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Helene

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Everything posted by Helene

  1. The Fall programs, particularly mixed bills, are generally more sparsely attended. It is possible that subscribers who prefer the full-lengths and/or are hesitant about coming to the theater will take option 2, four performances in 2022, with or without the digital option, and that there will be single tickets available. The risk is that current full subscribers will opt for partial subscriptions in the future, when single ticket buyers would be incremental income, if they don't mind losing dedicated seats, whenever old seating plans are back in place. When Ballet West reopened this Spring, if they maxxed out on subscriber tickets, there were no single tickets to be sold.
  2. I just got my renewal notice for PNB's 2021-22 season (six programs), and there are three options: 1. Full in person season, includes digital, to be released after the runs 2. 2022 performances only; Fall digital option for $150. 3. All digital, $249 Now if only other companies would offer digital seasons.
  3. I was on YouTube listening to some interviews that d'Amboise did during the last decade of his life, and in this one, intereviewed by Wendy Whelan (and mostly observed by his son, Christopher) at Studio5 in City Center. In it, he said that Balanchine choreographed the male role in the Divertissement Pas de Deux for him, but that he had a money-making gig at the time, and his "understudy," Conrad Ludlow, danced the premiere. He said it wasn't the only time this happened. (Christopher Stowell got to dance the premiere of the Gigue in Mozartiana in place of Victor Castelli, but not for the same reason, which I've forgotten in the years since I read Robert Maiorano's book on the making of.)
  4. I am going to miss Steven Loch. I hope he will get great opportunities at Miami City Ballet. The audiences in Miami, Ft. Lauderdale, and West Palm Beach are going to see some great dancing .
  5. New dancer bios from part 2 of the press release: Jonathan Batista, from Brazil, trained at The Royal Ballet School in London, England before graduating from the English National Ballet School and Trinity College London with a degree in dance. Batista performed with English National Ballet, Miami City Ballet, The National Ballet of Canada, Boston Ballet, and Cincinnati Ballet before joining Oklahoma City Ballet as a Principal Dancer for the 2017/18 season. He has performed soloist and principal roles in works by George Balanchine, Rudolf Nureyev, Robert Joffrey, John Neumeier, Harald Lander, Val Caniparoli, Sir Frederick Ashton, Christopher Wheeldon, August Bournonville, and Maurice Bejart. Batista also participated as a Guest Principal Dancer with Cia Ballet de Rio de Janeiro and United Ballet Theatre. For Oklahoma City Ballet, Batista has performed lead and feature roles in Robert Mills’ Swan Lake, The Nutcracker, The Little Mermaid, and The Means To Fly as well as in Helen Pickett’s Petal, Jiří Kylián’s Petite Mort, Robert Joffrey’s Pas des Déesses, Septime Webre’s ALICE (in wonderland), August Bournonville’s La Sylphide, and George Balanchine’s The Four Temperaments. Batista also serves as a guest ballet master, private mentor, and choreographer for dance conventions and competitions across the U.S. with his project “Master Classes on Tour.” Ginabel Peterson was a member of Ballet West II. She began her ballet training at age six at Wissahickon Dance Academy in Philadelphia, Pennsylvania. She later attended the Kirov Academy of Ballet in Washington DC, under Mariana Labanova and Elena Tenchikova, and Miami City Ballet School under Geta Constantinescu, Maria Torija, and Maribel Modrono. While at the Kirov Academy, Peterson performed in Marius Petipa’s La Bayadère, Giselle, and The Sleeping Beauty and August Bournonville’s La Sylphide. At Miami City Ballet, Peterson performed in George Balanchine’s Western Symphony in addition to works by Maribel Modrono and Gerard Ebitz. She also attended the San Francisco Ballet School’s 2014 summer intensive. She received a BS in Ballet Performance with an Outside Field in Law and Public Policy from Indiana University, and performed in Michael Vernon’s The Nutcracker; Balanchine’s Elegies, Serenade, Walpurgisnacht and Divertimento No. 15; Jerome Robbins’ Fanfare, The Concert, Antique Epigraphs and New York Export: Opus Jazz; Mark Morris’ Sandpaper Ballet; Martha Graham’s Diversion of Angels; and Sasha Janes’ Saudade. Peterson was featured on the cover of A Ballet Education’s Fall 2020 issue, a “celebration of Black women in ballet.” James Kirby Rogers is a native of San Francisco, California where he began his training at the age of 9. Mr. Rogers then went on to study at UNCSA before competing in the 2015 Youth America Grand Prix where he was a finalist. From YAGP, he was offered to join Houston Ballet II under