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Nutcracker December 1–4, 2016
ASHLEY WHEATER ARTISTIC DIRECTOR PREVIEW PERFORMANCES CHRISTOPHER WHEELDON’S NUTCRACKER DECEMBER 1–4, 2016 OPENING SEASON 2016/2017 Great Artists. Great Audiences. Hancher Performances. ASHLEY WHEATER ARTISTIC DIRECTOR GREG CAMERON EXECUTIVE DIRECTOR ROBERT JOFFREY FOUNDER GERALD ARPINO FOUNDER ARTISTS OF THE COMPANY MATTHEW ADAMCZYK DERRICK AGNOLETTI YOSHIHISA ARAI AMANDA ASSUCENA ARTUR BABAJANYAN EDSON BARBOSA MIGUEL ANGEL BLANCO ANAIS BUENO FABRICE CALMELS RAÚL CASASOLA VALERIIA CHAYKINA NICOLE CIAPPONI LUCIA CONNOLLY APRIL DALY FERNANDO DUARTE CARA MARIE GARY STEFAN GONCALVEZ LUIS EDUARDO GONZALEZ DYLAN GUTIERREZ RORY HOHENSTEIN ANASTACIA HOLDEN DARA HOLMES RILEY HORTON VICTORIA JAIANI HANSOL JEONG GAYEON JUNG YUMI KANAZAWA BROOKE LINFORD GRAHAM MAVERICK JERALDINE MENDOZA JACQUELINE MOSCICKE AARON RENTERIA CHRISTINE ROCAS PAULO RODRIGUES CHLOÉ SHERMAN TEMUR SULUASHVILI OLIVIA TANG-MIFSUD ALONSO TEPETZI ELIVELTON TOMAZI ALBERTO VELAZQUEZ MAHALLIA WARD JOANNA WOZNIAK JOAN SEBASTIÁN ZAMORA SCOTT SPECK MUSIC DIRECTOR GERARD CHARLES DIRECTOR OF ARTISTIC OPERATIONS NICOLAS BLANC BALLET MASTER/PRINCIPAL COACH ADAM BLYDE SUZANNE LOPEZ BALLET MASTERS PAUL JAMES LEWIS SENIOR PIANIST/MUSIC ADMINISTRATOR GRACE KIM MATTHEW LONG COMPANY PIANISTS Patrons are requested to turn off pagers, cellular phones, and signal watches during performances. The taking of photographs and the use of recording devices are not allowed. Artists subject to change. 3 4 HANCHER 2016/2017 SEASON SPONSOR WEST MUSIC HANCHER SPONSORS OF THE NUTCRACKER SUE STRAUSS RICHARD -
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. -
Conference Program
CORPS de Ballet International 11th Annual Teacher Conference July 22-26, 2009 Hosted by The School for Classical & Contemporary Dance Texas Christian University Fort Worth, Texas Ballet Pedagogy as Embodied Practice: The Art and Craft of Teaching Valse-Fantaisie, by George Balanchine ©The George Balanchine Trust. Dancer: Tess Bernard From DanceTCU Spring Concert: Effortless (April 2008) Photography: Marty Sohl Photograph 11th Annual Teacher Conference July 22-26, 2009 Ballet Pedagogy as Embodied Practice: The Art and Craft of Teaching Hosted by: The School for Classical & Contemporary Dance at TCU Conference Guest Presenters Kim Abel Master Teacher Jennifer Jackson Lecturer, University of Surrey Choreography teacher – Royal Ballet School Upper Division Raymond Lukens Artistic Associate, ABT/ NYU Masters Program Jacqueline Kennedy Onassis School at ABT Faculty Ben Stevenson, O.B.E. Artistic Director, Texas Ballet Theater Choreographer, Master Teacher Lifetime Achievement Award (LAA) to Sandra Noll Hammond Artist, Author, Pedagogue, Scholar Other Presenters: Distinguished Members of CORPS de Ballet International Sandra Allen, Brigham Young University David Curwen, Western Michigan University Molly Faulkner, Ph.D., Palomar College Sharon Garber, Western Michigan University Christine Knoblauch-O’Neal, Washington University St. Louis Mishele Mennett, DeSales University Sandra Noll Hammond, University of Hawaii (retired) Anuschka Roes, Canada’s National Ballet School Conference Partners: Texas Christian University School for Classical & Contemporary Dance at TCU, Ellen Shelton, Director TCU College of Fine Arts, Dr. Scott Sullivan, Dean Fort Worth Convention and Visitors Bureau The Dance Council The Dance Shop Texas Ballet Theater School, Kathy Warakomsky, Principal American Repertory Ensemble, David Justin, Artistic Director July 23, 2009 Dear CORPS de Ballet members, guests and friends, It is a great thrill to welcome each of you to the 11th Annual CORPS de Ballet International Teacher Conference at Texas Christian University. -
Ferenc Molnar
