Dancers Heading Back to the Barre This Fall

Project Ballet Coffee Hour, Newport Nutcracker at Rosecliff and more: A preview of the season’s dance

For many, fall serves notice that it’s time to head back to school. But for area dancers, it means it’s time to go back to work. While most dancers savor the summer months and the opportunity to rest tired muscles and heal nagging injuries, come September, the barre once again beckons.

Festival Ballet Providence (FBP), the capital city’s resident professional ballet company, opens their season on October 3 with “Together We Dance.” Now in its third incarnation, this remarkable one-night- only evening of dance features guest artists from some of the world’s leading ballet companies, FBP company dancers, and students from their official ballet school and their acclaimed Adaptive Dance Program.

While the guest artists and FBP’s dancers have wowed audiences, the students from the Adaptive Dance Program are truly inspirational, capturing the hearts and hearty applause of all in attendance. Modeled after Boston Ballet’s groundbreaking program, its primary goal is to foster a love of dance and creative expression in children with Down Syndrome. If you can only see one performance this year, don’t miss this gala “where the ballet world comes together in Providence.”

FBP continues with its critically acclaimed “Up Close On Hope” dance series on consecutive weekends starting October 25 and going through November 9. Presented in the intimate Black Box Theater located in the company’s Hope Street studio, this program includes RI and world premieres from company dancers and both local and internationally recognized choreographers. These performances often sell out, so get your tickets early.

Two weeks before Thanksgiving, FBP presents another installment of chatterBOXtheater with two performances of “Miss McFuzz + More McFun” on November 10. This program, geared toward the company’s youngest fans, has quickly become a favorite, complete with milk and cookies and a chance to meet the dancers after each performance.

And, what would December in Providence be without “The Nutcracker”? From December 20 through 22, dancing mice and Archie the Nutcracker dog invade PPAC. Experience the magic of this timeless classic with stunning choreography, colorful costumes and sparkling Swarovski crystal snowflakes. With a cast of more than 100 dancers, many of them children from local dance schools, this festive performance will surely get you in the Christmas spirit.

For more information about FBP, visit: festivalballet.com.

Newport’s Island Moving Company (IMC), they do not take summers off, commence their fall/winter season with “Open for Dancing” from September 18 through 22. This unique event allows members of the community to perform with IMC dancers at various locations throughout Newport in original works created by three NY choreographers.

Then, from November 29 through December 6, IMC presents its annual holiday production of “Newport Nutcracker at Rosecliff.” Set in the majestic Rosecliff mansion, this original ballet moves audience members throughout the mansion culminating in a trip to The Land of the Sweets in the grand ballroom. This ballet, featuring local celebrities and politicians in a variety of walk-on roles, sells out every year; reserve your spots early (some of the production does require standing and walking).

For more information about IMC, visit: islandmovingco.org.

The state’s oldest ballet company, The State Ballet of Rhode Island (SBRI), now in its amazing 54th season, also has a busy fall/winter schedule. They continue with their popular “Project Ballet Coffee Hour” on October 19 and November 16. Join Artistic Director Herci Marsden as she explains how a ballet reaches the stage, from setting the choreography to training the dancers. This innovative “insider’s view” features lectures, music, visual performances and coffee with dessert.

In breaking from traditional holiday offerings, SBRI presents its annual production of “Coppelia” on December 20 through 21. Dating back to Ms. Marsden’s friendship with Boston Ballet (BB) founder and Artistic Director Virginia Williams, this ballet was chosen as a way of allowing both companies to present non-competing holiday shows, with BB performing “The Nutcracker.”

“Coppelia” tells the heartwarming story of Swanhilda, a girl who pretends to be a doll in order to win back the affection of her boyfriend Franz. Set to the energetic music of Leo Delibes, this fun and playful ballet nicely captures the gaiety of traditional European dance with a very lively and colorful Czardas and Mazurka.

For more information about SBRI, visit: stateballet.com.

For those who prefer something a bit more modern, Lincoln-based Fusionworks has a couple of options. On September 21, they present “Fusion Fest,” an afternoon of food, beer, wine, music and dance at Blount Seafood in Warren. Their annual Fall Concert Series follows on November 22 and 23 at Rhode Island College. A collection of original works, this series always features special guest performers and choreographers.

For more information about Fusionworks, visit: fusionworksdance.org.

