Nancy Wozny is editor in chief of Arts + Culture Texas, the only print Texas arts magazine in the state. She is also frequent contributor to Pointe Magazine, Dance Teacher and Dance Magazine, where she is also a contributing editor. Her byline has appeared in The Houston Chronicle, Dance USA's The Green Room, Culturemap, and numerous other publications. She is the winner of the Gary Parks Award from the DCA, an NEA Fellow at ADF, and the recipient of numerous grants for her work in dance, somatics and creativity. She has taught and written about Feldenkrais and somatics in dance for two decades and is currently teaching at Shepherd School of Music at Rice University. She also has served as a Scholar in Residence at Jacob's Pillow since 2010.
One way to change up your Nutcracker run is to perform it halfway around the world. This holiday season, two Sugar Plum Fairy and Prince couples from Texas Ballet Theater and Australia's Queensland Ballet did just that in a fun cross-company exchange. Last week, TBT artists Samantha Pille and Jiyan Dai traveled to Brisbane to debut in the Australian company's Nutcracker performances. Now, Queensland Ballet dancers Yanela Piñera and Camilo Ramos are in Fort Worth for the follow-up shows. They had their first performance last night and are scheduled to dance again December 22.
From left: Queensland Ballet's Yanela Piñera and Camilo Ramos with TBT's Jiyan Dai and Samantha Pille. Photo courtesy TBT.
TBT artistic director Ben Stevenson, O.B.E., and Li Cunxin, artistic director for Queensland Ballet, dreamed up the holiday swap hoping to give their dancers a fresh Nutcracker experience. The exchange is particularly meaningful because of the directors' shared history. Cunxin (whose autobiography Mao's Last Dancer was made into a major motion picture in 2009), danced as a principal under Stevenson during his tenure as artistic director of Houston Ballet. After taking the helm of Queensland Ballet, Cunxin brought Stevenson's production of Nutcracker to Australia.
In February, Houston Ballet first soloist Chun Wai Chan ventured out of his comfort zone to work with independent choreographer Laura Gutierrez for an immersive interactive duet called The Back Room—and the result was incredible. The audience had to accommodate the moving dancers for this site-specific work, created for Houston's leading indie theater space The Rec Room. Chan had no trouble clearing a bench full of people to make room for his dancing.
Chan in Laura Gutierrez's "The Back Room." Photo by Lynn Lane, Courtesy Chan.
Watching an emotionally gut-wrenching early rehearsal of Sir Kenneth MacMillan's Mayerling at Houston Ballet on Aug. 17, it was clear that the Houston Ballet's fall season was going to be steeped in deep drama.
And it was, but for different reasons.
Hurricane Harvey dropped some 51 inches of rain, wreaking havoc on the entire city, with severe damage to the Downtown Theater District, including Houston Ballet's home theater Wortham Center and its landmark connected building, Center of Dance, where the first floor studios flooded.
In her first season as a corps member with Oklahoma City Ballet, Devin Larsen stood among the 17 dancers who made the audience gasp as the curtain came up on Balanchine's Serenade. But her path to getting there would make anyone gasp.
At age 3, Larsen was diagnosed with epilepsy. She averaged 20 complex partial seizures per day, which eventually turned into the more serious kind, generalized tonic seizures, where she would fall and completely lose consciousness. “Your brain just shuts down," she says.
Imagine having your first show with Misty Copeland inches away from you onstage.
Copeland and her prince, American Ballet Theatre corps member Calvin Royal III, swooped into Houston, Texas, in November to dance in Open World Dance Foundation’s new, full-length production of Cinderella. Choreographed by OWDF directors Ekaterina Shchelkanova and Anton Boytsov, the community project showcased 123 local children of various backgrounds at The Hobby Center for the Performing Arts. Some had no previous dance experience.
While it was Copeland and Royal’s role debuts as Cinderella and the Prince, the goal of the production was educational: to show children all aspects of a ballet performance. OWDF, an international nonprofit organization that provides dance education and outreach for disadvantaged youth, opened the auditions to all, regardless of technical level. “It’s not just about the steps, but about music and sets,” says Shchelkanova, a former Mariinsky Ballet and ABT soloist who initially started OWDF as a program for Russian orphans. “It’s about how ballet actually works.” She gave lectures on dance as part of the experience, in addition to free Sunday ballet classes for the cast over the course of several weeks.
Copeland, who often uses her off-time to advocate for youth organizations like The Boys & Girls Clubs of America and MindLeaps, was invited by Shchelkanova to perform in Cinderella as plans for the Houston performance were coming together. She agreed to star in it. “This was a chance for a community, some experienced with dance and others not, to expand and explore their minds, bodies, creativity and possibly tap into something within themselves they didn’t know was possible,” says Copeland.
