BALANCHINE TO BR_OADWAY: l STYLES OF CONTEMPORARY CHOREOGRAPHY [ APRJL 26- 30, 1995 BOB 1-IOPE THEATR.E J BALANCHINE TO BROADWAY: STYLES OF CONTEMPORARY CHOREOGRAPHY Artistic Director MARK BORCHELT Lighting Designer RoN BuRNs April 26 - 30, 1995 Wednesday - Saturday, 8:00p.m. Sunday, 2:15p.m. Bob Hope Theatre Partial proceeds fmm these performances will benefit the Meadows Great Dancers Scholarship Fund. SEASON SPONSOR Qassical llll WRJllOllfm MEADOWS SCHOOL OF THE ARTS DIVISION OF DANCE PROGRAM CoNCERTO BARocco Music Concerto in D minor for Two Violins, BWV 1043 Composer J.S. Bach Choreographer George Balanchine Restaged by Jillana Rehearsal Directors Mark Borchelt, Karen Kriete Soloists April Alvis, Allison Young, Jason Lacayo Corps Virginia Boehm, Cindy Davis, Kelley Calhoon, Stephanie Matera, Melissa Moran, Siobhain Mosley, Leeanna Smith, Amy Wolf Alternates Erin Flanigan, Dana Gavin, James Kiger BALLA DE Music selections from Op. 1 I, 15, 32, 42, 59 Composer Alexander Scriabin Choreographer Anna Sokolow Restaged by Jill Beck and Scott Warren Pianist Diego Tornelli Ensemble Tues, Thurs. Sat Cari Murray, Joe Gallerizzo Susan Dodge, Robert Santana Wed, Fri, Sun Jasmine Bates, Chad Peters Joy Kennamer, M ichacl Trusnovcc 15 MJNU1E iNTERMISSION Prisms Music Composed and Performed by Jamal Mohamed Choreographer Robert Beard Ensemble Genevieve Boulanger, Lina Gaviria, Tyler Gilstrap, Cynthia Anne Krempetz, Tonya Pix ton, Stacy Pottinger, John Chapman, Joe Gallerizzo, Robert Santana, Christopher Soler PAUSE MEADOWS SCHOOL OF THE ARTS THE FossE SmTE Lyrics and Music from Chicago (Fred Ebh and John Kandor) and Pippin (Stephen Schwartz) Staged by Ann Reinking using the vocabulary or Bob Fosse Rehearsal Director Joe Orlando Musicians Richard Abrahamson, Christopher Renquist, Dean Klinker (Wed), Jay Majernick (Thurs- Sun) Ensemble Courtney Adams, Denise Dunn, Sandra Greer, Shanti Guirao, Jennifer Holmes, Ginger Norman, Angela Sharp, Deanna Villei, Chris Blaine, Casey Qood, James Kiger, Chad Peters, Christopher Soler, Michael Trusnovec The performance of Concerto Barocco, a Balanchine® Ballet, is presented by arrange­ ment with Mr. Lincoln Kirstein. Ballade was directed by Jill Beck from the Labanotation Score by arrangement with the Dance Notation Bureau, Inc. his year's dance programming represents a great step forward for the SMU Divi­ T sion of Dance in realizing our goal of bringing acclaimed repertory works to Dallas audiences. Our season features works by some of this century's greatest dancers and choreographers: George Balanchine, Moses Pendleton, Doris Humphrey, Anna Sokolow, and Ann Reinking. With this season, dance performance at SMU aspires to the level of achievement of the city's major cultural institutions, offering a year of classic works reconstructed by faculty and visiting artists. Drawn from the ballet, mod- • ern, musical theatre and post modern traditions, the dances will be introduced in pre­ performance lecture/demonstrations and Children's Workshops. We hope you enjoy these masterpieces of the Broadway, ballet and contemporary styles. Jill Beck, Ph.D. Chair, Division of Dance MEADOWS SCHOOL OF THE ARTS DIVISION OF DANCE George Balanchine, Choreographer (Concerto Barocco). Balanchine is considered the most influential and prolific ballet choreographer of the 20th century. He was trained in the style of Marius Petipa at the Russian Imperial School, and after the revolution in Russia went to Europe and joined Serge Diaghilev's Ballets Russes. In 1933, he accepted Lincoln Kirstein's invitation to come to America and establish a school and eventually a professional company. The School of American Ballet was founded in 1934 and the New York City Ballet in 1948. Between 1934 and 1948, Balanchine choreographed for other dance companies as well as Broadway shows and Hollywood films with which work he raised considerably the status of the dancer in popular entertainment. From 1948 until his death in 1983, he devoted himself exclusively to the New York City Ballet where he choreographed over 200 ballets and devel­ oped a neoclassical style that blended the majesty of the Russian Imperial School, the tradi­ tion of the Paris Opera, and the drama of Romantic ballet. Balanchine extended, distorted, and re-combined this rich classical ballet vocabulary in unexpected ways to create an Ameri­ can style of ballet for the 20th century. Robert Beard, Choreographer (Prisms) and Associate Professor of Dance, has trained under and/or perfom1ed with such leading contemporary dance artists as Martha Graham, Jose Limon, and Merce Cunningham. Mr. Beard has taught professional dance classes at the Royal Acad­ emy of Dancing, London, The Toronto Dance Theatre, and many universities across the United States. lie served as Co-f'oundcr and Co-Artistic dircclor of the Repertory Dance Company of the Southwest, the first full time professional contemporary company in the region. He is considered to be one of the outstanding teachers and choreographers of contemporary dance in the Southwest. Jill Beck, Restaging Director (Sallade), is an