Also, Heather Ahern, a very familiar name in the modern dance community, returns with RI’s newest modern dance company Aerplaye. Ms. Ahern was a founding member and co-artistic director of Grounwerx Dance Theatre of Providence. For nearly 15 years, they were a local staple and enjoyed a wonderful reputation when touring nationally. Aerplaye’s debut performance called, appropriately enough, “Return” premieres September 28 and 29 at the RISD Auditorium.

For more information about Aerplaye, visit: aerplaye.com.

Other noteworthy fall/winter performances:

Heritage Ballet’s “The Nutcracker,” December 20 through 22. For more information, visit: heritageballet.com.

Providence Ballet Theatre’s “Twas the Night Before Christmas.” For more information visit: providenceballet.org.

Island Moving Company’s Great Friends Dance Festival

While most dance companies take summers off, things are heating up for Island Moving Company (IMC) as they present their 4th annual Great Friends Dance Festival at the Great Friends Meeting House in Newport. In addition to IMC, this year’s festival includes Houston Metropolitan Dance Company, Elisa Monte Dance, Aerplaye, Bolger.Rose, Ali Kenner Brodsky, Amaranth Contemporary Dance, Roxane Lola Movement Theatre and Lydia Johnson Dance Company.

Spread over two successive weekends, the festival features different performances each evening – no two shows are alike.

On Thursday, July 18, IMC company member Glen Lewis gets the Festival underway with what Executive Director Dominique Alfrandred describes as “new festival tradition.” The day of each performance, an IMC dancer choreographs a piece for company dancers leaving them with only a couple of hours to learn it! Lewis’ contribution, a campy romp poking fun at Victorian prudishness, serves as a nice appetizer for an evening of mostly serious dance.

The main course begins with Houston Metropolitan Dance’s “The Vessel.” With drums beating in the background, the choreography starts out as almost tribal and aggressive, the movements are jerky. But, when the music softens, the dancing follows suits. Then the musical intensity increases and the dancers leap from one to the next catching, lifting, spinning and turning, pushed to their anaerobic limit. As the lights darken, all seven dancers collapse to the floor.

Next, Bolger.Rose presents “Truth Be Told.” This number starts out excruciatingly slow and it is never really clear where it is heading. Sara Barney and Michael Bolger, accompanied by musician Tom Rose, begin by marking off the entire performance space in blue tape, creating a big box. They then tape a box around Rose and two smaller boxes opposite each other.

What follows next appears to be a dance version of H-O-R-S-E with each mirroring the other’s movements, straining to stay within the boundaries of the smaller boxes. When the music starts to become distorted, Barney and Bolger exit the boxes, dancing more freely. They then tear the tape off the floor and leave. Was the tape symbolic of order, conformity? – a curious piece at best.

Lydia Johnson Dance Company’s “In Conversation” emerges as the evening’s strongest piece and clear audience favorite. Certainly one of the most “classical” offerings, it features two women in white and two gentlemen in black. Composed primarily of a series of pas de deux, the choreography is both romantic and edgy, complemented beautifully by Philip Glass’ “Violin Concerto.”

The dancers’ deliberate arm movements, and the long, elegant lines created by each movement, form a striking visual. The partnering is light and airy with the women throwing their arms around their partners’ necks while gracefully spinning in place. At one point, they even roll over the gentlemen’s backs, landing softly on their feet. With the music fading, each couple embraces and falls to the floor, a pleasant end to a very soulful and emotional piece.

After intermission, Houston Metropolitan Dance returns with “Hidden in Plain Sight.” With dancers Lisa Wolf and Max Jones dressed in black, it seems to be exploring the themes of need and dependence. Jones always manages to catch a falling Wolf just before she hits the floor. Accompanied by loud synthesized breathing sounds, the two lift each other and cling to one another as if each was the breath needed to survive. Yet, when the music ends, Wolf defiantly pushes Jones away, forcing herself to accept independence.

Next IMC presents “Luminous,” choreographed by company member Shane Farrell. Danced by Christine Sandorfi and Jose Gonzalez, both in nude colored tights, this piece is raw and cumbersome, but passionately graceful. It starts with Gonzalez dancing over Sandorfi, not in a dominating fashion, but as if he were dancing for her. The two separate, but come back together in a tight embrace. The suggestiveness and the musicality of Farrell’s choreography coupled with Sandorfi’s smoldering stare make this piece a guilty sensual delight.

Then Houston Metropolitan Dance returns once more with “Air.” Wearing matching blue uniforms and glued-on smiles, this funny and extremely clever piece mimics a flight attendant’s pre-flight instructions through dance. This is followed by a charming and playful pas de deux highlighting the fleeting nature of life and love.

