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Onstage This Week: NYCB's Spring Season Opens, World Premieres at Cincinnati Ballet and Wonderbound, and More

Tiler Peck in Balanchine's "Tchaikovsky Pas De Deux." Photo by Paul Kolnik, Courtesy New York City Ballet.

Wonder what's going on in ballet this week? We've pulled together some highlights.


NYCB Spring Season Opens

NYCB's 2018 Spring Season opens on April 24. The next six weeks are filled with all of what NYCB has to offer including classic works by George Balanchine and Jerome Robbins, world premieres by Justin Peck and Warren Carlyle (each paying tribute to Robbins), and the full-length Coppélia. April 24-28 is all Balanchine; audiences can see works including Agon, The Four Temperaments and Tchaikovsky Pas de Deux. April 28 also offers NYCB's 21st Century Choreographers program, which will appear again later in the month, and includes Peter Walkers' dance odyssey, Alexei Ratmansky's Pictures at an Exhibition and Justin Peck's Year of the Rabbit. Below, Tiler Peck discusses what Tchaikovsky Pas de Deux means to her—she'll be dancing the work April 25 with Joaquin De Luz.


Bold Moves at Cincinnati Ballet

This three-part program running April 26-29 features world premieres by contemporary choreographers Jennifer Archibald and Kate Weare as well as the company premiere of Justin Peck's Murder Ballades (set on the company by Patricia Delgado). Archibald is the company's resident choreographer (the first woman to hold that title in its 40-year history). With a body of work ranging from hip-hop to ballet, we're excited to see what this new piece will bring.



Wonderbound Presents a Zany Take on Mozart

The Denver-based company debuts Madness, Rack and Honey April 27–May 6 with live music by the Colorado Symphony. The program is comprised of two works, both to Mozart. Garret Ammon's Madness, Rack and Honey opens the program—the title comes from the a collection of lectures by the poet Mary Ruefle. Ammon made the piece for Smuin Ballet in 2016. Company dancer Sarah Tallman's world premiere titled I Didn't Hear You, I Was Away with the Fairies also pulls from poetry (namely Langston Hughes and E.E. Cummings). Catch a glimpse in the below trailer.



World Premiere at New York Theatre Ballet

April 27-29, New York Theatre Ballet presents a world premiere by British choreographer Richard Alston alongside encore performances of three rarely seen Jerome Robbins ballets—Septet, Concertino and Rondo—in honor of his centennial. With live music throughout, the program, held at Florence Gould Hall in NYC, is sure to excite. Alston's The Seasons is described as a meditation on the cycle of a year in nature, with inspiration from Indian philosophical thought.


Charlotte Ballet Beckons In the Spring

Charlotte Ballet's April 26-28 Spring Works program features works by three choreographers new to the company: former Charlotte Ballet dancer Bryan Arias, Helen Pickett and Filipe Portugal (this program marks his North American choreographic debut). Also on the program is Ohad Naharin's Minus 16. You can check out why the dancers are excited about Spring Works in this article, and catch a glimpse of Minus 16 in fast-paced trailer below.


Festival Ballet Providence Goes Under the Sea

Festival Ballet Providence presents its season finale April 27-29. Mark Diamond's Little Mermaid will incorporate multi-media elements and delve into the famous fairy tale with a full cast of characters, including students from the Festival Ballet Providence School. The show also marks the final performance for company dancer Alan Alberto. Check out these whimsical costumes and sets in the below trailer.


Ballet du Grand Théâtre de Genève is in NYC

The Switzerland-based contemporary ballet company returns to NYC's Joyce Theater April 24-29 with Swedish choreographer Pontus Lidberg's full-length ballet Une Autre Passion, an abstract take on Bach's Saint Matthew Passion.


Tudor, Balanchine and Ashton at Sarasota Ballet

Closing out their 2017-2018 season, Sarasota Ballet presents Great Masters of Dance April 27-28. The program features four works: Antony Tudor's The Leaves Are Fading, George Balanchine's Bugaku and Tarantella, and Sir Frederick Ashton's Marguerite and Armand. Balanchine originally choreographed Bugaku for New York City Ballet in 1963; it portrays a Japanese wedding ceremony, paying tribute to the refined elegance of Japanese music and dance. Principal Logan Learned will be dancing Tarantella in his farewell performance with the company.