the directorship of Claudio Munoz and Sabrina Lenzi where he danced numerous roles including The Father in John Neumeier’s Yondering and the principal role in George Balanchine’s Allegro Brillante. After completing his training with Houston Ballet II, he joined Kansas City Ballet in 2016. There, Mr. Rogers has danced many leading roles including Armand in Val Caniparoli’s Lady of the Camellias, Pas de Trois in The Sleeping Beauty, Tybalt in Romeo & Juliet, Scarecrow in Septime Webre’s The Wizard of Oz, and the 6th pas in Petite Mort. Lily Wills began her training at 14 at The Portland Ballet with Nancy Davis, and continued at the School of Oregon Ballet Theatre under the direction of Christopher Stowell and Damara Bennett. There, she performed with the company in George Balanchine's The Nutcracker and in the school's productions of Balanchine's Serenade, Who Cares?, and Kent Stowell's Coppélia. From there, she studied for a year at the Pittsburgh Ballet Theatre graduate program with Andre Reyes and Cynthia Drayer, where she performed leading roles in Lew Christensen's Sinfonia. Ms. Wills has attended summer intensives at The Washington Ballet, The Harid Conservatory, and The School of Oregon Ballet Theatre. She joined Carolina Ballet as a trainee in 2015, was promoted to corps de ballet in 2016, and soloist in 2019. Ms. Wills performed many featured roles during her time in Raleigh, including Calliope in George Balanchine's Apollo, Jerome Robbins' Afternoon of a Faun, Zalman Raffael’s Rhapsody in Blue, the title role in Lynne Taylor-Corbett's The Ugly Duckling, and principal roles in Robert Weiss' Adagietto, Stravinsky Pas de Deux, and Four Seasons.
  6. Press release, part 1: Pacific Northwest Ballet Soloist Steven Loch to Depart at End of 2020-2021 Season. Accepting position with Miami City Ballet for 21-22 season. PNB Also Announces Four New Company Hires for 2021/22 Season. SEATTLE, WA — Pacific Northwest Ballet soloist Steven Loch has announced that he will be leaving the company at the end of the 2020-2021 season, following a 10-year career with PNB. He has recently accepted an offer to join Miami City Ballet and will begin dancing with MCB in their 2021-2022 season. Mr. Loch joined PNB as an apprentice in 2011, becoming a corps de ballet dancer in 2012. He was promoted to soloist in 2018. “As I prepare to fly across the country to join the Miami City Ballet, I reflect on all the amazing experiences I’ve had as a professional ballet dancer, all thanks to PNB,” said Mr. Loch in his announcement. “PNB has been my artistic home my entire career, and I would not be the artist that I am today without it. This company has and will always be a place that I cherish, and all the incredible people here that I’ve had the pleasure to work with will forever hold a special place in my heart. I will miss performing on the breathtaking McCaw Hall stage for everyone in Seattle and am forever grateful for all who have come to watch our shows and given so much love and support to me and my fellow dancers. Thank you, PNB, for making my dream of being a professional ballet dancer come true! I will miss you dearly.” “Steven filled our stage and studio with his positive presence for the past decade,” added PNB artistic director Peter Boal. “His love of dance, movement and performance have been a joy to behold. I saw Steven ascend to a new height with his portrayal of Prince Siegfried in the excerpt from Swan Lake that PNB presented last fall. On top of his winning enthusiasm, he added a new chivalry and reserve signaling his readiness for more principal roles. Steven moves to an exciting new artistic home with Miami City Ballet and I know he will thrive under the thoughtful direction of Lourdes Lopez and the MCB team. We wish Steven great success and happiness in this new chapter of his exciting career.” Mr. Boal has also announced that he has hired four new Company members who will be joining PNB at the start of the 2021-22 season: Jonathan Batista and James Kirby Rogers will become soloists, and Ginabel Peterson and Lily Wills join the corps de ballet. (Additional hires and Company promotions will be announced at a later date.) Congratulations to one and all!
  7. Not only have there been so many ways and timelines in/on which families have been vaccinated, where it takes a while before all are fully vaccinated, the ability to attend events that require specific state-issued vaccination confirmation is going to leave families out-of-sync again, because the systems aren't connected. I have no idea how the State of Washington is handling or planning to handle any of this. I don't know what Canada will require as proof, or if the Provinces will all make their own decisions, with some simply continuing to require test before entry, quarantine, test during quarantine, which applies to anyone who can cross the border. Hopefully NY's Excelsior Vaccine Pass will be accepted.
