said. “I was listening to the music and thinking about things we associate with France,” she said, “and I thought: What could be more French than cooking? I don’t want to spoil the surprise, but I can tell you that the new scene involves a ballerina, a chef with a lot of assistants, and a cake.” A signature role in The Nutcracker, Overturff said, is that of the Sugar Plum Fairy – the benign ruler of the Kingdom of Sweets, who welcomes the young heroine, Clara, and commands a series of spectacular dances in her honor. Making her debut as the Sugar Plum Fairy this year is Vivi DiMarco, a dancer in her third season with Ballet Nebraska.
    [Show full text]
  • Feld Ballets/NY
    THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Feld Ballets/NY WEDNESDAY & THURSDAY, APRIL 4 & 5, 1990, AT 8:00 P.M. POWER CENTER FOR THE PERFORMING ARTS ANN ARBOR, MICHIGAN The Company Lynn Aaron Nina Goldman Scott Rink Mucuy Bolles Patrice Hemsworth Joseph Rodgers David M. Cohen Terace E. Jones Jennita Russo Allison Wade Cooper Joseph Marshall James Sewell Geralyn DelCorso Priscila Mesquita Elizabeth Simonson Judith Denman Buffy Miller Lisa Street Darren Gibson Jeffrey Neeck Joan Tsao PETER LONGIARU, Company Pianist ALLEN LEE HUGHES, Resident Lighting Designer CORA CAHAN, Executive Director PETER HAUSER, Production Manager Feld Ballets/NY wishes to thank the following supporters who have helped to make these performances possible: Lila Wallace Reader's Digest Fund Mary Flagler Gary Charitable Trust Live Music for Opera and Dance; Robert Sterling Clark Foundation Inc.; The Eleanor Naylor Dana Charitable Trust; The Horace W. Goldsmith Foundation; The Andrew W. Mellon Foundation; National Corporate Fund for Dance, Inc.; The Scherman Foundation, Inc.; Joan C. Schwartz Philanthropic Fund; the Emma A. Sheafer Charitable Trust; and The Shubert Organization. Cameras and recording devices are not allowed in the auditorium. This project is supported by the Michigan Council for the Arts, and by Arts Midwest members and friends in partnership with the National Endowment for the Arts. The University Musical Society is an Equal Opportunity Employer and provides services without regard to race, color, religion, national origin, age, sex, or handicap. 38th and 39th Concerts of the lllth Season Nineteenth Annual Choice Series PROGRAM Wednesday, April 4 CONTRA POSE (1990) Choreography: Eliot Feld Music: C.
    [Show full text]
  • New E-Items Added 1 5 to 1 11 2016 1 Title Author Publisher Published
    New E-items Added 1 5 to 1 11 2016 Title Author Publisher Published Location Call Number Class Subject First Baptist Church, Charlotte, N.C., 1832- McLean, Carrie L. Washburn Press, 1917 Ebooks - LU BX 6480 C BX BX - Christian 1916 [electronic resource] / compiled by users only 34 F 53 Denominations. Carrie L. McLean. 1917 EB History of Steele Creek Church [electronic Douglas, John, Isha Books, 2013 Ebooks - LU BX 9211 C BX BX - Christian resource] : Mecklenburg County, N.C. / users only 265 S 74 Denominations. compiled and written by Rev. John Douglas ; 1901 EB revised and extended to the close of the 19th century by the Historical Committee. Historical sketch of New Hope Church, in Craig, D. I. (David Isha Books, 2013 Ebooks - LU BX 9211 N BX BX - Christian Orange County, N.C. [electronic resource] / by Irwin), 1849-1925, users only 47 C 7 1891 Denominations. Rev. D.I. Craig. EB Spanish archives of New Mexico [electronic Twitchell, Ralph Torch Press, 1914 Ebooks - LU CD 3394 T CD CD - resource] : compiled and chronologically Emerson, 1859-1925, users only 9 1914 EB Diplomatics, arranged with historical, genealogical, Archives, Seals. geographical, and other annotations, by authority of the state of New Mexico / by Ralph Emerson Twitchell. Franklin County, Illinois, war history, 1832- Baird, S. Sylvester. Pub. by H.W. 1920 Ebooks - LU D 505 B 35 D D - General 1919 [electronic resource] : containing a brief Trovillion for users only 1920 EB World History. review of the world war--complete history of the Franklin Franklin County's activities--photographs and County War service records of Franklin County's soldiers, History Society, sailors and marines--ind Tulsa County in the world war [electronic Lampe, William T., 1919 Ebooks - LU D 57085 O D D - General resource] / comp.
