FOOTNOTES 2005 FEBRUARY VictoriaDanceSeries.com BY FASTRAC

“The repertory of a is stored in the bodies of its dancers” — Sandra Kurtz, Seattle Weekly BUILDING CINDERELLA BUILDING CindyMarie Small. Photo by David Cooper. REP By Stephen White

A ballet company develops its repertoire much as an art companies have a Cinderella - usually set to gallery collects paintings. Both acquire pieces that provide Prokofiev’s famous 1945 score. The National Ballet of Canada, for example, has three Cinderellas cho- a foundation on which to build a contemporary collection reographed by Celia Franca (1967/68), Ben Stevenson (1994/95), and James Kudelka (2003/04), or specialized collection of works. The greatness of an institution is measured in all of which use the Prokofiev score. part by what it holds in its archives or repertoire – and in the case of both the But the RWB’s Artistic Director, André Lewis, was dance world and the visual arts, the pedigree of the choreographer/artist is of not interested in hiring a choreographer to set a utmost importance. Simply put, the more Picassos you hold or the more Bal- Prokofiev Cinderella on his company. Call it that anchines you have in your rep. the more prestigious the company/gallery. Over fiercely independent prairie spirit – the same spirit the past 65 years the RWB has built an impressive repertoire with works choreo- that enables the city’s residents to live through graphed by some twentieth century greats including George Balanchine, Sir minus 47 degree winters – but RWB, with its long Frederick Ashton, Agnes de Mille, Jiri Kylian, and Jerome Robbins to name a few. tradition of new, contemporary ballets was primed A review of the company’s repertoire also demonstrates its long tradition of for something totally different. developing new works that are inspired by and rooted in the prairie. Often these Enter the creative team of Val Caniparoli (chore- works have succeeded in pushing the definition of the form. ographer), Ron Paley (legendary Winnipeg Jazz Until this season, however, the RWB did not have a Cinderella. All of the major composer/musician), and Sandra Woodall continues > 2 FOOTNOTES

> continued (designer and long-time artistic collaborator of Cani- paroli). Lewis and Caniparoli had actually done a lot of the preliminary work before Paley and Woodall joined the team. They asked themselves, “All right, if we are not going to use the famous Prokofiev score, what will we use?” Through a series of circum- stances, and after some serious thought, they settled on the idea of using the Richard Rodgers songbook as a foun- dation. Rodgers is of course, the prolific and celebrated Broadway composer who worked first with Lorenz Hart, and after Hart’s death, Oscar Hammerstein, to write some of the most memo- rable songs in the history of the American musical theatre. With 900 songs and 40 musicals to choose from, the task of compiling a “score” was daunting. But Lewis and Caniparoli went through stacks of recordings with the intention of eliminating the very recognizable Rodger tunes from what was to be their score. The objective was to select those pieces that supported the emotional story. The concern was