  8. A friend who is a Dallas-based retauarant consultant did an online panel discussion viewable on LinkedIn) on the opening up of restaurants --Texas allows 100% capacity -- and when one of the panelists mentioned vaccine passports he replied that he started in the nightclub business, where the issue was forged drivers licenses, and that little card we get when vaccinated would be easy to forge: by the end of the panel discussion, he could produce plenty of fake cards [if he wanted to]. The only way to have a true vaccine passport is if it were government-issued, straight from the people who issued the vaccine, and that would have had to have been planned from the start. I don't even remember having to give an SSN, although I did have to upload an insurance card (if I had insurance) when I booked the first appointment online, which would be traceable to me, plus they asked for photo ID when I got there (also, probably not required where I live, because they wanted arms, and we were on the honor system from the beginning). Every group administering vaccine in Washington State had its own requirements. I just don't see how this is going to be feasible and reliable.
  9. The first time I saw the company perform was for a Balanchine Festival: two programs over one weekend. Their season-ender has been an All-Balanchine program since at least then. I think they might have also done one or two -- Raymonda Variations and Rubies? -- as part of other triple bills at the smaller Orpheum Theatre. Ben Huys, a very elegant retired soloist from NYCB, does a lot of the stagings. The program used to be in June, overlapping with PNB's last weekend, making my trip a logistics puzzle, but the season was reduced by one program, and now it's in May. Sadly, since then, the music has been recorded for the Balanchine program. I don't know if it was budget or a conflict with the Symphony's schedule (either rehearsal or an non-Symphony Hall gig or maybe players contracted for Arizona Opera, which also performs in Tucson).
  10. It was a lovely program, albeit too short. It was great to see the now-retired Natalia Magnicaballi in La Sonnambula. It also included a short awards presentation.
  11. Helene

    Hello

    Welcome to Ballet Alert!, Tris!
  12. I've been noticing different live ticketing schemes that require a minimum purchase of a pair, and if I was willing to attend, I would consider the second ticket as a donation and additional physical buffer, but making the minimum purchase the equivalent of a gala table is a bit much, in my opinion.
  13. I was supposed to today, but I got the time wrong...
  14. I went straight to the dancing and really loved the alternate settings to the first two pieces. I would have loved the Liebeslieder, but I found the lighting difficult. I liked what was onstage the least, the Peck again for the lighting, but it was NYCB dancing up a storm, and any chance to see Tiler Peck whip off the central role in Divertimento without breaking a sweat is a joy.
  15. When Kyle Davis was a young dancer at PNB, people often remarked that he resembled Peter Boal.
  16. From the press release: Pacific Northwest Ballet Bids Adieux to Principal Dancers Jerome and Laura Tisserand. Couple to join Les Ballets de Monte-Carlo. SEATTLE, WA – Pacific Northwest Ballet will be bidding an adieux passionnés to principal dancers Jerome Tisserand and Laura Tisserand at the end of the company’s 2020-2021 season: The couple have announced that they will be leaving Seattle this summer, to accept positions with Les Ballets de Monte-Carlo. Laura Tisserand (formerly Gilbreath) trained at PNB School before joining the company as an apprentice in 2003; she was promoted to corps de ballet in 2004, soloist in 2010, and principal in 2014. Jerome Tisserand joined PNB as a member of the corps de ballet in 2007 and was promoted to soloist in 2012 and principal in 2014. “I’ve always considered myself immensely blessed to be able to live out my childhood dream of becoming a ballerina, and my career at PNB has exceeded my expectations time and time again,” said Ms. Tisserand. “How lucky am I that I have the chance to start a new chapter and push my limits as a dancer with Les Ballets de Monte-Carlo. PNB has been my home for the past 18 years and it’s where I hold some of my most cherished memories on and off stage, so to say I will miss it would be an understatement, but I’m