L I L I O M A LEGEND IN SEVEN SCENES BY FERENC MOLNAR EDITED AND ADAPTED BY MARK JACKSON FROM AN ENGLISH TEXT BY BENJAMIN F. GLAZER v2.5 This adaptation of Liliom Copyright © 2014 Mark Jackson All rights strictly reserved. For all inquiries regarding production, publication, or any other public or private use of this play in part or in whole, please contact: Mark Jackson email: [email protected] www.markjackson-theatermaker.com CAST OF CHARACTERS (4w;4m) Marie / Stenographer Julie / Louise Mrs Muskat Liliom Policeman / The Guard Mrs Hollunder / The Magistrate Ficsur / A Poorly Dressed Man Wolf Beifeld / Linzman / Carpenter / A Richly Dressed Man SCENES (done minimally and expressively) FIRST SCENE — A lonely place in the park. SECOND SCENE — Mrs. Hollunder’s photographic studio. THIRD SCENE — Same as scene two. FOURTH SCENE — A railroad embankment outside the city. FIFTH SCENE — Same as scene two SIXTH SCENE — A courtroom in the beyond. SEVENTH SCENE — Julie’s garden, sixteen years later. A NOTE (on time & place) The current draft retains Molnar’s original 1909 Budapest setting. With minimal adjustments the play could easily be reset in early twentieth century America. Though I wonder whether certain of the social attitudes—toward soldiers, for example— would transfer neatly, certainly an American setting could embody Molnar’s complex critique of gender, class, and racial tensions. That said, retaining Molnar’s original setting perhaps now adds to his intention to fashion an expressionist theatrical legend, while still allowing for the strikingly contemporary themes that prompted me to write this adaptation—among them how Liliom struggles and fails to change in the face of economic and social flux; that women run the businesses, Heaven included; and Julie’s independent, confidently anti-conventional point of view. -
October 2020 New York City Center
NEW YORK CITY CENTER OCTOBER 2020 NEW YORK CITY CENTER SUPPORT CITY CENTER AND Page 9 DOUBLE YOUR IMPACT! OCTOBER 2020 3 Program Thanks to City Center Board Co-Chair Richard Witten and 9 City Center Turns the Lights Back On for the his wife and Board member Lisa, every contribution you 2020 Fall for Dance Festival by Reanne Rodrigues make to City Center from now until November 1 will be 30 Upcoming Events matched up to $100,000. Be a part of City Center’s historic moment as we turn the lights back on to bring you the first digitalFall for Dance Festival. Please consider making a donation today to help us expand opportunities for artists and get them back on stage where they belong. $200,000 hangs in the balance—give today to double your impact and ensure that City Center can continue to serve our artists and our beloved community for years to come. Page 9 Page 9 Page 30 donate now: text: become a member: Cover: Ballet Hispánico’s Shelby Colona; photo by Rachel Neville Photography NYCityCenter.org/ FallForDance NYCityCenter.org/ JOIN US ONLINE Donate to 443-21 Membership @NYCITYCENTER Ballet Hispánico performs 18+1 Excerpts; photo by Christopher Duggan Photography #FallForDance @NYCITYCENTER 2 ARLENE SHULER PRESIDENT & CEO NEW YORK STANFORD MAKISHI VP, PROGRAMMING CITY CENTER 2020 Wednesday, October 21, 2020 PROGRAM 1 BALLET HISPÁNICO Eduardo Vilaro, Artistic Director & CEO Ashley Bouder, Tiler Peck, and Brittany Pollack Ballet Hispánico 18+1 Excerpts Calvin Royal III New York Premiere Dormeshia Jamar Roberts Choreography by GUSTAVO RAMÍREZ -
The Sleeping Beauty Untouchable Swan Lake In
THE ROYAL BALLET Director KEVIN O’HARE CBE Founder DAME NINETTE DE VALOIS OM CH DBE Founder Choreographer SIR FREDERICK ASHTON OM CH CBE Founder Music Director CONSTANT LAMBERT Prima Ballerina Assoluta DAME MARGOT FONTEYN DBE THE ROYAL BALLET: BACK ON STAGE Conductor JONATHAN LO ELITE SYNCOPATIONS Piano Conductor ROBERT CLARK ORCHESTRA OF THE ROYAL OPERA HOUSE Concert Master VASKO VASSILEV Introduced by ANITA RANI FRIDAY 9 OCTOBER 2020 This performance is dedicated to the late Ian Taylor, former Chair of the Board of Trustees, in grateful recognition of his exceptional service and philanthropy. Generous philanthropic support from AUD JEBSEN THE SLEEPING BEAUTY OVERTURE Music PYOTR IL’YICH TCHAIKOVSKY ORCHESTRA OF THE ROYAL OPERA HOUSE UNTOUCHABLE EXCERPT Choreography HOFESH SHECHTER Music HOFESH SHECHTER and NELL CATCHPOLE Dancers LUCA ACRI, MICA BRADBURY, ANNETTE BUVOLI, HARRY CHURCHES, ASHLEY DEAN, LEO DIXON, TÉO DUBREUIL, BENJAMIN ELLA, ISABELLA GASPARINI, HANNAH GRENNELL, JAMES HAY, JOSHUA JUNKER, PAUL KAY, ISABEL LUBACH, KRISTEN MCNALLY, AIDEN O’BRIEN, ROMANY PAJDAK, CALVIN RICHARDSON, FRANCISCO SERRANO and DAVID YUDES SWAN LAKE ACT II PAS DE DEUX Choreography LEV IVANOV Music PYOTR IL’YICH TCHAIKOVSKY Costume designer JOHN MACFARLANE ODETTE AKANE TAKADA PRINCE SIEGFRIED FEDERICO BONELLI IN OUR WISHES Choreography CATHY MARSTON Music SERGEY RACHMANINOFF Costume designer ROKSANDA Dancers FUMI KANEKO and REECE CLARKE Solo piano KATE SHIPWAY JEWELS ‘DIAMONDS’ PAS DE DEUX Choreography GEORGE BALANCHINE Music PYOTR IL’YICH TCHAIKOVSKY -
