Boston Ballet principal Lia Cirio at age 15 in class at the Central Pennsylvania Youth Ballet summer intensive. Photo by Rosalie O'Connor, Courtesy Cirio.
It's hard to believe that summer intensive season is almost over! We hope you're learning, growing, having fun and making memories at your intensives this year.
Today, we're sharing seven dancers' favorite summer intensive memories.
Isabella Boylston, American Ballet Theatre
Photo Courtesy Boylston.
Summer Intensive: American Ballet Theatre
Age: 17
Perseverance
"I was 17 (although I looked about 14) and attended the ABT Summer Intensive. I was particularly excited to be there because the year before that I hadn't been accepted."
Outside the Studio...
"My mom, my best friend Lauren Post and I sublet a tiny one bedroom on the Upper West Side and had a blast exploring the city."
Dreams Come True
"That summer I was invited to join the ABT Studio Company—a dream come true!"
Ashley Wheater rehearsing Antony Tudor's "Lilac Garden." Photo by Cheryl Mann, Courtesy Joffrey Ballet.
The first time Ashley Wheater was courted to be artistic director of the Joffrey Ballet, he said "Thanks, but no thanks"—he was very happy at San Francisco Ballet, where he'd spent eight years as a principal dancer and 10 more on the artistic staff. But a trip to the Windy City for the Chicago Dancing Festival and a visit to Joffrey's studios prompted feelings of nostalgia for Wheater's early years dancing with the company.
He was hired by co-founders Robert Joffrey and Gerald Arpino in 1985, when the company was still based in New York City and under Joffrey's direction. After Joffrey's death, Arpino became artistic director and later moved a struggling Joffrey Ballet to its current home in Chicago in 1995.
When Arpino fell ill and began to look for a successor, the company had lost much of its original adventurous spirit. Remembering its earlier spark, Wheater agreed to apply during that trip to Chicago, and accepted on the spot in 2007 after a weeklong interview process.
As the third artistic director in the company's 62-year history, Wheater has spent the last 10 years rebuilding its national reputation, tackling challenging new repertoire and reimagined classics at a ferocious pace. The rep now includes works by choreographers like Christopher Wheeldon, John Neumeier, Alexander Ekman and Yuri Possokhov. Wheater shelved many of Joffrey's and Arpino's dances to make room for new ones, preferring to honor Robert Joffrey's legacy by taking risks and fostering innovation.
Wheater. Photo by Todd Rosenberg, Courtesy Joffrey Ballet.
A scene from Stephen Mill's "Light/The Holocaust & Humanity Project." Photo by Tony Spielberg, Courtesy Ballet Austin.
Ballet excels at defying gravity. Lightness, ethereality, wispiness, symmetry, lineal order, chivalry and blissful endings to well-worn tales bestow on ballet a reputation as an art form that embraces divine beauty and design. But themes of grief, trauma, death, war, annihilation, exploitation, abuse, oppression and genocide do not frequently skim the surface sur la pointe. Bearing weighty burdens has traditionally found a place in the realm of modern dance in works such as Martha Graham's Lamentation, or Paul Taylor's image of Armageddon in Last Look.
But beyond shimmering tutus and pristine arabesques, there are other reasons why heavy issues seldom appear on the ballet stage. Taking on a serious subject requires a serious treatment. A ballet about terrorism could easily trivialize the subject through melodrama or prettification. Classical vocabulary was born from noble demeanor in the royal courts; in the wrong hands, it can seem limited in registering the mood of a sordid subject or for expressing disturbing behavior. Add to that the industry's marketing directors and board members, tempted towards steering directors and choreographers away from challenging ballets for fear of poor ticket sales.
New York Theatre Ballet performs "Dark Elegies." Photo by Darial Sneed, Courtesy New York Theatre Ballet.
New York City Ballet's famous growing tree. Photo by Paul Kolnik, Courtesy NYCB.
Literary Roots
E.T.A. Hoffmann, a German writer, penned the eerie and dark tale "Nutcracker and Mouse King" in 1816. About 30 years later, the French writer Alexandre Dumas took the Nutcracker story into his own hands, lightening things up and softening the character descriptions. Dumas even cheered up the name of the protagonist. "Marie Stahlbaum" (meaning "steel tree," representing the repressive family Marie found herself in, which led her imagination to run wild) became "Clara Silberhaus" (translated to "silver house," a magnificent home filled with shiny magic.)