thrilled that my story as a dancer will continue to unfold on stages around the world.” “I’ve spent my entire professional career dancing in the United States and it’s been a wonderful journey thus far,” said Mr. Tisserand. “But when the opportunity to dance in Europe presented itself I knew it was something I wanted to pursue. This move comes at the perfect time for our family and we’re thrilled that our daughters will have the chance to fully immerse themselves in their French heritage while watching their parents grow as artists. PNB will always be a part of our story and we hold it near and dear to our hearts as we embark on this exciting adventure.” Both Tisserands are scheduled to be performing in PNB’s Rep 6 (June 10 – 14) featuring premieres of works by Edwaard Liang and Christopher Wheeldon. Their careers at PNB will be honored during this year’s Season Encore performance on Friday, June 18. (PNB season subscribers and donors will receive free access to the Season Encore. Individual tickets available through the PNB Box Office, 206.441.2424 or PNB.org. Further details on programming for PNB’s annual end-of-season celebration will be announced soon.) Laura Tisserand can also currently be seen in Kyle Davis’s Las Estrellas, created as a gift to the community during the ongoing GiveBig campaign: Visit PNB.org/GiveBig. “I'm so pleased for Laura and Jerome as they embark on an exciting new chapter with their family in Europe,” said PNB Artistic Director Peter Boal. “As excited as I am for all four Tisserands, I know we will all miss them dearly. “My memories of Laura date back to her days as a student at the School of American Ballet in New York where she was a standout not only for her endless lines and natural majesty, but also for her crystalline technique and generous spirit. Kent Stowell and Francia Russell [PNB founding artistic directors] placed her immediately in leading roles and I was pleased to follow suit, discovering Laura's range and willingness to grow as an artist. Many roles seemed made for Laura like Titania in Balanchine's A Midsummer Night's Dream, Siren in Prodigal Son, and leading roles in William Forsythe's In the Middle, Somewhat Elevated and Ulysses Dove's Red Angels. I always thought Laura was too talented to be type-cast; at 5'10" certain roles would have seemed out of the question in another company and another time. But Laura proved to be a mold-breaker. She is undoubtedly the tallest dancer to perform Balanchine's Theme and Variations, and Aurora in Ronald Hynd's The Sleeping Beauty. I will not forget her shimmies and smirks with partner Jonathan Porretta in Twyla Tharp's Waiting at the Station. Kent's Swan Lake offered Laura a signature role - two in fact: We recall her languid fragility as Odette and her alluring dominance as Odile opposite Batkhurel Bold and later Karel Cruz. Her artistry will continue to thrive and grow as a new member of Les Ballets de Monte-Carlo. “I can vividly remember Jerome's audition class at SAB. One could identify a future star even at 16. His jumps soared, his batterie boggled the mind and everything about his dancing felt fresh, alive and exuberant. As we recall roles Jerome danced, the list becomes long and the selection of favorites, too challenging, but I will still name a few: Petite Mort opposite Lesley Rausch, Cendrillon opposite Elizabeth Murphy, Little mortal jump with Elle Macy, Afternoon of a Faun with Kylie Kitchens, and Giselle with Kaori Nakamura in a new partnership forged one week before her retirement. I haven't even mention Romeo, Basilio, Siegfried, Franz, Cavalier...you start to see the problem. Jerome is a winning presence both on- and off-stage. He is also French, and he has a perfect opportunity to return to France with his move to Les Ballets de Monte-Carlo. We remain grateful for the millions of treasured memories both Laura and Jerome have given us. It's time to share their gifts with the rest of the world. Bon voyage.” Jerome Tisserand is from Lyon, France. He trained at the Paris Opera Ballet School, with Pascale Courdioux in Lyon, and at the School of American Ballet. He joined Miami City Ballet as an apprentice in 2006, before joining Pacific Northwest Ballet in 2007. Mr. Tisserand has danced leading roles in George Balanchine’s Agon, Coppélia, Diamonds, Emeralds, The Four Temperaments, George Balanchine’s The Nutcracker®, A Midsummer Night’s