    [Show full text]
  • TDF Stages Home About TDF Stages Contact TDF
    Search Our Site... Bringing the Power of the Performing Arts to Everyone TDF LOGIN WINTER SALE: Become a member to save on ckets to theatre, dance and music! Find out if you qualify to join TDF. Home > Arcle > 15 Dance Performances to See This February Adjust Text Size: TDF Stages Home About TDF Stages Contact TDF Stages Newsleer Signup Masters of the Stage TDF Theatre Diconary 15 Dance Performances to See This February By SUSAN REITER FRI JAN 31, 2020 • DANCE • 0 COMMENTS SHARE THIS Catch two takes on Swan Lake, the Martha Graham Dance Company and a wide range of internaonal dance troupes this month --- February is overflowing with worthy dance performances from all over the world. The Joyce goes global with companies from Brazil, Argenna and France; the Harkness Dance Fesval is showcasing a different internaonal troupe each week; and the St. Petersburg Ballet Theatre makes its U.S. debut with Swan Lake at BAM. There are plenty of domesc dance-makers too, including New York City Ballet and the Martha Graham Dance Company. Of the 15 performances we're highlighng, at press me we have TDF member discounts to three, and we expect to have others in the coming weeks. It's best to check our offers daily as cket availability changes frequently. --- New York City Ballet: Winter Season 2020 David H. Koch Theater at Lincoln Center, 20 Lincoln Center Plaza, enter at 63rd Street Runs through March 1. The company interrupts its mixed-repertory programs for 12 performances of Peter Marns' Swan Lake (February 14-23).
    [Show full text]
  • 2004 Annual Report
    2004 Annual Report Mission Statement Remembering Balanchine Peter Martins - Ballet Master in Chief Meeting the Demands Barry S. Friedberg - Chairman New York City Ballet Artistic NYCB Orchestra Board of Directors Advisory Board Balanchine 100: The Centennial Celebration 2003-2004 The Centennial Celebration Commences & Bringing Balanchine Back-Return to Russia On to Copenhagen & Winter Season-Heritage A Warm Welcome in the Nation's Capital & Spring Season-Vision Exhibitions, Publications, Films, and Lectures New York City Ballet Archive New York Choreographic Institute Education and Outreach Reaching New Audiences through Expanded Internet Technology & Salute to Our Volunteers The Campaign for New York City Ballet Statements of Financial Position Statements of Activities Statements of Cash Flows Footnotes Independent Auditors' Report All photographs by © Paul Kolnik unless otherwise indicated. The photographs in this annual report depict choreography copyrighted by the choreographer. Use of this annual report does not convey the right to reproduce the choreography, sets or costumes depicted herein. Inquiries regarding the choreography of George Balanchine shall be made to: The George Balanchine Trust 20 Lincoln Center New York, NY 10023 Mission Statement George Balanchine and Lincoln Kirstein formed New York City Ballet with the goal of producing and performing a new ballet repertory that would reimagine the principles of classical dance. Under the leadership of Ballet Master in Chief Peter Martins, the Company remains dedicated to their vision as it pursues two primary objectives: 1. to preserve the ballets, dance aesthetic, and standards of excellence created and established by its founders; and 2. to develop new work that draws on the creative talents of contemporary choreographers and composers, and speaks to the time in which it is made.