IMC closes out the festival’s opening night with “Heart Vignettes.” With the full company, this piece unfolds like chapters in a story –hence “Vignettes” – detailing the struggles of an individual who appears to have a terminal heart condition. The lights darken, signaling the end of chapter; when the lights come back up, the story and dancing continue.

The piece features a moving pas de deux with Carol Tang and Gonzalez; Katie Moorehead and Lewis also have some fine moments. At times, the choreography seems random and varied. In one instance, the dancers perform tango-like movements. Then other times the dancing become more fluid and graceful marked by some interesting head, arm and upper body movements.

IMC’s Great Friends Dance Festival will run for one more weekend, July 24 – 27. For tickets or more information, go to islandmovingco.org.

Theatre by the Sea’s CATS Invites You to the Jellicle Ball

CATS is playing at Theatre by the Sea. If your first reaction to this was “Ouuhh,” go get your tickets now. If your reaction was more along the lines of, “Oh,” keep reading.

I’m familiar with CATS. I was in kindergarten in 1998 when the movie version of the play had just gone straight to VHS; it was a hot commodity. We 5-year-olds were all pretty terrified of the actors and clearly had no idea what we were watching. A few years later it made its way to PPAC and you can bet I was there, terrified, with my eyes shut the whole time. The things you learn as a young child stick with you – hey, it’s science – things like addition and English and Andrew Lloyd Webber soundtracks. CATS has stuck with me for the majority of my life. And I hate it. I hate their spandex and that old hag Grizabella, all that hissing and the absence of a plot line.

But I heard Theatre by the Sea was pretty nice, so I dragged along my mother and off we went. As I sat in my seat waiting for the lights to dim I thought to myself, “If these cats crawl down the aisle and get up in my face I’m going to lose it.” Two hours and four cats up in my face later, all I can really say is this is a summer stock production you should probably see.

CATS , based on the TS Eliot poem, “Old Possum’s Book of Practical Cats,” is pretty much about a bunch of cats that hang out in an alley at the “Jellicle Ball” for one night a year where they proceed to gloat about themselves, hate on the elderly cat and then change their minds and befriend her (or feel bad for her) before sending her up to heaven or the moon or something on a spaceship thing. So there’s essentially no plot at all.

But there’s a reason it’s the longest running play in Broadway history – it’s incredibly entertaining. There is no spoken dialogue in the whole performance. CATS is dance theater. The choreography is such that after watching for a half hour you forget that you’re watching human beings and not cats. At one point, a character came crawling down the aisle sniffing around my chair and I almost pet her head. All of the acting is within the choreography; yes, there are words in the songs and yes, the performers must portray emotion the same way that any actor must, but everything that leads to the illusion that these dancers are actually cats, what makes the play such a hit, comes from the choreography.

Like any dance style and number, each dancer has his or her own talents and signature moves that get the crowd “Ooh”ing. There will always be the principal dancer who can silence a room with his straight- leg fouettes (always a big finish in Magical Mister Mistoffelees). But it’s the group numbers, meticulously choreographed to the point where 17 dancers don’t even take breaths on the wrong counts that are particularly impressive. There wasn’t a single point in the performance when a cat wasn’t pulling off some impressive dance move and in turn, distracting from the ridiculous non-plot. With Richard Stafford on board as choreographer and director after serving as dance supervisor over Broadway’s production of CATS, you can expect the same level of quality at Theatre by the Sea.

Simply being at Theatre by the Sea is an event within itself. The theater exits let out to what could easily be mistaken for The Secret Garden. As the focal point of a grassy courtyard, a gazebo served as a makeshift bar. When the show ended, the sun had set completely and lampposts and string lights dimly, but pleasantly, lit the area. At the far end, a pathway surrounded by greenery and flowered vines on three sides summons visitors’ curiosity. Walking through, couples sat on benches while showtunes quietly played out of the overhead speakers. At the end of the tunnel is the entrance to the Bistro by the Sea.

Whether you’re new to the show, have happy memories of seeing it in the past, or cling to horrible childhood nightmares it created, CATS is worth another viewing. Just don’t pet the actors.

CATS is playing at Theatre by the Sea on 364 Cards Pond Road, Matnuck, RI, through July 13. For ticket information, call 401-782-8587 or visit TheatreByTheSea.biz.