Dream, Rubies, Serenade, La Source, Stravinsky Violin Concerto, Symphony in C, and Theme and Variations; Peter Boal’s Giselle; Alejandro Cerrudo’s Little mortal jump and One Thousand Pieces; David Dawson’s Empire Noir and A Million Kisses to my Skin; Ulysses Dove’s Dancing on the Front Porch of Heaven, Red Angels, and Serious Pleasures; Nacho Duato’s Rassemblement; William Forsythe’s In the Middle, Somewhat Elevated, New Suite, and One Flat Thing, reproduced; Kiyon Ross’s Sum Stravinsky; Paul Gibson’s Mozart Pieces, The Piano Dance, and Rush; Ronald Hynd’s The Sleeping Beauty; Jiri Kylian’s Forgotten Land, Petite Mort, and Sechs Tänze (Six Dances); Jean-Christophe Maillot’s Cendrillon and Roméo et Juliette; Benjamin Millepied’s Appassionata; Mark Morris’ Pacific; Annabelle Lopez Ochoa’s Cylindrical Shadows; Justin Peck’s Year of the Rabbit; Yuri Possokhov’s RAkU; Alexei Ratmansky’s Concerto DSCH, Don Quixote, and Pictures at an Exhibition; Jerome Robbins’ Afternoon of a Faun, The Concert, Fancy Free, Glass Pieces, In the Night, Other Dances, and West Side Story Suite; Kent Stowell’s Carmina Burana, Cinderella, Nutcracker, and Swan Lake; Susan Stroman’s TAKE FIVE…More or Less; Twyla Tharp’s Afternoon Ball, Brief Fling, Nine Sinatra Songs, Opus 111, and Waiting at the Station; and Christopher Wheeldon’s Carousel (A Dance), Polyphonia, and Variations Sérieuses. He originated leading roles in Jessica Lang’s Her Door to the Sky, Millepied’s 3 Movements, Morris’ Kammermusik No. 3, Margaret Mullin’s Lost in Light, Peck’s Debonair, Price Suddarth’s Signature, and Wheeldon’s Tide Harmonic. Mr. Tisserand won second prize at the 2003 Dance Festival of Artists in Nyon, Switzerland, and first prize in the 2004 Prix Carpeaux in Valenciennes, France. Laura Tisserand is from Hammond, Louisiana. She trained with Phoebe Brantley in Baton Rouge, Joseph Giacobbe and Richard Rholdon in New Orleans, and on scholarship at the School of American Ballet and Pacific Northwest Ballet School, before joining PNB as an apprentice in 2003. Ms. Tisserand has performed leading roles in George Balanchine’s Agon, Apollo, Concerto Barocco, Coppélia, Diamonds, Emeralds, The Four Temperaments, George Balanchine’s The Nutcracker®, A Midsummer Night’s Dream, Prodigal Son, Rubies, Serenade, Stravinsky Violin Concerto, Symphony in C, and Theme and Variations; Peter Boal’s Giselle; Trisha Brown’s Spanish Dance; David Dawson’s A Million Kisses to my Skin; Ulysses Dove’s Dancing on the Front Porch of Heaven and Red Angels; William Forsythe’s In the Middle, Somewhat Elevated, One Flat Thing, reproduced, and Slingerland Duet; Kiyon Gaines’ Sum Stravinsky; Paul Gibson’s The Piano Dance; Ronald Hynd’s The Sleeping Beauty; Jiri Kylian’s Petite Mort; Jessica Lang’s Her Door to the Sky; Jean-Christophe Maillot’s Roméo et Juliette; Mark Morris’ Pacific; Annabelle Lopez Ochoa’s Cylindrical Shadows; Justin Peck’s In the Countenance of Kings and Year of the Rabbit; Crystal Pite’s Emergence; Alexei Ratmansky’s Don Quixote; Brian Reeder’s Lost Language of the Flight Attendant; Jerome Robbins’ The Concert, Dances at a Gathering, Glass Pieces, In the Night, and West Side Story Suite; Kent Stowell’s Carmina Burana, Cinderella, Nutcracker, Silver Lining, and Swan Lake; Susan Stroman’s TAKE FIVE…More or Less; Twyla Tharp’s Afternoon Ball and Nine Sinatra Songs; and Christopher Wheeldon’s Variations Sérieuses. She originated leading roles in Kyle Davis’ A Dark and Lonely Space, Benjamin Millepied’s 3 Movements, Morris’ Kammermusik No. 3, Margaret Mullin’s Lost in Light, Price Suddarth’s Signature, Tharp’s Waiting at the Station, Ezra Thomson’s The Perpetual State, and Wheeldon’s Tide Harmonic. Ms. Tisserand has performed as a guest artist with Lafayette Ballet Theatre.
  17. Francia Russell, who staged Theme and Variations for the Mariinsky as part of the same invitation that brought Farrell there, said in a public seminar or post-performance Q&A at Pacific Northwest Ballet that she was diverted to China during one staging trip to work with a company who had learned the ballet(s) from videotapes. Someone wanted the performances to be credible, even if the Chinese government or the company had not gone through the route of getting permissions. Chinese competitive figure skating started when Chinese coaches studied films of Soviet figure skating and tried to reverse engineer the technique and programs they saw.
