Carney rehearses "Waltz of the Flowers" with Kansas City Ballet's Tempe Ostergren (photo by Jessica Kelly, courtesy KCB)

“There’s always boxes of color to help with that,” says Kansas City Ballet artistic director Devon Carney when I ask him if the long hours in the studio are turning his hair gray. It’s November, and he’s creating the company’s new $2 million Nutcracker production. “I love it,” he says. “There’s nothing like making something that will influence kids in their development as dancers.”

For Carney, there was a lot to love about the situation he stepped into in 2013 as only the fourth artistic director in Kansas City Ballet’s 59-year history. (Carney’s predecessor, William Whitener, retired after 17 years to work as an independent choreographer, teacher and arts advocate.) The company had recently moved into a brand-new, state-of-the-art facility, had a new performance home at the Kauffman Center for the Performing Arts and was free of debt. “It was pretty spectacular,” says Carney.

Now into year three of a plan to increase the number of dancers, raise the level of artistry and transform the company’s repertoire, Carney says the organization has already met most of those goals.

KCB, formerly known as the State Ballet of Missouri, was founded in 1957 by Tatiana Dokoudovska. Company dancer Logan Pachciarz says the AGMA-participating troupe has grown exponentially since he arrived in 2000. “It had about half the number of dancers then, and we did mostly ensemble works.”

Carney, a former principal dancer and ballet master at Boston Ballet, says his decade-long term as associate artistic director at Cincinnati Ballet helped prepare him for his first directorship. Growing the organization was one of his priorities when he arrived. First, he created the six-member second company, KCB II. In 2015, he instituted a nine-dancer trainee program. The additional dancers, says Carney, are not only necessary to do full-length ballets and outreach, but have also relieved the 28 company dancers of some of the corps work, freeing them up for more soloist and principal roles.

“In my career, I had a chance to experience a lot of different styles,” says Carney. “I think it’s important that the dancers here have that kind of opportunity to grow. I believe in them, and when someone believed in me, it really changed my confidence level.”

With an annual operating budget of $8.5 million, Carney is cognizant of the ballets and choreographers he can bring in. Therefore, he needs performers who will excel in a variety of works. When hiring, Carney says, he looks for versatile dancers who will commit to the artistic intention of each piece. KCB now does a mix of full-length classics (something they did very little of before), neoclassical ballets like those of Balanchine, and contemporary works from a host of emerging and established choreographers, such as Edwaard Liang, Amy Seiwert, Jodie Gates and Val Caniparoli.

“He really challenges us to increase our technical level and ability,” says Pachciarz of Carney. “He’s a big fan of wide, sweeping movement and a lot of port de bras and épaulement.”

Ballet master and former Cincinnati Ballet principal Kristi Capps, who Carney hired in 2014, says he is “demanding, but in a caring way. For Devon, to see a dancer not put forth maximum effort is heartbreaking because he knows how short a dancer’s career is.”

Carney is also an accomplished choreographer, having created works for Boston Ballet, BalletMet, Cincinnati Ballet and Cincinnati Opera. Pachciarz says he “is very methodical. He reads scores and thinks about how the movement fits into them.” In addition to KCB’s new Nutcracker, Carney mounted the company’s first-ever full-length Swan Lake in February and restaged his Giselle for them in 2015.

Artists who join KCB will step into a pretty spectacular situation, as Carney did. Their home, the new Todd Bolender Center for Dance & Creativity—a converted power plant—houses the company, administrative offices, Kansas City Ballet School and a 180-seat theater. Each production (apart from Nutcracker) runs two weekends at the Kauffman Center, with most performed to live music by the Kansas City Symphony. Dancers can benefit from extra performance opportunities in ongoing collaborations with organizations like the Lyric Opera of Kansas City, and they have the chance to choreograph as part of the company’s annual New Moves program.

Next up for KCB, May 6–15, is Adam Hougland’s Rite of Spring, along with works by Helen Pickett, Yuri Possokhov and a world premiere by Viktor Plotnikov. Beyond that, Carney’s plans for KCB include continued growth, in every direction. He aspires to add more dancers, have more collaborations and to tour—something they’ve done very little of. “I believe in this company,” says Carney. “There is so much left for us to do, and I am excited for what the future holds.”

Audition Advice

The company holds open auditions January to March. Videos are accepted year-round as a preliminary audition, but Carney highly recommends dancers attend an open audition.

“Musicality is paramount to me, as is attentiveness to the material and being able to exactly reproduce it quickly,” says Carney. Women generally need to be between 5' 4" and 5' 7". Male dancers should be 5' 10" and up, with strong partnering skills. Carney says he also places great importance on a dancer’s demeanor, professional appearance, resumé and photo.

At a Glance

Kansas City Ballet

Number of dancers: 28

Length of contract: 35 weeks

Starting salary: $733 per week

Performances per year: 48+

Website: kcballet.org

popular
New York City Ballet in "George Balanchine's The Nutcracker." Photo by Paul Kolnik, Courtesy Lincoln Center.

Nutcracker season is upon us, with productions popping up in on stages in big cities and small towns around the country. But this year you can catch New York City Ballet's famous version on the silver screen, too. Lincoln Center at the Movies and Screen Vision Media are presenting a limited engagement of NYCB's George Balanchine's The Nutcracker at select cinemas nationwide starting December 2. It stars Ashley Bouder as Dewdrop and Megan Fairchild and Joaquin De Luz as the Sugarplum Fairy and Cavalier.