Bolshoi Theater
FOR IMMEDIATE RELEASE Contact: Dick Caples Tel: 212.221.7909 E-mail: [email protected] Lar Lubovitch awarded the 20th annual prize for best choreography by the Prix Benois de la Danse at the Bolshoi Theater. He is the first head of an American dance company ever to be so honored. New York, NY, May 23, 2012 – Last night at the Bolshoi Theater in Moscow, Lar Lubovitch was awarded the 20th annual prize for best choreography by the Prix Benois de la Danse. Lubovitch is the first head of an American dance company ever presented with the award. He was honored for his creation of Crisis Variations, which premiered at the Baryshnikov Arts Center in New York City on November 9, 2011. The work, for seven dancers, is set to a commissioned score by composer Yevgeniy Sharlat, and the score was performed live at its premiere by the ensemble Le Train Bleu, under the direction of conductor Ransom Wilson. To celebrate the occasion, the Lar Lubovitch Dance Company performed the duet from Meadow for the audience of 2,500 at the Bolshoi. The dancers in the duet were Katarzyna Skarpetowska and Brian McGinnis. The laureates for best choreography over the previous 19 years include: John Neumeier, Jiri Kylian, Roland Petit, Angelin Preljocaj, Nacho Duato, Alexei Ratmansky, Boris Eifman, Wayne McGregor, Sidi Larbi Cherkaoui, and Jorma Elo. Other star performers and important international figures from the world of dance received prizes at this year’s award ceremony. In addition to the award for choreography given to Lubovitch, the winners in other categories were: For the best performance by a ballerina: Alina Cojocaru for the role of Julie in “Liliom” at the Hamburg Ballet. -
What's the Use of Wondering If He's Good Or Bad?: Carousel and The
What’s the Use of Wondering if He’s Good or Bad?: Carousel and the Presentation of Domestic Violence in Musicals. Patricia ÁLVAREZ CALDAS Universidad de Santiago de Compostela [email protected] Recibido: 15.09.2012 Aceptado: 30.09.2012 ABSTRACT The analysis of the 1956 film Carousel (Dir. Henry King), which was based on the 1945 play by Rodgers and Hammerstein, provides a suitable example of a musical with explicit allusions to male physical aggression over two women: the wife and the daughter. The issue of domestic violence appears, thus, in a film genre in which serious topics such as these are rarely present. The film provide an opportunity to study how the expectations and the conventions brought up by this genre are capable of shaping and transforming the presentation of Domestic Violence. Because the audience had to sympathise with the protagonists, the plot was arranged to fulfil the conventional pattern of a romantic story inducing audiences forget about the dark themes that are being portrayed on screen. Key words: Domestic violence, film, musical, cultural studies. ¿De qué sirve preocuparse por si es bueno o malo?: Carrusel y la presentación de la violencia doméstica en los musicales. RESUMEN La película Carrusel (dirigida por Henry King en 1956 y basada en la obra de Rodgers y Hammerstein de 1945), nos ofrece un gran ejemplo de un musical que realiza alusiones explícitas a las agresiones que ejerce el protagonista masculino sobre su esposa y su hija. El tema de la violencia doméstica aparece así en un género fílmico en el que este tipo de tratamientos rara vez están presentes. -
Remembering Edouard Borovansky and His Company 1939–1959
REMEMBERING EDOUARD BOROVANSKY AND HIS COMPANY 1939–1959 Marie Ada Couper Submitted in total fulfillment of the requirements of the degree of Doctor of Philosophy 2018 School of Culture and Communication The University of Melbourne 1 ABSTRACT This project sets out to establish that Edouard Borovansky, an ex-Ballets Russes danseur/ teacher/choreographer/producer, was ‘the father of Australian ballet’. With the backing of J. C. Williamson’s Theatres Limited, he created and maintained a professional ballet company which performed in commercial theatre for almost twenty years. This was a business arrangement, and he received no revenue from either government or private sources. The longevity of the Borovansky Australian Ballet company, under the direction of one person, was a remarkable achievement that has never been officially recognised. The principal intention of this undertaking is to define Borovansky’s proper place in the theatrical history of Australia. Although