    [Show full text]
  • Minneapolis Shake, Rattle and Rise - City Pages 12/2/12 7:28 PM
    Minneapolis Shake, Rattle and Rise - City Pages 12/2/12 7:28 PM Shake, Rattle and Rise Passion and partnership are at the heart of TU Dance Caroline Palmer published: June 15, 2005 A bouncy house mix from DJ John J pours from the sound Ingrid Werthman Photography system in a rehearsal studio at the University of Minnesota's Barbara Barker Center for Dance one June evening. Before long, dancers--skilled in ballet, modern, jazz, and West African dance--literally meet one another in midair, pause long enough to twirl around with ballroom flair, and then coolly display some fancy hip-hop footwork, alone and in sets of twos and threes. It's like observing a club dance floor from above during the height of an ecstatic midnight set; everyone shows off his or her style, all fierce, fabulous, and lost in the moment. And that's just the first work in a concert to be performed by TU Dance at the Southern Theater over the next two weekends. Sands and Pierce-Sands have an unusually expressive partnership Toni Pierce-Sands and Uri Sands, both veterans of New York's legendary Alvin Ailey American Dance Theater, and now based in the Twin Cities, have forged careers out of their considerable talent to generate moments of athleticism, grace, and excellence that requires no hyperbole. Sands choreographs while Pierce-Sands serves as muse and coach; together they enjoy a rewarding creative and life partnership. This is not always easy, as the pair admits during a recent interview. "It's challenging when you have two individuals who are extremely passionate about what they believe in," says Sands.
    [Show full text]
  • Yagp 2015 Finals Pre-Competitive Directory
    1 2 TABLE OF CONTENTS Table of Contents 2 Time Line 3 - 5 Scheduled Events 6 Schedule of Classes 7 - 12 Grand Defile Rehearsal Schedule 12 Teachers & Scholarship Presenters 13 - 14 Junior Directory 15 - 18 Senior Directory 19 - 23 Pre-Competitive Directory 24 - 26 Important Addresses 27 Friday, April 10, 2015 Program 28 - 40 Saturday, April 11, 2015 Program 41 - 54 Sunday, April 12, 2015 Program 55 - 66 Monday, April 13, 2015 Program 67 - 79 Tuesday, April 14, 2015 Program 80 – 97 Notes 98 -100 3 YAGP 2015 NYC FINALS TIME LINE Jack H. Skirball Center for the Performing Arts 566 LaGuardia Place New York, NY, 10012 Competition Schedule Friday, April 10, 2015 11:30 AM - 12:00 PM Open Stage – Pre-Competitive Group 1 (Ages 9 - 10) (401 – 444) 12:00 PM - 1:40 PM Pre-Competitive Competition Group 1 (Ages 9 - 10) (401 - 444) 1:40 PM - 2:00 PM Open Stage – Pre-Competitive Group 2 (Age 11) (445 - 482) 2:00 PM – 3:20 PM Pre-Competitive Competition Group 2 (Age 11) (445 - 482) 3:20 PM – 3:50 PM Open Stage – Duets, Trios, & Pas de Deux (801 – 820, 901 – 904) 3:50 PM - 5:20 PM Duets, Trios, & Pas de Deux Competition (801 – 820, 901 – 904) 5:20 PM - 5:40 PM Open Stage - Pre-Competitive Group 3 (Age 11 & Men) (483 – 525) 5:40 PM – 7:00 PM Pre-Competitive Competition Group 3 (Age 11 & Men) (483 – 525) 7:00 PM - 7:20 PM Open Stage - Pre-Competitive 2nd Piece Group 1 (Ages 9 – 11 & Men) (402– 471) 7:20 PM - 8:20 PM Pre-Competitive Competition 2nd Piece Group 1 (Ages 9 -11 & Men) (402 – 471) 8:20 PM - 8:40 PM Open Stage - Pre-Competitive 2nd Piece Group 2
    [Show full text]
  • Ballet Makers, Inc., American Airlines and Covington Travel, Inc
    ^^^t^vT-^n^ Regional Dance America/MidStates Festival May 17-21, 1995 • Fort Wayne, Indiana Sponsored in part by: Capezio/Ballet Makers, Inc., American Airlines and Covington Travel, Inc. mix, IP VETO AM021OX Regional Dance America was founded in 1988 to promote the artistic development of dance companies throughout the United States and to continue the important work of the National Association for Regional Ballet. Built on the legacy of visionaries Dorothy Alexander and Anatole Chujoy, the NARB contributed to the decentralization of dance as regional companies grew in stature and quality nationwide. Under the leadership of Doris Hering, and with the encouragement of Ben Sommers, its membership grew to five geographical areas and over two hundred companies including more than two dozen nationally recognized professional groups. As we enter a new decade, RDA is dedicated to fostering quality, promoting education and nurturing the talents of dancers and choreographers while exploring new horizons. 35 Performance Advisory Committee Maria Crandy Robert Barnett Edward Villella Choreography Alfred Terlizzi Dennis Nahat jane Cifford Muriel Topaz Saeko Ichinohe Mel Tomlinson CONFERENCE: July 21-Aug. 2,1995 David Howard Robert Lindgren Florence Warren at The University of Iowa in Iowa City, Iowa Lyle Cashion Jon Rodriguez Rochelle Zide-Booth Sally Bliss Ben Stevenson Maria Vegh 1 vJrl Dancers, Composers, Choreographers, Teachers. Artistic Directors rnvULl T Leslie Jane Pessemier, Director of Choreography; Rob Kaplan, Director of Music; Alumni Professional Companies: Frcncoise Martinet, Ballet; Mid States: Madco, Harbinger Dance Company, Minnesota Dance Armando Duarte, Modern Theatre, Indianapolis Ballet Theatre, Ft. Wayne Ballet. Northeast: Berkshire Ballet, Ballet Metropolitan, Boston Ballet, Dayton Contemporary Dance Co., Dayton Ballet, Philadanco, Princeton Ballet.