Giuseppe de Ruggiero. Photo by David Cooper. that if the music was a “sing-along” hit, it might conjure images or memories in the audience that would blur their appreciation of the story on stage. In other words, recognizable tunes could have the impact of actually pulling you out of the experience. Caniparoli was also interested in updating the classic story – and in order to make the The Victoria Dance Series is a non- music resonate with the new story, he set his A Cinderella Story so that it begins one week profit organization dedicated to before the celebrated telecast of Rodgers’ and Hammerstein’s Cinderella in 1957. In fact, the dance presentation and education. Our mission is to enhance the appreci- ballet opens with the Cinderella character (renamed Nancy in this version) on stage watch- ation of dance in the Capital Region ing television. While watching, she sees a promotion for the upcoming telecast – and the by presenting and developing profes- story takes off from there. sional dance and engaging the The other two artistic forces that helped shape this version (as mentioned above) were community in outreach programs. arranger/composer/musician Ron Paley and designer Sandra Woodall. The Victoria Dance Series is governed If you are from Winnipeg, or if you are a Canadian jazz aficionado no doubt you know the by a Board of Directors that includes: name Ron Paley. Paley has a solid reputation as a masterful recording artist, bandleader and Robert Milne, President composer. He has stacked up numerous television and radio credits in his fifty-some years, Anne Russo, Vice President but this was his first foray into the world of ballet. He took Caniparoli’s selected Rodgers Nancy Glerup, Treasurer tunes and over the next few months arranged them in the jazz and blues idiom. Paley was Jane Tice, Secretary present throughout the rehearsal period, accompanying the dancers on piano while they Wendy Vernon, Director built the show, noodling with arrangements to ensure they fit the tempi that Caniparoli required. Those piano arrangements were then transposed to fit the instrumentation of the Our staff is: 20-piece jazz orchestra that will perform live in Victoria. Stephen White, Executive Producer In the reviews of the premiere production, all of the critics applaud the performance of Douglas D Durand, the other character in the ballet – the breathtaking costumes and sets. Designer Sandra Community Outreach Director Woodall has collaborated with Caniparoli on many projects so their language has become a Ian Rye, Production Manager, Technical Consultant shorthand and their ability to riff off one another is what makes them reunite artistically Bill Hamar, Administrative Assistant over and over again. Woodall wanted to design a Cinderella that lived in the realm of the ele- gant and the whimsical while remaining true to the period. Her central inspiration was If you would like to be involved with Audrey Hepburn in Sabrina and her means for expression was couture. Drawing ideas from the Series, please call: (250) 595-1829 the great design houses of the era – Givenchy, Dior and Balenciaga Woodall set to work with or email: [email protected] the RWB’s costume shop, selecting fabrics and developing silhouettes that evoke the best of More information is available online: the era. And as the publicity photos demonstrate, her impeccable taste and talent became www.victoriadanceseries.com an integral part of the ballet. Footnotes is prepared by Executive So the RWB has a Cinderella to add to its repertoire, and like last year’s Magic Flute, or the Producer Stephen White. Anne Moon celebrated Dracula,The Ecstasy of Rita Joe or a dozen more ballets, the unique quality of this volunteers to read the text. production is another example of how this celebrated company continues to define itself as If you would like to help us save on an innovator of the classical form. FN postage and printing costs by receiv- ing your newsletter as a PDF, via Please note: The running time for A Cinderella Story (including a 20 minute intermission) ecologically friendly email (address is 2 hours and fifteen minutes, which means you’ll be on the street at about 10:15 pm for the confidentiality ensured), let us know! evening show and 4:15 pm for the matinee. FOOTNOTES 3