While nothing beats seeing a live performance (the company's theatrical Nutcracker run opens Friday), the big screen will no doubt magnify some of this production's most breathtaking effects: the Christmas tree that grows to an impressive 40 feet, Marie's magical spinning bed, and the stunning, swirling snow scene. Click here to find a participating movie theater near you—then, go grab some popcorn.

popular
Artists of Pennsylvania Ballet rehearsing for "The Sleeping Beauty" for the 2017/18 season. Photo by Arian Molina Soca, Courtesy Pennsylvania Ballet.

Today the Pennsylvania Ballet's board of trustees announced the appointment of Shelly Power as its new executive director. Having been involved in the five-month international search, company artistic director Angel Corella said in a statement released by PAB that he's "certain Shelly is the best candidate to lead the administrative team that supports the artistic vision of the company." Power's official transition will begin in December. This news comes at the end of a few years of turmoil and turnover at PAB, including the departure of former executive director David Gray in June.

Keep reading... Show less
Pointe Stars
Tiler Peck with Andrew Veyette in "Allegro Brillante." Photo by Paul Kolnik, Courtesy New York City Ballet.

"I was particularly excited when I saw my name on casting for Allegro Brillante in 2009," remembers principal dancer Tiler Peck. "Balanchine had said Allegro was, 'everything I know about classical ballet in 13 minutes,' and of course that terrified me." To calm her fear, Peck followed her regular process for debuts: begin by going back to the original performers to get an idea of the quality and feeling of the ballet and ballerina. "It is never to imitate, but rather to surround myself with as much knowledge from the past as I can so that I can find my own way," says Peck.

Keep reading... Show less
popular
Pittsburgh Ballet Theatre's 'The Nutcracker.' Photo by Rich Sofranko

Catching a performance of The Nutcracker has long been a holiday tradition for many families. And now, more and more companies are adding sensory-friendly elements to specific shows in an effort to make the classic ballet inclusive to children and adults with special needs.

While the accommodations vary depending on the company, many are presenting shorter versions of the ballet with more relaxed theater rules. Additionally, lower sound and stage light levels during the performance, as well as trained staff on hand, make The Nutcracker more accessible for those on the autism spectrum and others with special needs.

Pittsburgh Ballet Theatre's performance will take place on Tuesday, December 26th, and they are one of the pioneer companies in presenting sensory-friendly performances of The Nutcracker (their first production was in 2013). PBT also offers sensory-friendly versions of Jorden Morris' Peter Pan and Lew Christensen's Beauty and the Beast throughout the year.

See our list of sensory-friendly performances, and check out each site for all of the details regarding their offerings.

Keep reading... Show less
Your Best Body
Pilates hundred intermediate set-up, modeled by Jordan Miller. Photo by Emily Giacalone.

The Pilates hundred is a popular exercise used by many dancers for conditioning and warming up, but it's also one of the most misunderstood. Pumping your arms for 100 counts sounds simple enough, but it requires coordinated breathwork, a leg position that suits your abilities and proper alignment. Marimba Gold-Watts, who works with New York City Ballet dancers at her Pilates studio, Articulating Body, breaks down this surprisingly hard exercise. When done correctly, the benefits are threefold: "If you're doing it before class," she says, "the hundred is a great way to get your blood flowing and work on breath control and abdominal support all at once."

To Start

Lie on your back with knees bent and feet on the floor. Nod your chin toward the front of your throat, and reach your fingertips long.

Keep reading... Show less
Pointe Stars

At just 16 years old, the Bolshoi Ballet's Maria Alexandrova already had the makings of a great artist. In this variation from Coppélia, she portrays the carefree Swanilda with blithe, youthful ease.

When she bounds on stage in her perky pink tutu, you immediately notice her legs–they just go on forever. In the first sequence of steps she keeps her jetés and développés low, but then the phrase repeats and she lets her gorgeous extensions fly. She sails through Italian fouettés and whirls around in piqués en manège that get faster and faster. While she nails all the virtuosic movement, Alexandrova also pays beautiful attention to detail throughout the variation. Even the simplest steps become something exciting, like her precise pas de bourrées beginning at 1:03 that sing with musicality.

Swanilda has been one of Alexandrova's signature roles throughout her career. For a fun side by side, watch her perform the same variation almost 20 years later in this video. Although Alexandrova formally retired from the Bolshoi in February, she still performs frequently in Moscow and internationally as a guest artist. Happy #ThrowbackThursday!


Pointe Stars
Ingrid Silva and her dog, Frida Kahlo. Photo by Nathan Sayers for Pointe.

You're probably already following your favorite dancers on Instagram, but did you know that you can follow many of their dogs, too? We rounded up some of our favorite dog-centered accounts and hashtags to keep you pawsitively entertained (sorry, we can't help ourselves).

Cora and Maya (American Ballet Theatre's Sarah Lane and Luis Ribagorda)

Sarah Lane and Luis Ribagorda's pups Cora and Maya update their profile pretty frequently. Often accompanying Lane to the ABT studios, they can also be seen using tutus or piles of pink tights as dog beds.

Keep reading... Show less

Sponsored

Videos

Sponsored

mailbox

Get Pointe Magazine in your inbox

Sponsored

Win It!