An Evening of Magical Support for Ballet

As fundraising becomes more and more vital for many arts organizations, it was truly inspirational to attend The State Ballet of Rhode Island’s 10th annual Summer Soiree: “Earth, Wind and Firefly.” While many, understandably so, have less to give, it never ceases to amaze what can be accomplished by some when motivated by a common cause. On this particular balmy Thursday evening, nearly a dozen food vendors, a wine company, artists and patrons of the arts combined their efforts and talents to highlight the significance of a community coming together to support the arts. It was also amazing to see how some youngsters in attendance represent a family’s third or fourth generation of dancers to share the barre at The Brae Crest School of Classical Ballet, the official dance school of SBRI. Tucked away in the woods of Lincoln, this intimate ranch-style building could actually serve as a nice peaceful retreat if not for the sweaty bodies hard at work on a daily basis within the studio walls. For the fundraiser, a small stage was constructed just a short walk even farther into the woods. Set in a natural amphitheater-like clearing, it appears vaguely reminiscent of Jacob’s Pillow, which resides in the thickly settled woods and rolling hills of the Berkshires. Throughout the evening, SBRI Executive Director, Ana Marsden Fox, expertly moves things along. After thanking all the sponsors, she gets things underway by announcing the four recipients of the 2013 Partner with the Arts Award, an award that recognizes the volunteers who are essential to the success of any arts organization. Then those in attendance are treated to the first of two performances by company dancers. Ms. Fox explains that, “This is a piece from a ballet that Herci Marsden first created in 1981.” Now in her amazing 53rd season, Ms. Marsden, SBRI Artistic Director and co-founder, is in attendance and still teaches at the school. Ms. Fox also warns, “There will be no tutus in this piece, which is a tribute to Ms. Marsden’s modern vision. But, this is not modern dance.” In familiar SBRI fashion, this ballet features dozens of dancers on stage simultaneously, with a couple standouts – the ever emotive and graceful Emily O’Heir, and SBRI newcomer who is just several months into his dance career, Matthew Annunziata; his poise and extension are especially impressive. Set to a variety of music styles ranging from futuristic to classical to tribal, this piece offers the more astute observer an opportunity to see how some ballets often influence later pieces and vice versa. During one segment, with the stage filled with dancers, memories of SBRI’s 1990s world premiere “Americana” emerge. When the music turns more tribal and masculine, the dancing becomes reminiscent of “Prince Igor.” Throughout the ballet, there are also elements of a more folksy style that prevails in much of Ms. Marsden’s choreography. After a brief performance by Opera Providence, the dancers return for the world premiere of Shana Fox Marceau’s “Dance of the Firefly.” This piece includes live music, two violins and a bass, conducted by composer Noreen Inglesi, who was commissioned to create the score for this ballet. And while Marceau represents the third generation of Marsden choreographers, “Firefly” depicts a freshness and crispness indicative of Ms. Marceau’s individual style and influences. Wrapped in strands of lights, four dancers take flight as violins lightly fill the evening air. Though not nearly as uptempo as Rimsky-Korsakov’s “Flight of the Bumblebee,” the music is bright and playful and the dancers are clean and precise. As the music ends, the “fireflies” disappear into the woods, the glow of their lights marking their exit. After the performance, guests are invited to bid on silent auction items, eat more and dance. Under a tent closer to the studio, singer Kelley Lennon, accompanied by the band Malloi, turn up the heat well into the evening hours.