Cinderella as Archetype Born in Renton, Washington, Caniparoli opted for a profes- sional dance career after studying music and theatre at In my research for this newsletter, I came across several academic Washington State University. In 1972 he received a Ford Founda- studies that are focused on collecting Cinderella stories from tion Scholarship to attend the school of the Ballet. other cultures. According to these studies, as many as 1,500 varia- More than thirty years later, he continues to perform with the tions of a “Cinderella-esque” folk tale are part of the cultural company as a Principal Character Dancer. narrative in almost every region of the world. Even the North American First Nations have a myth about a young woman whose Master Class beauty and pure disposition were so despised by her two “step- sisters” that she was forced to wear rags and labour to satisfy the Sarah Murphy-Dyson family’s most basic needs. Her sisters, in addition to demeaning 10 – 11:30 am Friday, February 25 her, cut her hair and scarred her face with hot coals. It was only Pacific Dance Centre, when she spoke the truth (everyone else, in an attempt to impress 2580 Maynard St. had been deceptive) to the noble and honourable chief that her $18/$15 Youth Pass Holders beauty was recognized and she was chosen to be his bride. That Register on-line: chief was called Strong Wind and he punished the maiden’s two www.VictoriaDanceSeries.com sisters by transforming them into Aspen trees that to this day are in such fear of Strong Wind, their many leaves tremble whenever Victoria native and Royal Winnipeg he is present. Ballet First Soloist, Murphy-Dyson I wish I understood why this tale of repression and revelation will offer a ballet technique class to advanced students. Enrollment holds such appeal for us. This idea that goodness and honesty will is limited to 12. ultimately be rewarded is a universal. Variations of the basic story Ms. Murphy Dyson trained with Maureen Eastick at Pacific developed in cultures that had no contact with one another, Dance Centre before leaving Victoria to continue her training at which points to our love of this tale. Where’s Jung when you need the National Ballet School, the School and him to explain the power of the story’s archetypes? FN the Goh Ballet in Vancouver. She joined Alberta Ballet in 1994. In 1997 Sarah and her new husband Johnny Wright moved to Win- nipeg to join the RWB company. In 2001 she was promoted to Val Caniparoli First Soloist. Sarah is a dynamic instructor and experienced performer who is Choreographer Val Caniparoli’s interested in helping you maximize your performance potential. FN versatility has made him one of the most sought after American Pre-Show Chats choreographers in the United States and abroad. Friday, February 25 @ 7:20 pm Although he is most closely West Lobby, Royal Theatre Gerard Roxburgh, associated with San Francisco Director of Touring and Company Operations Ballet, his artistic home for over thirty years, Caniparoli has con- Getting the Show on the Road tributed to the repertoire of more than thirty-five dance compa- Gerard will provide us with a lively account of what’s involved in nies. He has been resident getting the company on the road. How to pack those semi-trail- choreographer at ers? Where does the set go when you fly to Asia? What if it doesn’t since 2001. When danced the company premiere of show up? Caniparoli’s full-length Lady of the Camellias in 2004, the critic for the Boston Herald wrote, “Why have we had to wait so long to see Please Note: There will be no pre-show chat at the Saturday Feb. 26 a ballet by this gifted choreographer?” matinee performance Lady of the Camellias, choreographed in 1994 and co-produced by Ballet Florida and , was Caniparoli’s first full-length Saturday, February 26 @ 7:20 pm work. He has also choreographed (2001) for West Lobby, Royal Theatre , and now, Val Caniparoli’s A Cinderella Story, for Ron Paley and Earl Stafford Canada’s Royal Winnipeg Ballet. Making Cindy Dance Caniparoli’s body of work is rooted in classicism but influenced by all forms of movement: modern dance, ethnic dance, social Big band leader Ron Paley and RWB Music Director Earl Stafford dancing, even ice-skating. His extensive knowledge and appreci- will talk about what was involved in putting together the score for ation of music is reflected in the range of composers that have this new work. inspired his choreography. FN 4 FOOTNOTES

BATTERY OPERA IN RESIDENCE

Re-Inventing Cyclops The Victoria Dance Series’ first creative residency ran from Jan- uary 3 to 21, at Stages Dance on Cedar Hill Cross Road. In the By Robin J. Miller mornings, Su-Feh and David gave free master classes to 15 local participants (more than 80 applied) based on the principles of Lee Su-Feh and David McIntosh, co-directors of Vancouver’s bat- qigong, a 3,000-year-old Chinese practice that cultivates the “qi,” tery opera, are well aware that their work is not for everybody – the body’s own vital energy or life force. In the afternoons, they and a few people here in Victoria might just go even further. When worked on Cyclops, an evening-length work the company first the company last per- created over two years formed in this city, with ago, using a $60,000 the cockfight-inspired Alcan Performing Arts Spektator in October Award. It premièred in 2003, a steady trickle left Vancouver in February the gymnasium at the 2003, to mixed reviews. Victoria Conservatory of “One of the good Music during each per- things about the Alcan formance, usually at a Award,” says Su-Feh, run. Many more, how- “was it gave us a chunk of ever, stayed riveted to uninterrupted time and their seats. money to work on just “We don’t do pretty this one piece. But it ballet,” says Su-Feh. came with the caveat What battery opera that we open on a certain does do, instead, is a date, within a year, which challenging blend of con- we knew when we temporary dance, theatre applied and can’t legiti- and live music – a blend mately complain about that takes time to get now. Our most success- exactly right. But time is ful works, though, are something that’s in short those where we took supply for most of today’s longer, like Spektator, perpetually cash- which we worked and re- strapped dance worked during four companies. Most depend residencies over two heavily on grants and, if years. So we saw this they are very lucky, com- Cyclops as a first draft, missions, to create new really. It was as ready as it work. If they are luckier could have been at that still, they have the luxury time.” Adds David, “It’s to do what battery opera really only after you per- did here this past Janu- form a piece in a ary: take three weeks to week-long run that you re-think and re-work an get a true sense of what’s older piece of choreography, then show it to dance presenters happening, of what the actual possibilities of the piece are. You from across the country. need the performances to be able to see it as its own entity – not

