From left: Houston Ballet dancers Bridget Kuhns, Jacquelyn Long and Mackenzie Richter on the shoot of Stanton Welch's Restoration.

Lawrence Elizabeth Knox, Courtesy Houston Ballet

Behind the Scenes of "Restoration," Houston Ballet's New Dance Film

The hidden gift of the coronavirus pandemic is that artists are discovering and exploring new avenues of expression. For choreographers, that means film. On November 10, Houston Ballet premiered artistic director Stanton Welch's Restoration, a new digital work for 62 dancers shot at 19 iconic Houston sites. Set to the song "Black Lung," by The Dead South, Restoration is now available for free on the company's Facebook, Instagram and YouTube platforms.

The title refers to the company's journey back to work after this year's extended layoff. And while it may still be a while before we see Houston Ballet on the Wortham Theater Center stage, the dancers have returned on a different set of terms: wearing masks, social distancing and dancing their hearts out with Texas-sized gusto.


"The film is about determination and refocusing ourselves to come back to work," says Welch. "We are marching forward from all over the city, until we are back in our building in the studio. It's our restoration." And, indeed, the film opens with soloist Alyssa Springer charging down a brick path under a luxurious canopy of live-oak trees and ends with her dressed for work in the studio.

Welch, a self-confessed film geek, had success in July with his jubilant video, Dancing with Myself, choreographed on the dancers over Zoom and set to the Billy Idol song of the same title. David Rivera, the company's associate director of audio and visual services, edited everyone's clips together.

Lawrence Elizabeth Knox, Courtesy Houston Ballet

Houston Ballet artists in Stanton Welch's Restoration

For Restoration, it was time to leave the dancers' living rooms and jump head-first into the city. "We specifically looked for green spaces, hoping people from outside of Houston would be wowed by our lush vegetation," says Rivera, who did the film's camera operation and editing. "We also looked for recognizable locations so Houstonians would know this film is also for them."

And Restoration does a great job of showing off the city, including shots at the Museum of Fine Arts, Houston; The Menil Collection; Galveston beaches; and the reflecting pool at the Hermann Park Conservancy. "We were ready to move away from the iconic skyline and Wortham Center to the best-kept secret of the city, which are all these green, eclectic and artsy places," says Welch. "We want to imprint a side of Houston that people might not know."

Lawrence Elizabeth Knox, Courtesy Houston Ballet

Houston Ballet staff member and artists during the shoot of Stanton Welch's Restoration.

As for the music, Welch found the tone for the moment in Canadian bluegrass band The Dead South. Their raspy vocals, gothic storytelling and retro style were a good fit for Welch's own choreographic signature. "Black Lung" addresses the grind of labor, specifically in the mines, yet the tune also exudes a high-energy tempo. "It was the song's relentless quality and the rhythm of walking that makes it feel like a march," says Welch. "It's like an anthem that means, 'We can roll up our sleeves and do it.'"

Rivera sees Restoration, which was filmed in October, as a huge step up from Dancing with Myself, which was shot by dancers on their phones. "We were able to push production values and have total control of the composition of each shot," says Rivera. "We also went into filming with very detailed shot planning, including the angle of the sun and other lighting details. The entire process was super-structured and organized."

Soloist Jacquelyn Long—who appears in scenes at the McGovern Centennial Gardens, Discovery Green and more—treasured the filming experience. "I actually got to work in the studio, with Stanton in the front of the room and me at the back," says Long. "It felt very safe." Follow-up rehearsals were conducted online, since the company is now adept at learning via Zoom.

Long describes the choreography as earthy, human and even a tiny bit pedestrian. "It feels good on our bodies, very grounded," says Long. "It's a very personal piece—we are wearing our own clothes, which we hand-picked for the filming." Some dancers are decked out in their party dresses, others in their sleek workout clothes. And due to the array of surfaces, there isn't a pointe shoe in sight.

One of the final shots reveals the entire company spread out on a soccer field; drone footage amplifies the dancers' power. "It felt so great to be out there in front of everyone, showing off Stanton's choreographic strengths, all together and in unison," says Long. "This is our show, this is our home, this is our city. We are here to stay."

Latest Posts


Chisako Oga photographed for Pointe by Jayme Thornton

Chisako Oga Is Soaring to New Heights at Boston Ballet

Chisako Oga is a dancer on the move—in more ways than one. From childhood training in Texas, California and Japan to a San Francisco Ballet apprenticeship to her first professional post with Cincinnati Ballet, where she quickly rose to principal dancer, she has rarely stood still for long.