international authority on dance notation and the restaging of dance repertory works. She is an adviser to FilmAmerica PBS programming and editor-in-chief of Tmdilionol !Iris in P('ffomwncc, an international print and video jour­ nal. Dr. Beck is a master teacher for The American Dance Festival, and was formerly on the dance and graduate music faculties of The Juilliard School. She is the Project Director for a three-year project funded hy the Department of Education. which will work to develop an integrated Arts/Social Studies curriculu1n for usc hy teachers of grades 4- 12 using interactive multi -media. Mark Borchelt, Artistic Director, and Rehearsal Director (Concerto Bamccn), joined the ballet faculty of the Division of Dance in 1992, after three years as a member of the ballet faculty at the University of Utah. Born and raised in Corpus Christi, Texas, Mr. Borchelt was active in high school athletics prior to entering the dance profession. During his fourteen­ year professional career, he performed a wide variety of principal roles with the Dallas 13al­ lct, Louisville Ballet, and Ballet West, and worked with such dance luminaries as Fredric Franklin, Eugene Loring, John Buller, and Toni Lander. Mr. Borchelt has been featured in regional festivals around the country, is a performer and teacher, and recently was a guest master teacher in Taipei, Taiwan. Ron Burns, Lighting Designer, has for many years been associated with The City College of New York as a member of the design staff for the Leonard Davis Center for the Performing A1ts. Designing both Scenery and Lighting for the Theatre and Dance Programs, Ron has had the opportunity to work with artists such as George Wolfe, Hope Clarke, Trazana Beverly, Walter Raines, Carolyn Adams, and Anna Sokolow. He is also Scenic/Lighting Designer for the internationally acclaimed company Opera Ebony. Mr. 13urns has been a member of the theatre faculties of University of Alabama-Birmingham and Monmouth College, and cur­ rently teaches at C.C.N.Y. MEADOWS SCHOOL OF THE ARTS DIVISION OF DANCE Jillana, Restaging Director (Concerto Barocco), joined George Balanchine's company the same year it officially became New York City Ballet. On her 13th birthday, she performed Serenade for the first time. Jillana remained with New York City Ballet for the next 20 years, appearing in many of the major roles in Balanchine's ballets. He created Liebeslieder Walzer particularly for her in 1960. Jillana also performed with American Ballet Theatre and Na­ tional Ballet of Washington and has appeared on Broadway and productions for television. She is a renowned teacher and has taught company classes for most of the major ballet com­ panies in the United Stales and the Paris Opera Ballet. She teaches at regional dance festi­ vals, universi.ties and summer dance programs. Ji Ilana has been recognized by the Balanchine Trust as one of the few people allowed to re-stage some of George Balanchine's most famous ballets. Karen Kriete, Rehearsal Director (Concerto Barocco). A native of Dallas, Ms. Kriete at­ tended the School of American Ballet as a Ford Foundation Scholar. She was an apprentice with the Harkness Ballet Company, member of the Harkness House administrative staff and teaching faculty, and production assistant for the Harkness Youth Company. Ms. Kriete is a member of the Congress on Research in Dance and has taught nation-wide for such organiza­ tions as the Cecchetti Council of America and the National Association for the Arts and Lellers. In addition to serving the Division of Dance as ballet mistress for mainstage con­ certs, she is the artistic director for Brown Bag Concerts. Ms. Kriete is a recipient of an Outstanding Professor Award for her scholarship in ballet technique, pedagogy, and kinesiol­ ogy. Joe Orlando, Rehearsal Director (The Fosse Suite), is currently Visiting Assistant Professor of Jazz Dance. Formerly, Mr. Orlando held the position of Chair of the Interlochen Arts Academy Dance Division. He was the recipient of the Certificate of Excellence from the White I louse Commission on Presidential Scholars in 1989. He has taught in the Alvin Ailey American Dance Center in New York City, and is regional director of Gus Giordano's Jazz Dance Congress. Mr. Orlando has taught and choreographed for Bat-Dor Dance Company and summer workshop in Tel Aviv, Israel, for the past three years. The Company recently pre1nicred his work "Drum Spirit" in their Fall season. lie has also taught workshops and master classes in Alaska, Washington D.C., Mexico, and Munich, Germany; for the National Association of Dance Master, Southwestem Regional Ballet Festival, and at the Dance Aspen Summer School. Ann Reinking, (The Fosse Suite). Ms. Reinking, renowned star of stage and screen, began her dance training in her hometown of Seattle. As a teenager, she won a Ford Foundation Scholarship to study with the San Francisco Ballet, followed by an apprenticeship with Rob­ ert Jaffrey. After completing high school, she moved to New York and promptly became a member of the Corps de Ballet at Radio City Music Hall.