A Victoria Condo has been home to Dance Series artists while they work in Victoria. The comfortable and welcom- ing, one bedroom suite overlooks Beacon Hill Park and is steps from the downtown Inner Harbour, Dallas Road waterfront, and Cook Street Village. Consider A Victoria Condo for your out-of-town friends and family. Find pic- tures and details at www3.telus.net/victoriacondo or phone 381-5581. The Victoria Dance series is grateful to have the support of “A Victoria Condo” FOOTNOTES 5

what you think it should have been, but what is. The performance It is also now intensely male, revolving around stories and shocks you and re-invigorates you in certain areas, and that’s songs of men: Homer’s story of the sailors who fight the one-eyed when you can really start to work on it.” giant Cyclops; the Celtic myth of what a man had to do to become During their three weeks here, almost exactly two years after king (it involves a horse); the sea shanties sung by fishermen, those first performances, Su-Feh and David drastically re- whalers, sailors and pirates for hundreds of years; and the every- invented the work, moving from four dancers – two female, two day stories of contemporary fathers and sons. Unusual, perhaps, male – to two male dancers only (Ron Stewart and Billy Marchen- for a company led, at least in part, by a woman, but, said one pre- ski, who were both also senter after the studio in the original version of show, “it is that very Cyclops and in Spektator maleness that gives it here). They also reduced its power.” It was also, the number of musi- said another presenter, cians from four to two – “one of the best exam- now it’s David only on ples of audience vocals and Max Murphy participation,” he had on baritone saxophone – ever seen: “It was fun, and completely changed not frightening or how the piece will be humiliating.” staged and how the All five presenters – audience is expected to Paul Caskey (Studio relate to the performers. 303, Montréal), Bill Cyclops was originally Kimball (Peterborough intended for a prosce- New Dance), Damon nium arch theatre (like Johnston and Michèle both the Royal and the Moss (Dancer’s Studio McPherson Theatres in West, Calgary), Holly Victoria), where the arch Bright (Crimson Coast, surrounding the stage Nanaimo) – left Victo- provides a frame for the ria with a clear idea of action. A proscenium both the requirements also, however, automati- and the possibilities of cally adds a stiffness, a Cyclops for their partic- formality to what occurs ular stages and behind it and “makes the audiences. Our oppor- audience into voyeurs,” tunity to see the says Su-Feh. “We finished work here in wanted to change the Victoria will, says usual relationship Stephen White, “come between performer and in 2006.” audience,” says David, My recommenda- “and break down the tion: mark it on your barrier of anonymity calendars now. FN that a stage creates, so for this version we are on the same level with the audience. They half surround us in a semi-circle, and we Robin J. Miller is a Victoria-based writer and editor. She regularly look right at them and engage with them.” writers feature articles and reviews for a variety of performing arts

. Photos by jamie griffiths The result, as the five dance presenters who saw a 35-minute publications, including The Dance Current and Dance excerpt of the latest version of Cyclops on January 25 at Lynda International. Cyclops Raino’s studio on Yates Street will attest, is an alternately raucous, funny, touching, scary and sexy mix of song, movement and spo- A longer version of this article appears on the Victoria Dance ken text. (In an interview with Grania Litwin of the Times Series website: www.VictoriaDanceSeries.com Colonist, Lynda called battery opera “the absolute epitome of where modern dance should be, with its intellectual research,

Ron Stewart and Billy Marchenski in multimedia and beautiful technique.”) 6 FOOTNOTES