Ellen Overstreet and Ricardo Rhodes in "Bugaku." Photo by Frank Atura, Courtesy Sarasota Ballet.

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Your Training
Dara Oda in Ben Stevenson's Alice in Wonderland with Texas Ballet Theater. Photo by Amitava Sarkar, Courtesy Texas Ballet Theater

These three current professionals opened up about opting for a degree first, how it impacted their careers and their favorite college memories.

Dara Oda, Texas Ballet Theater Dancer

Photo by Max Caro, Courtesy of Texas Ballet Theater

Belhaven University, BFA in dance (ballet emphasis), 2014

Growing up, Dara Oda knew she wanted to dance professionally, but she didn't feel ready to audition at the end of high school. "It was really easy to think of college as a fallback," she says. But her perception soon changed. "When I went to Belhaven and saw the level of training I would be getting, that encouraged me to pursue my dream but also be proactive and get my degree at the same time."

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The biggest problem dancers have with floors is that they are too slippery. Slippery is unstable and dangerous, a formula for disaster. But did your floor start out slippery or did it get that way over time? Just one of many questions that need to be answered before we can fix the problem
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Ballet Stars
Houston Ballet demi-soloist Alyssa Springer and principal Chun Wai Chan in rehearsal at Jacob's Pillow. Via YouTube.

Houston Ballet is at Jacob's Pillow Dance Festival this week—and company soloist Harper Watters is taking us behind the scenes as the company settles in at this historic landmark. Catch HB in action on their first day of class and rehearsal, and stay tuned for more vlogs from Watters throughout the week!

Ballet Stars
Kajiya as Gamzatti in Stanton Welch's La Bayadere. Photo by Amitava Sarkar, courtesy of Houston Ballet.

Your director Stanton Welch claims that you can hover in midair.
Really? I am not sure that I can do that. I do know that I repeat things over and over because I need to find my own way with each step, and maybe the floating quality happens in there somewhere. I just do it.

If you had to pick one signature role which would it be?
Just one? I can't. I have two. One is Giselle, because she's a human and not a creature, and people can relate to love and heartbreak. Stanton's Madame Butterfly is also important to me, because I met him when I was 17 and had heard that he thought I would be great in the role. I finally danced it in 2016 and it's a spectacular part.

Kajiya as Giselle in Stanton Welch's "Giselle." Photo by Amitava Sarkar, courtesy of Houston Ballet.

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Ballet Training
Pacific Northwest Ballet School Professional Division students take Eva Stone's modern dance class. Photo by Lindsay Thomas, Courtesy PNB.

"Who here is terrified of choreographing?"

It was a question posed by Pacific Northwest Ballet School teacher Eva Stone five weeks ago, sitting on the floor among her class of female summer intensive students. "Almost all of them raised their hand, but I said, 'Don't worry, I got you,'" says Stone. "'I'm going to give you tools and skills and you're going to build on them.' It's amazing how their perspective changed in five weeks."

Stone's choreography class, introduced into the summer program last year, served as a pilot for a new initiative at PNB School beginning this September. New Voices: Choreography and Process for Young Women in Dance is a year-round class dedicated to educating and encouraging 14 to 16-year-old female students in the art of dancemaking. Made possible through funding from the Virginia B. Toulmin Foundation, the 38-week course was created to help address the lack of women choreographers working in major classical ballet companies.

PNB School is one of several academies offering choreographic opportunities to its students. Houston Ballet Academy and the Chautauqua Institution, for example, hold workshops during their summer intensives, while Central Pennsylvania Youth Ballet and Ballet Academy East recently joined forces to create a choreographic exchange program. And School of American Ballet offers numerous choreographic projects for its dancers, including one for women. What makes PNB's initiative unique is its year-long scope and structured focus on composition.