Threepenny Opera

I feel like I’m in the right place when I see a Wilbury Group production. I cheered “U-S-A!” at The Elaborate Entrance of Chad Deity and I cried honest and unashamed at Lungs. Even with an unforeseen venue swap from the Butcher Block Mill to Trinity Church midseason, Wilbury didn’t break stride. As such, The Threepenny Opera is all at once a completely appropriate and deeply perplexing choice of a show to close the Wilbury Group’s 2012-2013 season. So, the Wilbury mission, as I’ve come to understand, is to present atypical works of theater to compel, if not to challenge, audiences. That was abundantly evident in the minimalist soul-crusher called Lungs and in the unexpectedly insightful testosterone-fest that was Chad Deity. I had never read nor seen a production of Threepenny before. For two acts, I struggled to understand why Artistic Director Josh Short chose this show. Because The Threepenny Opera has absolutely no pay-off. The plot was wholly irrelevant, and the catharsis of closure so vital to theater does not come. Considering this musical predates the Great Depression, that’s kind of a big deal. It’s a leap forward for theater with two middle fingers in the air and Slayer playing in the background. The story follows Macheath, aka “Mac the Knife,” murderer, robber and all-around scumbag infamous enough to have his own hideout and henchmen. Mac attempts to wed Polly Peachum (doesn’t love her), but is forced into hiding as her insidious parents hunt him down. Along the way, we meet some prostitutes and policemen, but there is nothing of consequence about the plot. Right before Mac is executed, Brecht pulls the old Deus ex Machina and has a messenger appear from nowhere with a royal pardon for Macheath. Mac doesn’t die, nothing changes and nobody learns anything. The Threepenny Opera, as the name might suggest, is a musical. Though frankly, I didn’t much care for the music. I’m pretty sure most of it was in the same minor key. Not to say the performance itself wasn’t up to par for Wilbury. Josh Short was clearly on a mission to use the Wilbury Group’s new space at Trinity Church to its potential. Short used the entire theater to stage the show. Now, when I say the entire theater, I mean every possible point of entry and every level built into the space. There was little, if any, set, and the twin scaffolding and orchestra risers were purely functional and lent no real aesthetic beyond the actors moving upon them. Being a musical, this show had a big ol’ cast. As Mac, David Tessier was a jerk of an antihero. Mac treats everyone like shit, and Tessier performed with all the gusto of a high school bully from a movie made in the 1980s. Remember Biff, from Back to the Future? Christine Dickinson had brilliant moments as Polly Peachum, forgoing the typically sweet disposition of her character to sing about the vicious tortures she would enjoy if she were a pirate. Tom Gleadow was consistently enjoyable as Mr. Peachum and Mac’s ex-flame Lucy Brown, Katie Travers, was gut-bustlingly hilarious. The Threepenny Opera is a show meant to elicit an audience response. Brecht didn’t intend this odd musical to simply entertain, he meant it to make people think. Now, when the show was written in the 1920s, the critique of the capitalist system and the abrupt pardon of a confessed murderer may have held more clout. I didn’t walk away a political dissident, but I did become a Brecht believer. I did not see the climax (or lack thereof) coming, and completely appreciated it as a loogie spit right between the eyes of the theater world. I don’t know what you’re doing in terms of theater these days, but if you haven’t checked out the Wilbury Group yet, you’re missing out. The Threepenny Opera runs from May 23 through June 8 at The Wilbury Theatre Group, 393 Broad St., Providence, RI.

Dance Up Close

While spring serves as a welcoming prelude to summer, it is also ripe with wonderful symbolism: rebirth, fertility and growth. Thus Festival Ballet Providence is opening the spring portion of their season with the popular Up Close On Hope dance series. This latest installment consists of 10 pieces, six world premieres, and features many of the company’s new and younger dancers, showcasing the company’s continuing growth. The program opens with the premiere of guest choreographer Thomas Vacanti’s Enroulement, a simple, yet beautifully danced number. Four dancers, through a series of pas de trois and solos, nicely capture the musicality of the choreography. Next, company trainee Louisa Chapman kicks up her pointe shoes in a fun and playful romp, The First Thirty Years (world premiere). Set to the twanging guitar of Eric Clapton’s Mean Old World, Chapman is wonderful while teasingly gesturing for one to come hither only to quickly turn away, at one point lifting her long white gown and flipping up her backside to her overmatched suitor.

While much of UCOH’s popularity revolves groundbreaking premieres, the classical pieces also seem to receive the most robust applause, with the response following Flames of Paris being no exception. Here, trainee Eugenia Zinovieva shines, making a challenging pas de deux filled with many supported and unsupported pirouettes look easy. Her partner, the always exciting Toleu Mukanov, doesn’t disappoint either. Always pushing the limits, his gravity defying leaps leave audience members on the edge of their seats until he calmly lands. Rhapsody for Two (world premiere) set to the music of George Gerswhin, is both sultry and temperamental and seems perfectly suited for Emily Loscocco and Ilya Burov. Emily radiates a natural seductiveness that works well with his unassuming confidence and ease.The two have partnered before in similar numbers and seem to get better and better together. Just before intermission, company member Vilia Putrius presents her world premiere, Musica. With the ever expressive Jennifer Ricci and two male dancers, this piece comes across as very contemplative with each dancer yearning for something. Two come together while another fades into the background; they switch, sending the other off to be alone. Though the truncated movements are sometimes a bit odd, there is some interesting partnering, with Ricci literally climbing up or walking over another dancer.