Royal was on board soon afterwards, noting that his first experience with dance was through a similar community project called The Chocolate Nutcracker. “It opened my eyes to possibilities of wanting to be a professional dancer,” he says. “Knowing what that did for me made me want to get involved.”
For three months, the pair squeezed coaching sessions with Shchelkanova and Boytsov in between ABT rehearsals before flying to Houston for performance week. “The highlight of the trip was realizing how symbolic it was for Misty and I to be there,” says Royal. “The cards, letters and support we received from the community and kids made it all worth it.”
Houston Ballet's Derek Dunn knows how to make an entrance. While just an apprentice in 2013, Dunn catapulted through the Wortham Theater Center airspace as Garuda, god of dreams, in Stanton Welch's La Bayadère. But it wasn't just his powerful pyrotechnics that created buzz throughout the audience. He possessed unusual refinement for such a young dancer, combining seamless finesse with extreme crispness. That level of technical prowess and overall polish even brought to mind the Carlos Acosta era at Houston Ballet.
With his Texas-sized bravura, Dunn, 21, has created a powerful presence and impressive fan base at Houston Ballet in a few short years. Compact and boyish, he's demonstrated remarkable versatility in both classical and contemporary roles. Yet the former comp kid has also had to learn patience and humility, and overcome insecurities about his height. Now a newly promoted demi-soloist, his career is building exciting momentum, with no sign of slowing down.
Dunn in "La Bayadère." Photo by Amitaa Sarkar, courtesy Houston Ballet.
Dancing came into Dunn's life the same way it does for many men, by watching an older sister. “I wanted to do everything Danielle was doing," says Dunn. Growing up in Glen Burnie, Maryland, he tried his first plié at Edna Lee Dance Studio, where he became a tap/jazz/competition kid. He also played every sport he could, but being a boy dancer was not without its complications—there were times when he was unfairly judged as weak. Dunn didn't let it get to him. “Dancing was never something I wanted to hide," he says. “I didn't feel the need to go out of my way to get everyone on my side." In addition to understanding friends, he had unrelenting support from his tight-knit family. “Even when I'm hard on myself and knock myself down, I know they're always there to lift me back up."
At Edna Lee's, he met ballet teacher Ashley Canterna Hardy, who played a serious role in shaping his career. Noting his facility and work ethic, she suggested he focus more on ballet. “The cleanliness of his dancing is insane," says Canterna Hardy. “He's not just technical—he has the ability to tell a story."
Dunn was willing to switch gears, and Canterna Hardy was struck by his determination. “He would not stop until a combination was polished," she says. He went on to attend the Kirov Academy of Ballet's summer intensive, where he experienced his first men's class and a glimpse of a life on the professional track. “I discovered how much I loved ballet," he says. Then, a surprising win at Youth America Grand Prix at age 12 opened Dunn's eyes. “I realized that I am good at this."
Dunn in Act I of "Giselle." Photo by Amitava Sarkar, courtesy Houston Ballet.
At 14, he received a scholarship to The Rock School for Dance Education in Philadelphia, where he spent the next three years. The schedule was a huge adjustment. “My daily workload had doubled, if not tripled," recalls Dunn, who was also living on his own for the first time. There, teacher Natalya Zeiger and school directors Bo and Stephanie Spassoff helped him develop partnering skills, cleaned up his bad habits and “taught me to turn like a ballet dancer."
He also continued to compete, winning the Senior Gold Medal at YAGP in 2012. It was there that Houston Ballet's artistic director, Stanton Welch, discovered him. “He kept delivering one great solo after another, and he's so unaffected," says Welch. “I was on the lookout for a shorter man, and Derek was the right fit." Dunn had planned to continue training at the John Cranko School in Germany when Welch offered him an apprenticeship. The decision, he says, was a no-brainer: “Why go to Europe when I had a job offer?"
But the transition to professional life came with a few speed bumps. At 17, he was the youngest member of the company. While his competition experience had helped him nail a job, it didn't prepare him for the professional world's unspoken etiquette. “I wasn't used to the hierarchy," he explains. “I had to be told not to be in the front of the room."
He also found the rate at which the dancers learned new material mind-boggling. “Everyone here picks up choreography so quickly," Dunn says. “I am getting better at it, but it takes me more time to get it in my body."
He bonded with former Houston Ballet dancer Jim Nowakowski, another competition veteran, right away. (The pair's virtuosic, perfectly synchronized pirouette videos on YouTube are a fun homage to their comp kid backgrounds.) Yet Nowakowski, who left the company in 2015 to be a contestant on FOX's “So You Think You Can Dance," stresses that Dunn's authenticity is what makes his dancing so powerful. “Yes, he can do every trick in the book," he says, “but that's always the cherry on top."