DANCE SEEN

In this issue of Footnotes, Robin I feel very strongly that performance is the heart of the village; Miller writes about the battery that it is an essential practice, providing an opportunity for the opera residency in Victoria last village to establish a sense of self – both the individual self and the month. It was a rich time indeed, communal self. The best performance is the kind that expresses having the company in town for ideas in a new or fresh way. It has the power to push us out of our three weeks and then, to top it off, comfort zone or it can astound us with its beauty, its simplicity, inviting our colleagues from through the articulation of an emotion – spoken or unspoken. across the country to join us on Performance can startle or it can confirm. the final days. Ironically, And to extend Su-Feh’s idea – if we accept that the role of the although I didn’t travel anywhere artist is to reflect, provoke, and manifest – and that it is situated at I felt like I had arrived home. At the centre of our village - where does an organization like the Victo- Stephen White. Photo by Stuart Copeland dinner the first night, lunch and a ria Dance Series fit? I’m still working this out – but it seems fairly reception at my home the next, I couldn’t get enough of sharing obvious that VDS is the bridge between the artist and the audience. war stories with the five other dance presenters. When they left, I VDS has the responsibility of shaping the village’s experience and realized just how lonely I had been on this rock and how I hunger perception of dance performance and its interaction with the for the interaction with other people who understand the tri- artists. I do this every time I select one production over another to umphs and the pitfalls of the modern day impresario. include in a season. I have a responsibility to explain why this com- In the middle of the heady discussions we had, Lee Su-Feh of pany is important to you– to contextualize the work – so that you battery opera presented an idea that has resonated with me. (For- can understand where it fits in a broader community. give me, Su-Feh, if something is lost in the translation). She Which brings me back to the power of having my colleagues proposed a way to look at dance, or indeed performance, in terms visit our “village” – and to the animated discussions we had. On of its role in a “village”. To start, she asked that we think of a village one level, without saying it, we all knew we had the same respon- that is completely self-sufficient, where everyone’s basic needs sibility in each of our communities – and because it’s a privilege, are met. Her questions were: “Where then, do you situate per- it’s something we should never take lightly. We will spend our pro- formance in the village? What function does performance fulfill fessional lives sorting through the performances that didn’t have and what do we need to do to ensure it fulfills this function?” the impact we expected, and the ones that surprised us, trying to make sense of what is often inexplicable. FN

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We are proud to support the passion, athleticism and the beauty of the Victoria Dance Series, and we thank all of you for the privilege of your business over the years.

VICTORIA VANCOUVER For a confidential, no-obligation meeting, call RICHMOND Danny Sitnam CAMPBELL RIVER President & CEO WHISTLER Helijet International SEATTLE Arthur Warren (250) 385-2033 helijet.com [email protected] FOOTNOTES 7

Remembering Angela

By Anne Moon

When I take my seat for A Cinderella Story I know my eyes will stray to row G of the balcony. For that was where Angela Leigh sat, just behind the brass rail, easy to reach at intermission for a little chat. “It’s the best seat in the house for ballet,” she would

declare. . Photo by David Cooper. And she would know. For years, she was a principal dancer with the National Ballet of Canada; she taught dance at York