    [Show full text]
  • National Endowment for the Arts Annual Report 1979
    National Endowment for the Arts National Endowment for the Arts Washington, D.C. 20506 Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1979. Respectfully, Livingston L. Biddle, Jr. Chairman The President The White House Washington, D.C. February 1980 1 Contents Chairman’s Statement 2 The Agency and Its Functions 4 National Council on the Arts 5 Programs Deputy Chairman’s Statemen~ 8 Dance 10 Design Arts 30 Expansion Arts 50 Folk Arts 84 Literature 100 Media Arts: Film/Radio/Television 118 Museum 140 Music 172 Opera-Musical Theater 202 Special Projects 212 Theater 222 Visual Arts 240 Policy and Planning Challenge Grants 272 Evaluation 282 International/Fellows 283 Research 286 Special Constituencies 288 Office for Partnership Executive Director’s Statement 296 Education (Artists-in-Schools) 299 Federal-State Partnership (State Programs) 305 Intergovernmental Activities 312 Financial Summary 314 History of Authorizations and Appropriations 315 Chairman’s Statement A Common Cause for the Arts isolated rural coraraunities to the barrios and Perhaps nothing is raore enviable--or raore ghettoes of our inner cities. The dreara---that daunting--than the opportunity to raake a prac­ of access for all Araericans to the best in art-­ tical reality out of a visionary dreara. I happen is becoraing reality. to have this unusual privilege. As special assist­ But reality, as we all know, is a thorny ant to Senator Claiborne Pell frora 1963 to thing, with catches, snares and tangles.
    [Show full text]
  • Giselle Media Kit
    FOR IMMEDIATE RELEASE September 15, 2014 Contact: Erika Overturff (Founder and Artistic Director), (402) 541-6946 Print-quality photos are available for download here. BALLET NEBRASKA OPENS SEASON 5 WITH LANDMARK ‘GISELLE’ OMAHA -- Ballet Nebraska will open its fifth anniversary season October 4 at Omaha’s Orpheum Theater with Giselle — a landmark ballet of the Romantic Era that is both a poignant love story and a chilling tale of vengeful ghosts, artistic director Erika Overturff said.! “Giselle helped put ballet at the center of the Romantic movement," Overturff said. "When it premiered at the Paris Opéra in 1841, it showed what could be accomplished when a dramatist, a choreographer, a dancer and a composer worked together as a tight-knit creative team. It demonstrated to everyone, inside the dance world and out, the power of integrating art forms into a work of total theater.”! Overturff summarized the plot: Act I introduces Giselle, a charming peasant girl being courted by a handsome neighbor — who actually is a nobleman in disguise, and is already engaged to an aristocrat. When Giselle’s jealous ex-boyfriend reveals the deception, the shock is too much for her; she collapses mentally and dies of a sudden heart seizure. But that’s only the beginning of the story. In Act II, Giselle’s spirit rises from her grave and faces a choice: to forgive her betrayer, or to join the Wilis — beautiful but deadly ghosts who haunt the forest — to hunt him down and take her revenge.! “Giselle is a dream role for a ballerina,” Overturff said.
    [Show full text]