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News
The company is searching for an artistic director who is "humane"—and who might not be a choreographer. Photo by Paul Kolnik

Ever since Peter Martins retired from New York City Ballet this January amid an investigation into sexual harassment and abuse allegations, we've been speculating about who might take his place—and how the role of ballet master in chief might be transformed.

Until now, we've only known a bit about what the search for a new leader looks like. But yesterday, The New York Times reported that the company has released a job description for the position. Though the full posting isn't available to the public, here's what we're able to discern about the new leader and what this means for the future of NYCB:

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Photo by JoelValve/Unsplash

Even though it's still summer, audition season will be here before you know it. The goal is to look, dance and feel your best when auditions roll around. You're likely focused on improving as a dancer technically and artistically, but aesthetics are (unfortunately) something companies will consider as well. To look your best, healthfully and mindfully crafted body goals will make a world of difference.

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Lia Cirio and John Lam perform Tar and Feathers with Boston Ballet. Photo by Rosalie O'Connor, Courtesy Boston Ballet.

A few years ago, Boston Ballet principal Lia Cirio was tasked with performing a contemporary program one week and dancing in The Sleeping Beauty the next. "We were doing Jiˇrí Kylián's Tar and Feathers, which had me sliding around in socks," says Cirio. "The day after the premiere, I had to run my Aurora variation. I needed my technique to be stable, for both my brain and body."

Being in a ballet company doesn't mean you will always be dancing entire evenings, let alone rehearsal days, in pointe shoes. With today's preference for more eclectic mixed bills, a dancer might need to shift from pointe shoes to socks, slippers or even heels. Yet moving between footwear can be tricky—you can easily get injured if you are not prepared for the differences in sensation and shifts in balance. But when you're frequently asked to switch footwear, what's your body, much less your feet, to do?

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Ballet Training
Genée IBC gold medalist Monet Hewitt of New Zealand. Photo by Keith Sin, Courtesy Royal Academy of Dance.

If you missed the Genée International Ballet Competition's live-streamed finals this weekend, we've got you covered. Last night, 17-year-old Joshua Green of Australia and 16-year-old Monet Hewitt of New Zealand were named this year's gold medalists in the men's and women's category, out of 14 finalists. Caitlin Garlick (Australia) and Basil James (United Kingdom) won silver medals, while Enoka Sato (Japan) and Jordan Yeuk Hay Chan (Hong Kong) took home bronze. Chan also won the Margot Fonteyn Audience Choice Award, and Green was given the Choreographic Award for Dancer's Own Variation.

Gold medalist Joshua Green. Photo by Keith Sin, Courtesy RAD.

This year's IBC, which took place in Hong Kong, brought together 51 dancers between 15–19 years old and representing 13 nationalities (including three Americans). The candidates, all of whom are trained in the Royal Academy of Dancing syllabus, spent five days receiving coaching from esteemed faculty on a classical variation as well as a solo choreographed by themselves, a teacher or a peer. The dancers also had to learn and perform a new solo by specially commissioned choreographer Carlo AC Pacis.

Catch the winning dancers as they each perform Pacis' work below, and stay tuned—next year's Genée IBC takes place in Toronto.

News
Boston Ballet is bringing Jerome Robbins' Fancy Free to the Tanglewood Music Center in Lenox, MA. Photo by Gene Shiavone, Courtesy Boston Ballet.

Wonder what's going on in ballet this week? We've pulled together some highlights.


Houston Ballet Brings a World Premiere to Jacob's Pillow

August 15-18, for the first time in almost four decades, Houston Ballet is appearing at Jacob's Pillow, the famous summer dance festival in Becket, MA. Headlining the program is Just, a world premiere commissioned by the Pillow and choreographed by HB artistic director Stanton Welch, set to music by contemporary composer David Lang. Also from Welch are Clear, an abstract piece for seven men and seven women, and excerpts from Sons de L'ame, with music by Chopin. The company will also perform In Dreams, choreographed by former Pillow choreographic associate Trey McIntyre.

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Editors' List: The Goods
Gaynor Minden's celebrating 25 years in the best way possible: With a sale! (via dancer.com)

Time for a quick pop quiz: What does "BTS" stand for?

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