The second half opens with Pieta (world premiere). Pieta is actually a famous sculpture by Michelangelo depicting Mary holding Jesus after the Crucifixion. Set to a soaring operatic musical score by Handel, this piece projects a certain religious theme, but it comes across as multilayered and unclear. In the end, the lights fade on a single dancer with arms outstretched and palms turned upward.

Grand Pas Classique once again highlights the mastery of Vilia Putrius and Mindaugus Bauzys. Putrius beautifully smiles while making the difficult look easy, hopping for 32 counts on one pointe shoe while slowly extending the opposite leg. Bauzy completes a series – a perfectly executed double tour en l’airs or circling the studio in grand jete with his front leg perfectly extended. Over the years, FBP audiences have become spoiled by their near perfection.

Company member Alex Lantz marks his choreographic debut with Sides of Farewell, a very whimsical and simple piece that, much like Enroulement, is beautifully danced. Company apprentice Tegan Rich looks especially impressive here, telling a compelling story through her facial expressions. Rich truly stands out in former FBP company member Mark Harootian’s Identity.Set to the music of heavy metal band Tool, reorchestrated for the piano, this piece has a futuristic feel. Dancers seem to pulsate, then one arm hits another and then another, setting off a series of movements. While some of the partnering appears cumbersome, Rich’s solo variation filled with dizzying pirouettes impresses. FBP Artistic Director Mihailo Dhjuric’s The Unexpected completes the bill, a romantic and playful pas de deux danced nicely by Ruth Whitney and Alan Alberto. Dance into spring; visit www.festivalballet.com for details on upcoming shows.

Dance Up Close: Ground Breaking Ballet

Artistic inspiration comes in many forms. For Festival Ballet Providence Artistic Director Mihailo Djuric, the muse for his company’s upcoming production was a series of orchids photographed in various states of decompose. “It’s amazing how drying orchids look like dancers,” notes Djuric. “They even have faces.” Indeed, after viewing several photographs, the imagery becomes remarkably apparent. In one photo, wilting petals take on the appearance of arms and legs with one dancer gently lifting another. Resident FBP choreographer Viktor Plotnikov, charged with creating a ballet based on the photographs, was also struck by the imagery created by the orchids. “I look at the pictures of the orchids and they describe dance movements through the lines. So what I would actually like to do is bend the dancers into the lines of those orchids, what you see in the pictures. Blend it in and make the picture live.” Thus, Orchis, based on a series of black and white images that photographer A. Cemal Ekin started taking in 2004, came to fruition. This world premiere ballet will debut with the RI premiere of George Balanchine’s masterpiece Agon. Billed as Agon and Orchis: Then and Now, these two groundbreaking ballets will be presented at The Vets March 8-10. When speaking with Djuric about the upcoming production, it doesn’t take long before he launches into a subject he feels very passionately about: the local community supporting local artists and arts organizations. He refers to the touring dance companies that have performed in the area the last couple of months with several more due this spring. “All the money generated by these shows goes to help these outside organizations. Our performance is 100% local. Our artists all live here, work here and do their art here. They are also educators.” He then proceeds to run through the litany of names associated with Orchis and their local ties. “Cemal teaches at PC. Alan Pickart [set and lighting design] is a professor at RIC. The costume designer [Beth Bentley] graduated from RISD. Toots [Zynsky] is a world-renowned glass artist and lives right here in Providence. The composer, Sonya Belousova, is a former student of RI Philharmonic conductor Francisco Noya. These people are not outsiders. Who would you rather support?” he concludes, barely able to catch his breath. Incorporating the unique talents of all these dynamic artists, Djuric hopes to create a “new concept for multimedia art utilizing projection, lighting and unique materials.” He is especially excited to see how the multi colored textiles sewn to the dancers’ costumes will interact with the lighting. The end result could very well stretch the limits of visual artistry and dance. When talk turns to Agon, Djuric sticks to his guns. “All these people going to see these touring productions and not coming to our shows would be shocked by Festival Ballet and our dancers. Not many companies are mature enough artistically or intellectually to do Agon.” In fact, a ballet company cannot perform a Balanchine ballet without first applying for and receiving permission from The Balanchine Trust. The Trust then sends a repetiteur to oversee rehearsals and to ensure that the ballet is performed correctly. First performed in 1957 by New York City Ballet, Agon is actually the Greek word for contest and many consider this ballet to be Balanchine’s crowning achievement. Interestingly enough, he and composer Igor Stravinsky set the choreography while simultaneously creating the music. Thus the term “contest” takes on greater significance. Djuric observes “there are times when the choreography goes against the music and then the opposite. It is like a contest between the music and dance, the composer and choreographer. For the dancers, it is challenging for the body and the brain. They are pushed to the limit.” With 12 dancers clad simply in black and white, the music counts out a specific cadence and exact timings as the dancers interact in pairs, trios and quartets. Several variations are also based on 17th century French court dances. “I liked this ballet the first time I saw it as a teenager,” confides the smartly greying Djuric. “I was struck visually by the patterns and the movements. I have always wanted to do it. Now I can.” Agon and Orchis opens March 8 at The Vets with repeat performances on March 9 and 10. For tickets call: 401-421-ARTS or go online to ppacri.org.