But now the 24-year-old ballerina is right where she wants to be, as one of the most promising soloists at Boston Ballet. In 2019, Oga left her principal contract to join the company as a second soloist, rising to soloist the following year. "I knew I would have to take a step down to join a company of a different caliber, and Boston Ballet is one of the best companies in the country," she says. "The repertoire—Kylián, Forysthe, all the full-length ballets—is so appealing to me."

And the company has offered her major opportunities from the start. She danced the title role in Giselle in her very first performances with Boston Ballet, transforming a playful innocent into a woman haunted by betrayal with dramatic conviction and technical aplomb. But she also is making her mark in contemporary work. The last ballet she performed onstage before the pandemic hit was William Forsythe's demanding In the middle, somewhat elevated, which she says was a dream to perform. "The style really clicked, felt really comfortable. Bill drew something new out of me every rehearsal. As hard as it was, it was so much fun."

"Chisako is a very natural mover, pliable and strong," says artistic director Mikko Nissinen. "Dancing seems to come very easy for her. Not many have that quality. She's like a diamond—I'm curious to see how much we can polish that talent."

Chisako Oga, an Asian-American ballerina, does a pench\u00e9 on pointe towards the camera with her arms held out to the side and her long hair flying. Smiling confidently, she wears a blue leotard and a black and white ombr\u00e9 tutu.

Jayme Thornton for Pointe

A Life-Changing Opportunity

Oga began dancing at the age of 3. Born in Dallas, she and her family moved around to follow her father's job in IT. Before settling in Carlsbad, California, they landed in Japan for several years, where Oga began to take ballet very seriously. "I like the simplicity of ballet, the structure and the clear vocabulary," she says. "Dances that portray a story or have a message really drew me in. One of my favorite parts of a story ballet is diving into the role and becoming the character, putting it in my perspective."

In California, Oga studied with Victor and Tatiana Kasatsky and Maxim Tchernychev. Her teachers encouraged her to enter competitions, which she says broadened her outlook and fed her love of performing in front of an audience. Though highly motivated, she says she came to realize that winning medals wasn't everything. "Honestly, I feel like the times I got close and didn't place gave me perspective, made me realize being a dancer doesn't define you and helped me become the person and the dancer I am today."

At 15, Oga was a semifinalist at the Prix de Lausanne, resulting in a "life-changing" scholarship to the San Francisco Ballet School. There she trained with two of her most influential teachers, Tina LeBlanc and Patrick Armand. "She came in straightaway with strong basics," Armand recalls, "and working with her for two years, I realized how clever she is. She's super-smart, thoughtful, driven, always working."

She became a company apprentice in 2016. Then came the disappointing news—she was let go a few months later. Pushing 5' 2", she was simply too short for the company's needs, she was told. "It was really, really hard," says Oga. "I felt like I was on a good track, so to be let go was very shocking, especially since my height was not something I could improve or change."

Jayme Thornton for Pointe

Moving On and Up

Ironically, Oga's height proved an advantage in auditioning for Cincinnati Ballet, which was looking for a talented partner for some of their shorter men. She joined the company in 2016, was quickly promoted to soloist, and became a principal dancer for the 2017–18 season, garnering major roles like Swanilda and Juliet during her three years with the company. "There were times I felt insignificant and insecure, like I don't deserve this," Oga says about these early opportunities. "But I was mostly thrilled to be put in those shoes."

She was also thriving in contemporary work, like choreographer-in-residence Jennifer Archibald's MYOHO. Archibald cites her warmth, playfulness and sensitivity, adding, "There's also a powerful presence about her, and I was amazed at how fast she was at picking up choreography, able to find the transitions quickly. She's definitely a special talent. Boston Ballet will give her more exposure on a national level."

Chisako Oga, an Asian-American ballerina, poses in attitude derriere crois\u00e9 on her right leg, with her right arm out to the side and her left hand grazing her left shoulder. She smiles happily towards the camera, her black hair blowing in the breeze, and wears a blue leotard, black-and-white ombre tutu, and skin-colored pointe shoes.

Jayme Thornton for Pointe

That was Oga's plan. She knew going in that Cincinnati was more stepping-stone than final destination. She had her sights on a bigger company with a broader repertoire, and Boston Ballet seemed ideal.

As she continues to spread her wings at the company, Oga has developed a seemingly effortless artistic partnership with one of Boston Ballet's most dynamic male principals, Derek Dunn, who Oga calls "a kind-hearted, open person, so supportive when I've been hard on myself. He's taught me to believe in myself and trust that I'm capable of doing whatever the choreography needs." The two have developed an easy bond in the studio she likens to "a good conversation, back and forth."