technically not the first Australian professional ballet company, the Borovansky Australian Ballet outlasted all its rivals until its transformation into the Australian Ballet in the early 1960s, with Borovansky remaining the sole person in charge until his death in 1959. In Australian theatre the 1930s was dominated by variety shows and musical comedies, which had replaced the pantomimes of the 19th century although the annual Christmas pantomime remained on the calendar for many years. Cinemas (referred to as ‘picture theatres’) had all but replaced live theatre as mass entertainment. The extremely rare event of a ballet performance was considered an exotic art reserved for the upper classes. ‘Culture’ was a word dismissed by many Australians as undefinable and generally unattainable because of our colonial heritage, which had long been the focus of English attitudes. -
Christensen Brothers by Sheryl Flatow
Christensen Brothers by Sheryl Flatow “Ballet west of the Mississippi is pretty much By the time he was in his early twenties, Willam the creation of the Christensen brothers – was a highly regarded teacher at the school in Willam, Harold, and Lew,” wrote Arlene Croce Ogden. He really wanted to dance ballet, not in 1980 (“Going to the Dance,” p. 311). teach it, but in the early part of the twentieth Separately and together, with passion and century there were no professional ballet ingenuity, tenacity and perseverance, companies in the United States. So, in 1927, he imagination and talent, the Christensen and Lew hit the vaudeville circuit, and a year brothers helped ballet take root in this country, later they were in New York. They swiftly made and their influence reverberates today. it to the prestigious Orpheum circuit with an act for two couples; one of the women, Mignon Willam (1902-2001), as artistic director, Lee, would become Willam’s wife. Despite the choreographer, and teacher, transformed the inclusion of women, the act was really a fledgling San Francisco Ballet from an showcase for male dancing. “Lew and I had to appendage of San Francisco Opera to an be virtuosos,” Willam said. “We had to turn and independent company, and introduced leap like sons-of-guns, and dance fast to keep countless numbers to classical dance in San audiences interested. Because at that time not Francisco and beyond. He then went on to many people knew what we were doing. Were found the ballet department at the University of we gymnasts? Were we acrobats? But Utah – the first of its kind in the country – and 1 audiences liked us.” to establish Ballet West. -
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. -
Atheneum Nantucket Dance Festival
NANTUCKET ATHENEUM DANCE FESTIVAL 2011 Featuring stars of New York City Ballet & Paris Opera Ballet Benjamin Millepied Artistic Director Dorothée Gilbert Teresa Reichlen Amar Ramasar Sterling Hyltin Tyler Angle Daniel Ulbricht Maria Kowroski Alessio Carbone Ana Sofia Scheller Sean Suozzi Chase Finlay Georgina Pazcoguin Ashley Laracey Justin Peck Troy Schumacher Musicians Cenovia Cummins Katy Luo Gillian Gallagher Naho Tsutsui Parrini Maria Bella Jeffers Brooke Quiggins Saulnier Cover: Photo of Benjamin Millepied by Paul Kolnik 1 Welcometo the Nantucket Atheneum Dance Festival! For 177 years the Nantucket Atheneum has enriched our island community through top quality library services and programs. This year the library served more than 200,000 adults, teens and children year round with free access to over 1.4 million books, CDs, and DVDs, reference and information services and a wide range of cultural and educational programs. In keeping with its long-standing tradition of educational and cultural programming, the Nantucket Atheneum is very excited to present a multifaceted dance experience on Nantucket for the fourth straight summer. This year’s performances feature the world’s best dancers from New York City Ballet and Paris Opera Ballet under the brilliant artistic direction of Benjamin Millepied. In addition to live music for two of the pieces in the program, this year’s program includes an exciting world premier by Justin Peck of the New York City Ballet. The festival this week has offered a sparkling array of free community events including two dance-related book author/illustrator talks, Frederick Wiseman’s film La Danse, Children’s Workshop, Lecture Demonstration and two youth master dance classes.