Issue-19.Pdf
WHERE TO GO NEXT: ABU DHABI / DES MOINES / PORTLAND | WINTER 2018 CONTEMPORARY ARTS, PERFORMANCE, AND THOUGHT Amy Potter is a soloist with the Oklahoma City Ballet. Photograph by Shevaun Williams for ArtDesk MILK PUNCH by Billy Rucks Stir together one pint each of half & half and milk. Add brandy and/or rum, four tablespoons of sugar, and one big teaspoon of vanilla extract. Refrigerate overnight. Seriously strong—but you won’t know until it’s too late! THE OKLAHOMA CITY BALLET LOOKS TO THE PAST, PRESENT, AND FUTURE. | BY MICHAEL DUTY WINTER 2018 BY MICHAEL DUTY The Future of the Ballet THE OKLAHOMA CITY BALLET LOOKS TO THE PAST, PRESENT, AND FUTURE. | BY MICHAEL DUTY ndurance requires partnerships, and artistic institutions require business acumen. These two fundamental principles have successfully contributed to the cultural landscape and, LIFT OFF specifically, ballet in Oklahoma. In 1963, Seth Bradley, Amy Potter, and Jefferson Payne are husband-and-wife ballet duo Yvonne Chouteau and Miguel dancers with the Oklahoma City Ballet. Bradley, of TerekhovE joined forces with businessman John Kirkpatrick New Windsor, New York, is a former ArtDesk magazine and his wife Eleanor to found the Oklahoma City Ballet, intern and teaches dance at Oklahoma Contemporary and this collaboration continues to shape the future of the Art Center. Potter, of Roanoke, Virginia, performed company more than fifty years later. in Swan Lake for the 2017 Green Box Arts Festival in Chouteau, one of the five globally recognized American Green Mountain Falls, Colorado. Payne is from Boston, Indian prima ballerinas from Oklahoma known as the Massachusetts, and has danced with the Boston Ballet “Five Moons,” was herself a powerful mix: raised in Vinita, and the Minnesota Ballet.
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