Winter Dance Preview

With the season’s first snowstorm behind us and the mercury dropping to bone-chilling levels, RI’s winter dance offerings are ready to heat things up. From local productions to several touring troupes, things could get hot around here long before the spring thaw.

Festival Ballet Providence (FBP), the capital city’s resident professional ballet company, will get things started with Boyko Dossev’s newest creation for kids: Little Red Riding Hood. Last season, his world premiere of Mother Goose Goes to Hollywood played to sold-out audiences in the company’s intimate Black Box Theatre; his latest debut promises to be equally as popular.

The show will run from February 2 – 10 as part of FBP’s ChatterBOXtheatre dance series. After the performances, children are invited to stay for milk and cookies and pose for pictures with the dancers.

When not performing with Boston Ballet, Dossev spends much of his time in Providence lending his extensive talents to FBP. In addition to creating children’s ballets, he also choreographs for the company’s wildly successful Up Close On Hope (UCOH), a collection of short, unrelated dance pieces – many of them world premieres – also presented in the Black Box Theatre.

Billed as “dance so close you can touch it,” UCOH features work from local artists and world renowned choreographers. It is a rare opportunity to see dance from a behind-the-scenes perspective. The latest installment will run from March 29 – April 13. During intermission, enjoy complimentary wine and hors d’oeuvres from local restaurants.

In between Little Red Riding Hood and UCOH, FBP will present Agon and Orchis at The Vets (March 8 – 10). Considered by many as one of Balanchine and Stravinsky’s greatest creations, Agon represents the perfect blending of abstract and neoclassical ballet, which aligns perfectly with Viktor Plotnikov’s Orchis, a stunning collaboration with composer Sonya Belousova, glass artist Toots Zynsky, and photographer Cemal Ekin.

For tickets or more information about FBP, visit www.festivalballet.com. For tickets to Agon and Orchis, visit www.vmari.com.

Other local productions include Fusionworks Te Deum with the R.I. Civic Chorale & Orchestra (March 16). For tickets or more information, visit www.fusionworksdance.org. Also, relative newcomers to the local dance scene, Providence Ballet Theatre will present Hansel and Gretel (March 15 & 16). For tickets or more information, visit www.providenceballet.org.

Make sure to save some time for The State Ballet of Rhode Island’s (SBRI) Project Ballet Coffee Hour. SBRI Artistic Director and “First Lady of Rhode Island Ballet,” Herci Marsden, invites all to share in the experiences that bring a performance from a rehearsal studio to the stage. Featuring music, dancing, and chats, this free event includes cheese, crackers, desserts, and, of course, coffee. Seating is limited; for more information visit www.stateballet.com.

Several touring productions will also step off in Providence during the winter months. On February 5, PPAC will host Shen Yun, a celebration of Chinese culture through classical Chinese dance. This impressive production features nearly 100 artists and 400 costumes. Lord of the Dance returns once again to PPAC (February 16). Always a crowd pleaser, Dance is an electrifying blend of traditional and modern Celtic music and dance. On March 16, Firstworks is proud to present Joffrey Ballet: Rite of Spring. Set to Nijinsky’s original choreography, this production celebrates the 100th anniversary of Stravinsky’s masterpiece: The Rite of Spring. For tickets or more information regarding these performances, visit www.ppacri.org.

Back at The Vets, The State Ballet Theatre of Russia will be in town for two performances of Cinderella (February 10). Featuring 65 distinguished dancers, this company showcases the unparalleled art of Russian ballet to countries throughout the world. For tickets or more information, visit www.vmari.com.

Finally, Rhode Island College, as part of its acclaimed Performing Arts Series, will welcome The Trisha Brown Dance Company to Roberts Hall on March 6. Inspired by her own experiences in opera, Ms. Brown directs her dancers in a fluid yet unpredictably geometric style that remains the hallmark of her choreography. For tickets or more information, visit www.ric.edu/pfa/pas.php.