In spite of his rocky beginning, Dunn's apprentice year was not without opportunity. In addition to his standout role in La Bayadère, he danced in Welch's impossibly fast Clear (he later danced the lead, originally created for Angel Corella). The performance was his baptism into the Welch canon, a rite of passage for any Houston Ballet dancer.
Over the next few seasons, Dunn continued to build momentum. Welch created an eight-minute solo on him in Sons de L'âme, performed in Paris at the Théâtre des Champs-Élysées with piano virtuoso Lang Lang. “I felt there was nothing he could not do," says Welch. Indeed, Dunn has showed exceptional range, easily transitioning between classical ballets and the more contemporary works by William Forsythe, Mark Morris and Trey McIntyre.
Dunn and Melody Mennite in Wayne McGregor's "Dyad 1929." Photo by Amitava Sarkar, courtesy Houston Ballet.
Dunn also proved himself as Balthasar, one of Romeo's rascally sidekicks in Welch's Romeo and Juliet. “I had to play around with the character's fighter side, because it didn't come naturally to me," says Dunn. “But that's the fun part of playing different roles. They force you out of your comfort zone and pull out a different side of yourself that you didn't know you had."
In the spring of 2015, however, his momentum came to screeching halt. First, he sustained an end-of-season ankle injury. Then, the following fall, he injured his other foot, leaving him offstage for a total of six months. “Mentally, I had to struggle every day that ballet was taken away from me," he says. “I was forced to develop a life outside of ballet. I was a normal kid once. I did some socializing with non-dancers, and I remain connected to these friends."
Last February, he came flying back in top form as the Bluebird in Ben Stevenson's The Sleeping Beauty. His Princess Florine, soloist Allison Miller, was happy to see him back. “Derek is confident and connected to whatever role he's performing and to whomever he's dancing with," she says.
Dunn received his long-anticipated promotion to demi-soloist last spring. While he has yet to dance a lead role in a story ballet, he feels the potential is there. (Someday, he hopes to dance Romeo.) And while he's 5' 7", he doesn't see his height as a barrier to princely roles, citing Daniil Simkin, Herman Cornejo and Mikhail Baryshnikov as his inspirations.
“Growing up, I always saw my height as a negative," says Dunn. “I thought if I were taller, I would get more job offers and do more roles. I've learned that, in the professional world, I can also see my height as an asset. Being a shorter dancer has given me opportunities to stand out in solo roles—it makes me different."
His confidence is contagious rather than cocky. “I am on the right track. I'm going to roll with that," he says with a boyish grin. “I want to do it all."
Nancy Wozny lives and writes about the arts from Houston.
They say injury can be a great teacher: When Texas Ballet Theater dancer Carolyn Judson was sidelined with a back injury in 2007, her interest in health piqued. “I wondered how I could heal myself, so I began to research and read,” she says. “I was amazed at what I found. I turned to food that reduced pain and inflammation.” She credits the dietary changes she made, in addition to getting introduced to Gyrotonic, with helping her recover more quickly.
As time went on, Judson decided to expand her education. She enrolled in an online health coach training program at the Institute for Integrative Nutrition, graduating in 2013. “I would come home from rehearsal and go right to class. The program also covered how to start up a business.” Judson has since built her own website, which features many of her popular recipes. See below for her healthy veggie tacos!
Serves 3 to 5.
3 zucchini squash, ends trimmed, cut lengthwise
3 carrots, peeled
1 sweet potato, peeled, cut lengthwise
1 onion, peeled, cut into quarters
1 15-ounce can black beans
crumbled feta cheese
juice from 1 lime
1 tablespoon olive oil or coconut oil
salsa or hot sauce (optional)
- Grate the vegetables in a food processor, keeping each one separate after grating.
- Heat 1 tablespoon of oil in a medium pan and add the onion, carrots and sweet potato. Add a pinch or two of salt. Once they begin to soften, add the zucchini. Meanwhile, heat your canned black beans in a small sauce pan.
- Place the cooked vegetables on top of your tortillas. Top with beans, sliced avocado, crumbled feta cheese, chopped cilantro and a squeeze of lime. Serve with salsa or hot sauce. Enjoy!
They say injury can be a great teacher: When Texas Ballet Theater dancer Carolyn Judson was sidelined with a back injury in 2007, her interest in health piqued. “I wondered how I could heal myself, so I began to research and read," she says. “I was amazed at what I found. I turned to food that reduced pain and inflammation." She credits the dietary changes she made, in addition to getting introduced to Gyrotonic, with helping her recover more quickly.
As time went on, Judson decided to expand her education. She enrolled in an online health coach training program at the Institute for Integrative Nutrition, graduating in 2013. “I would come home from rehearsal and go right to class. The program also covered how to start up a business." Judson has since built her own website, which features many of her popular recipes.