Houston Ballet Down Under #3: Casting Changes and Jet Lag

From June 24–July 10, Houston Ballet is embarking on its biggest tour yet to Melbourne, Australia, hometown of artistic director Stanton Welch. Pointe asked demi-soloist Jacquelyn Long to keep a diary of her experiences.

June 29, 2016

The State Theatre at Arts Center of Victoria. Photo by Chunwai Chan, Courtesy Long.

We had our first day of rehearsals yesterday in the Arts Center of Victoria rehearsal room. We did a run through of Romeo and Juliet and rehearsed the Australian Ballet School children into the production. They have a beggar’s dance and are also town children in the show. The run went well, and I think everyone is excited to go onstage!

In the dance world there are some things that come with the job—and casting changes is one of them. Due to injuries or passport problems, we had some fittings during rehearsals yesterday. I have to be a ball guest now and one of Juliet's friends, so I had a few costumes to try on. I also will be dancing Katerina (a tavern sister), a role I originated when the ballet was created. And, I get to premiere Miranda, who is the main tavern sister—Mercutio's girl.

Dancers Megumi Takeda and Aoi Fujiwara exploring Melbourne. Photo by Long.

After rehearsal, I think everyone was feeling the jet lag. If you have never experienced jet lag, it feels like it’s 1:00 am when it’s only 7:30 in the evening! Some of my friends and I walked the city to get food and drinks. We lasted until 10:15 before we were home in bed. I must say though, I feel better today after forcing myself to stay awake.

This morning, we got to take class from Australian Ballet staff member Eve Lawson, a fellow American.  It was fun to have a guest teacher while on tour. The floors here are a bit slippery, but I think the boys, especially, are enjoying turning on them. If you have a chance, check out the videos on Instagram of that! Following the hashtag #hbtakesaustralia

We have a technical rehearsal first today and then a dress rehearsal later tonight. I hope all goes smoothly! I'm looking forward to letting you guys know what the stage is like.

 

Xo,

Jacquelyn

Bridget Kuhns working on her lines before rehearsal. Photo by Chunwai Chan, Courtesy Long.

Latest Posts


Maria Kochetkova. Darian Volkova, Courtesy Kochetkova

Maria Kochetkova on How COVID-19 Affected Her Freelance Career, and Her New Home at Finnish National Ballet

When international star Maria Kochetkova embarked on a freelance career three years ago, she never envisioned how a global pandemic would affect it. In 2018, the Russian-born ballerina left the security of San Francisco Ballet, a company she called home for more than a decade, for the globe-trotting life of a guest star. Before the pandemic, Kochetkova managed her own performing schedule and was busier than ever, enjoying artistic freedom and expanding her creative horizons. This all changed in March 2020, when she saw her booming career—and her jet-setting lifestyle—change almost overnight.

After months of uncertainty, Kochetkova landed at Finnish National Ballet, where she is a principal dancer for the 2020–21 season. Pointe spoke with her about her time during the quarantine and what helped her to get through it, her new life in Helsinki, and what keeps her busy and motivated these days.

Keep reading SHOW LESS
DTH's Alexandra Hutchinson and Derek Brockington work out with trainer Lily Overmyer at Studio IX. Photo by Joel Prouty, Courtesy Hutchinson.

Working Out With DTH’s Alexandra Hutchinson

Despite major pandemic shutdowns in New York City, Alexandra Hutchinson has been HIIT-ing her stride. Between company class with Dance Theater of Harlem and projects like the viral video "Dancing Through Harlem"—which she co-directed with roommate and fellow DTH dancer Derek Brockington—Hutchinson has still found time to cross-train. She shares her motivation behind her killer high-intensity interval training at Studio IX on Manhattan's Upper West Side.

Keep reading SHOW LESS
Getty Images

As Ballet Looks Toward Its Future, Let's Talk About Its Troubling Emotional Demands

As a ballet student, I distinctively remember being told that to survive ballet as a profession, one must be exceptionally thick-skinned and resilient. I always assumed it was because of the physically demanding nature of ballet: long rehearsal hours, challenging and stressful performances, and physical pain.

It wasn't until I joined a ballet company that I learned the true meaning behind those words: that the reason one needs thick skin is not because of the physical demands, but because of the unfair and unnecessary emotional demands.

Undoubtedly, emotional and physical strength go hand in hand to some extent. But the kind of emotional demand I am talking about here is different; it is not the strength one finds in oneself in moments of fatigue or unwillingness. It is the strength one must have when being bullied, humiliated, screamed at, manipulated or harassed.

Keep reading SHOW LESS

Editors' Picks