A Vision On Stage Festival Ballet Providence’s The Nutcracker

While some in RI continue to debate whether it’s a Christmas tree or a holiday tree, it’s refreshing to see that several local Christmas traditions remain unaffected: Festival Ballet Providence’s The Nutcracker and The State Ballet of Rhode Island’s Coppelia.

Recently, I sat with FBP Artistic Director Mihailo Djuric before the start of rehearsal. With the company celebrating its 35th season, this marks Djuric’s 15th Nutcracker since taking the reins. And while there has been talk about staging a new production, tough economic times have put such plans on hold.

When asked how he continues to get excited about The Nutcracker, Djuric replies with a twinkle in his eye, “It’s the holidays, Christmas, kids, presents and fun.” I sense, however, a bit of sarcasm in his retort, indicative, perhaps, of the daily struggles confronting many in the arts. When rehearsal commences, the troupe runs through two of the ballet’s longer numbers consisting mostly of corps dancers: “Waltz of the Snowflakes” and “Waltz of the Flowers.” During “Snow,” the music stops frequently as Djuric removes his glasses and rubs the bridge of his nose. After a pause, he barks, “Again.” About an hour later, the first run-through is complete. When performed onstage, this piece will take approximately 10 minutes.

Emily Loscocco and Alex Lantz (Snow Queen and Snow King) are especially impressive. Lantz brings an understated confidence to the pas de deux, executing crisp double sauté de basques before dropping to a knee. Loscocco captivates with endless, elegant lines and dizzying supported pirouettes. Vilia Putrius with Mindaugas Bauzys and Ruth Bronwen Whitney with Alan Alberto will dance these roles during alternating performances. They will also share the lead roles of Sugar Plum Fairy and her Cavilier with Elizabeth Mochizuki and Toleu Mukanov.

Rhode Island native and fan favorite Jennifer Ricci returns once again to reprise her most famous role, Arabian. Now in her remarkable 22nd season, audiences are left breathless during this seductive number highlighting Ricci’s ethereal grace and flexibility.

In addition, over 120 children from local dance schools will perform alongside the professional dancers. And, of course, Archie the Nutcracker dog, who has been in more than 100 productions, will make his annual dash across the stage.

Growing Local Talent State Ballet of Rhode Island’s Coppelia

To see some of R.I.’s younger aspiring ballet dancers, one must head North to SBRI’s headquarters in Lincoln. Now in its amazing 53rd season, the company prepares for its traditional Christmas offering; though not a “holiday” ballet, Artistic Director Herci Marsden continues to honor an agreement she reached with old friend and former Boston Ballet Artistic Director Virginia Williams not to present competing December ballets. Thus explains their selection of Coppelia, the heartfelt story about a doll maker who falls in love with one of his dolls.

As a first, this year’s performance will feature some children from area ballet schools. “It is about community,” explains Ms. Marsden. “We are the State Ballet.” All told, the production requires close to 100 dancers, with almost 70 onstage for the finale.

During rehearsal, young dancers, crammed along the floor and back wall, wait their turn, watching with an intense curiosity or listening with rapt attention whenever Ms. Marsden speaks. All the while, Derek Kunz (male lead Frantz) calmly maneuvers the animated and feisty Melissa Sorkin (female lead Swanhilda) through the three-act ballet.

Fifteen-year-old Emily O’Hier especially stands out. As one of Swanhilda’s friends in Act I and with two solo variations in Act III, she emerges as one of the finest young dancers I have seen in quite some time; her exceptional talent as a dancer upstaged only by her remarkable stage presence and acting ability – a pure joy to watch.

FBP’s Nutcracker and SBRI’s Coppelia open Friday December 14, so plan accordingly and see them both. Don’t be a Scrooge! For that, you need to go to a different theatre. Artist Profile: Jessica Slocum is a teacher with a dual career. However, dancing is her identity.

Through movement, Jessica expresses her art. She teaches at Newport Academy of Ballet and religiously takes four classes a week there. A former member of Island Moving Company, she has performed professionally with Austin Contemporary Ballet, Ballet Santa Cruz, and has danced throughout Seattle and Providence.

Jessica Slocum is also a teacher at the MET in Providence. She received her Masters in education from URI. She tries to incorporate creativity into her classroom and teaching style by exposing her students to the arts in ways that would normally be unavailable to them.