University in Toronto and she was a founding mother of Victo- Nine Sinatra Songs ria’s fledgling Ballet Victoria. She was also a friend and neighbour, and her death, at age 78, on Nov. 30, was a sad loss to the ballet community. It came too soon, just as she was teaching the dancers the classic Les Syl- Fei Guo and Jones Henry in phides, one of the foundation stones of ballet. A classicist herself, and a classy woman, Leigh loved all kinds of Also new on the program (replacing Jean Grand Maitre’s Tema dance. She was enormously enthusiastic, especially for dance Celesta) is Like You, a 25-minute piece choreographed by Nicolo that called on our emotions. Fonte with original music by Diego Dall’Osto. Originally created I first saw her dance in the early ‘60s, displaying a lyrical line for of Flanders, Like You is a modern ballet that is that hinted at her British training. Years later, after she had hung technically challenging for the dancers. American Nicolo Fonte up her pointe shoes, I attended a show of silk screen paintings by trained in New York. During his professional career, he danced her. We moved to Victoria about the same time and I was with Les Grand Ballets Canadiens and after six years choreo- delighted to discover she had re-invented herself as an interior graphing works in Madrid, Fonte launched an international decorator, running Mantra Design from a heritage house in James career which led to works created for ballet companies around Bay. the world. Fonte has described his preferred style of choreogra- We had excited discussions about her dream for a ballet com- phy as “”. He uses ballet training and pany—a dream that became reality last year. Her legacy is Ballet technical expertise as a means to enhance expression. Fonte Victoria—and the memories that so many of us have of a glorious emphasizes that although the movement may seem “modern” it dancer and a true friend to dance. FN is in fact deconstructed classical ballet and requires an extremely high level of classically trained virtuosity to execute. Sinatra and Tharp The new program seems much more dynamic to me, but if you hold tickets to Ballet BC and are not happy with the changes, Join Ballet BC please contact me and we can arrange for a refund. FN I have to say that despite wanting to see James Kudelka’s 15 Het- Canada’s Peggy Baker erosexual Duets on the Ballet BC program in May 2005, the fact is that it played here about seven years ago. So when I got the call in Nanaimo from Ballet BC that they had changed their repertoire for Victoria and instead they were bringing Twyla Tharp’s Nine Sinatra Songs I Nanaimo’s Crimson Coast Dance Society is presenting a rare and got very excited. I think adding this piece immediately impacts world-class opportunity to spend spring break in an intensive the “must see” factor. It will also save us the expense of a trip to workshop with Peggy Baker, March 21 - 25. (For serious dance stu- Vancouver, because I was ready to hop on a ferry to see Tharp’s dents and professionals) The cost is $275. Call Crimson Coast popular work at the Queen Elizabeth Theatre this month. Instead, Dance Society to register for the residency and for more infor- we’ll let them hop the ferry and bring it here. mation, 250-716-3230, www.crimsoncoastdance.org New York based dance legend Twyla Tharp created Nine Sinatra On Saturday, March 19, Peggy Baker will be performing with Songs after researching social dancing styles in the development renowned pianist Andrew Burashko in Unfold, at Nanaimo’s Port of her choreography for the movie Ragtime. The work premiered Theatre. Tickets are available through the Port Ticket Centre at in 1982. Ballet BC provided the Canadian premiere in the early 250-754-8550. 30 1990s and it was enormously successful. Tharp used 1950s social Unfold is an evening of three exquisite duets with dancer Baker dancing to inform the work. Costumes by Oscar de la Renta add and pianist Burashko, performed in a dramatic setting. FN the sizzle. 8 “Faith” FOOTNOTES Boutique Laugh! women wholike Maresa 2227 OakBayAve. Victoria 592-1412 accessories for Love! to have fun… Play! Clothing & Movement Workshop only afewspotsleft! more infoandtoregister, gotoourwebsite. But move it,there are onthefinalday. performance workshop culminatesinashort For couver’s Joe Laughlinand Tara Cheyenne Friedenberg the extraordinary FREEworkshop willgetyou moving. Ledby Van- Looking forsomethingtodoasafamilyover March Break? This Register on-lineatwww.VictoriaDanceSeries.com FREE CommunityCentre Burnside Gorge 10 amto1pmdaily March 19through 24(MarchBreak) rc,callStephen @595-1829 Price, If youwantticketsattheSubscriber Discount and 25@8pm. The Holy Tattoo Body playstheMcPherson Playhouse March 24 theatre inrecent years. provide unlikeanythingyou haveseeninthe atotalexperience bines gutsyall-outdanceandaneclecticselectionofmusicto you anideaofthecompany’s exciting aestheticwhichcom- very mental (thenextwork tobefeatured inourcurrent season)togive Body iserotic“The becauseitissacred” –Octavio Paz than meetstheeye” –Modern Primitives poeticcreation, humancondition;atrue mortal it’s alwaysmore essence(ofthetattoo)evokesapoignancyuniqueto “The erased. strange andhintingatsecret stories. They cannot bestolenor such marks become, ineffect,scarred. They are liketattoos;vivid, leavemarks onthesoul.Revisited experiences erful andrelived, Body Tattoo, (McPherson Playhouse, March 24&25)believepow- The HolyBodyTattoo What’s InaName? Move It! 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David Flewelling, Sarah Williams, Sarah Doucet, Farley Johansson, Day Helesic, Sonja Perreten, Andrea Gunlaugson, Ric Brown, Blair Neufeld in monumental. Photo Chris Randle.