Dunn agrees. "I knew the first time we danced together we had a special connection," he says. "She really takes on the artistic side of a role, which makes the connection really strong when we're dancing onstage. It's like being in a different world."

He adds, "She came into the company and a lot was thrown at her, which could have been daunting. She handled it with such grace and confidence."

Derek Dunn, shirtless and in blue tights, lunges slightly on his right leg and holds Chisako Oga's hand as she balances on her left leg on pointe with her right leg flicking behind her. She wears a yellow halter-top leotard and they dance onstage in front of a bright orange backdrop.

Oga with Derek Dunn in Helen Pickett's Petal

Liza Voll, Courtesy Boston Ballet

Perspective in a Pandemic

The pair were heading into Boston Ballet's busy spring season when the pandemic hit. "It was really a bummer," Oga says. "I was really looking forward to Swan Lake, Bella Figura, some new world premieres. When we found out the whole season was canceled, it was hard news to take in."

But she quickly determined to make the most of her time out of the studio and physically rest her body. "All the performances take a toll. Of course, I did stretches and exercised, but we never give ourselves enough time to rest as dancers."

She also resumed college courses toward a second career. Oga is one of many Boston Ballet dancers taking advantage of a special partnership with Northeastern University to help them earn bachelor's degrees. Focusing on finance and accounting, Oga upped her classes in economics, algebra, business and marketing. She also joined Boston Ballet's Color Our Future Mentoring Program to raise awareness and support diversity, equity and inclusion. "I am trying to have my voice inspire the next generation," she says.

Jayme Thornton for Pointe

One pandemic silver lining has been spending more time with her husband, Grand Rapids Ballet dancer James Cunningham. The two met at Cincinnati Ballet, dancing together in Adam Hougland's Cut to the Chase just after Oga's arrival, and got married shortly before her move to Boston. Cunningham took a position in Grand Rapids, so they've been navigating a long-distance marriage ever since. They spend a lot of time texting and on FaceTime, connecting in person during layoffs. "It's really hard," Oga admits, but adds, "We are both very passionate about the art form, so it's easy to support each other's goals."

Oga's best advice for young dancers? "Don't take any moment for granted," she says without hesitation. "It doesn't matter what rank you are, just do everything to the fullest—people will see the hard work you put in. Don't settle for anything less. Knowing [yourself] is also very important, not holding yourself to another's standards. No two paths are going to be the same."

And for the foreseeable future, Oga's path is to live life to the fullest, inside and outside ballet. "The pandemic put things in perspective. Dancing is my passion. I want to do it as long as I can, but it's only one portion of my life. I truly believe a healthy balance between social and work life is good for your mental health and helps me be a better dancer."

Students of International City School of Ballet in Marietta, Georgia. Karl Hoffman Photography, Courtesy International City Ballet

A Ballet Student’s Guide to Researching Pre-Professional Training Programs

Many dancers have goals of taking their training to the next level by attending full-time pre-professional programs next fall. But it's hard to get to know the organizations without physically experiencing them first. Even when the world isn't practicing social distancing, visiting a school or attending its summer program isn't always possible. So, what can students and their families do to research programs and know what might work best for them? Who do you reach out to, and what are the questions you and your parents should be asking?

Here, pre-professional-program leaders share some practical advice for taking the next step in your dance training.

Keep reading SHOW LESS
American Ballet Theatre corps member Rachel Richardson. NYC Dance Project, Courtesy Rachel Richardson

ABT’s Rachel Richardson on Performing With Her Hometown Company, Eugene Ballet

When I signed my first professional contract with Eugene Ballet, one of the last things I anticipated was the opportunity to dance beside a member of American Ballet Theatre. Flash forward to the start of our spring season this year, and suddenly I'm chatting in the hallway and rehearsing the Cinderella fairy variations next to luminous ABT corps member Rachel Richardson. When ABT announced it was canceling live performances for the 2020–21 season, Richardson traveled back home to Eugene, Oregon, to be with her family—and this spring joined the company as a guest artist.

Growing up, Richardson trained locally in Eugene before moving to The Rock School for Dance Education's year-round program in Philadelphia. After securing a spot in the ABT Studio Company in 2013, she was promoted to corps de ballet in 2015. This unconventional year marks her sixth season with the main company.

After having the privilege of dancing with her this spring, I sat down with Richardson to discuss her recent guesting experience, how the pandemic has helped her grow and her advice for young dancers.

Keep reading SHOW LESS

Editors' Picks