  18. From the email announcment: SINGLE TICKETS ON SALE MONDAY, MAY 3RD! 10:00 AM - MEMBER AND DONOR PRESALE 1:00 PM - PUBLIC SALE Once again, audiences will see dancers and choreographers exploring their art form in intriguing and cutting-edge new creations. This year, the festival will showcase an exciting first time collaboration between two Utah arts icons, the Sundance Institute and Ballet West. Principal Artist Emily Adams and Katy Jarzebowski, an alumna of Sundance Institute’s Music Film Program have been commissioned by Ballet West to create a new ballet with original choreography and a music score for a world premiere work. Matthew Neenan returns to Ballet West to create a world premiere. Neenan’s inventive and contemplative work has appeared around the globe, including Ballet West, where in 2014, he choreographed The Sixth Beauty, which The New York Times said, “possessed soufulness and life.” In addition, you will not want to miss the world premieres by First Soloist Katlyn Addison and former Demi-Soloist Trevor Naumann. This production run time is approximately 90 minutes and does not include an intermission. Masks are required through the duration of the performance.
  19. Fundraiser with digital content alert! ArtsFund in Seattle is having an online presentation on May 6 from 12-1:30pm PDT. You need to register for it here: https://www.artsfund.org/2021-digital-celebration-of-the-arts/ PNB posted this to their Facebook group, announcing that Leah Terada's and Miles Pertl's "Happening" will be part of it. PNB also linked to this Seattle Times article that describes ArtsFund's initiatives, and the article states: It isn't clear to me what ArtsFund's model will be: direct grants or grants to companies to fund digital content going forward, once in-person performances become the default again.
  20. More casting info, this time three of the four Act III soloists, retired dancers Margaret Mullin (Dance of the Golden Hours, originally Marnee Morris), Sarah Ricard Orza (Dawn, originally Merrill Ashley), and Kylee Kitchens (Prayer, originally Christine Redpath): https://www.facebook.com/PNBallet/posts/10158634639568952
  21. I think they're using "sooner" to meaning within the 14 days, as in the last shot on July 10 would be too soon
  22. You're not considered fully vaccinated until 14 days after your last shot. (The number of weeks vary by vaccine, although two weeks may be true for all vaccines currently administered in the US.) That is why you can't show proof of full vaccination any time sooner than 14 days. Within 14 days means you are still waiting to be fully vaccinated. While the CDC has changed its advice with regard to masking policy for small, outdoor gatherings, they have not changed masking policy for large outdoor gatherings for live events, regardless of the seating scheme.
  23. I've moved the news and responses to the death of Katherine Barber to its own thread here:
  24. The press release from Ballet West: BALLET WEST ANNOUNCES "IN THE BALANCE: BALLET FOR A LOST YEAR" A WORLD PREMIERE DOCUMENTARY SERIES Salt Lake City, UT— Ballet West and Skyscape Studios announced today the world premiere of a nine-episode documentary series featuring the iconic ballet company, In The Balance: Ballet for a Lost Year. The first episode debuts on Ballet West’s social media channels May 7, and episodes will be released every week through the spring and early summer. Award-winning filmmakers Diana Whitten and Tyler Measom direct the series. Measom most recently co-directed the acclaimed documentary, Murder Among the Mormons on Netflix. For one month, Skyscape Studios gained unfettered access to Ballet West’s studios and theater as the Company mounted its first public performances in the Covid-19 era. “We followed the dancers, the choreographers, the crew, and the staff as they navigate colossal logistical and emotional challenges in anticipation of opening night, wondering if the curtain will rise,” said Measom and Whitten. “Gently set against the backdrop of a volatile world, the series explores how art can be essential in a time of crisis, how passion can displace fear, and how collective grief can be alchemized into beauty.” In The Balance also follows four dancers throughout the series for an intimate and soulful examination of the art form. Principal Artists Katlyn Addison, Beckanne Sisk, Chase O’Connell, and Corps Artist Vinicius Lima provide a textured study of ballet and ancillary issues of race, masculinity, and gender. Executive producers are Skyscape Studio’s Steven Labrum and Ballet West’s Executive Director Michael Scolamiero, Artistic Director Adam Sklute, and Chief Development Officer Sarah West. The series is produced by Cristin Carlin, JJ Neward, and Joshua Jones. The series is made possible, in part, by the Utah Office of Tourism, Create in Utah, and BMW of Murray. In a joint statement, Scolamiero and Sklute said, “Ballet West was thrilled to connect with Skyscape Studios. With their accomplished resume, discerning storytelling, and passion for our art form, they elegantly narrate a moment in our history that is both honest and compelling. This series is an authentic love story to ballet and the performing artists and crewmembers who suffered in the past year. At the same time, it is a behind-the-scenes gift to our patrons and anyone who enjoys the art form.”
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