Snowflakes of the original cast, "The Nutcracker" at the Mariinsky Theatre, 1892. Photo by Walter E. Owen, Courtesy Dance Magazine Archives.
From Page to Stage
In 1892 St. Petersburg, choreographer Marius Petipa and composer Pyotr Ilyich Tchaikovsky pulled the story off the page and onto the stage of the Mariinsky Theatre. But Petipa fell ill while choreographing The Nutcracker and handed his duties over to his assistant, Lev Ivanov. Critics at the 1892 premiere were not pleased. Balletomanes felt the work to be uneven, and lamented the lack of a main ballerina in the first act. Many thought that the story was too light compared to historically based stories.
Out of Russia
Despite its initial reception, the ballet survived, partially due to the success of Tchaikovsky's score. Performances were scarce, though, as the Russian Revolution scattered its original dancers. The Nutcracker's first major exposure outside of Russia took place in London in 1934. Former Mariinsky ballet master Nikolas Sergeyev was tasked with staging Petipa's story ballets on the Vic-Wells Ballet (today The Royal Ballet) from the original notation. The notes were incomplete and difficult to read, yet Sergeyev persisted, and The Nutcracker made it to the stage.
Dancers from ballet Russe de Monte Carlo in "The Nutcracker" pas de deux. Photo Courtesy Dance Magazine Archives.
Fabrice Calmels and Anais Bueno in Anabelle Lopez Ochoa's "Mammatus." Photo by Cheryl Mann, Courtesy Cal Performances.
The Joffrey Ballet and University of California—Berkeley's Cal Performances have joined forces on a five-year residency series that offers the public in-depth, behind-the-scenes access to the art of ballet. The first installment runs Nov. 13–19 with repertory classes taught by Joffrey dancers, a panel discussion and open rehearsals as well as performances in Zellerbach Hall November 17–19.
"There is so much interesting work happening, and we want to share it," says Joffrey artistic director Ashley Wheater, whose Bay Area ties go back to his days as a San Francisco Ballet principal dancer and ballet master. He has slated Justin Peck's In Creases, Annabelle Lopez Ochoa's Mammatus, the West Coast premiere of Alexander Ekman's Joy and Joffrey ballet master Nicolas Blanc's Encounter for this year's bill.
Joffrey Ballet dancers in rehearsal for Alexsander Eckman's "Joy." Photo by Todd Rosenberg, Courtesy Cal Performances.
Maria Kochetkova, who will perform at the Chicago Auditorium Theatre. Photo by Erik Tomasson, courtesy Auditorium Theatre.
If you'll be in the Chicago area next month, the historic Auditorium Theatre is putting together a one-night-only performance you don't want to miss. The event is in celebration of the 50th anniversary of the theater's reopening in 1967, which featured a performance of George Balanchine's A Midsummer Night's Dream by former New York City Ballet principals Suzanne Farrell and Edward Villella. With Farrell and Villella returning to the theater as guests, the November 12th program will include a mixed repertory performed by dancers from companies including American Ballet Theatre, New York City Ballet, The Joffrey Ballet, The Washington Ballet, The Suzanne Farrell Ballet, Vienna State Ballet and Dutch National Ballet.
The Auditorium Theatre in Chicago from its 1967 opening. Photo by Richard Nickel, courtesy Auditorium Theatre.
Photo by Quinn Wharton
Fabrice Calmels has his studio look down to a science: a warm vest, traditional ballet tights, his favorite Lululemon yoga pants and—most importantly—the piece he calls his "accent T-shirt," which acts as the focal point. "I don't like anything too flashy," the Joffrey Ballet dancer says, "but I will always have an accent T-shirt, and it's always a cartoon character that is really well known." His collection of shirts features Pokémon, Transformers and Lilo & Stitch, among others.
Accents play a role in his streetwear, too. "It depends where the accent color is," he says. "If I pick whiter shoes, then I try to keep my jeans and my upper body a little bit darker, plain. If it's my shirt, then my shoes are going to be much more simple." Calmels gets some of his ideas about fashion from friends he's made in the modeling world. After participating in a Versace campaign in Chicago, he signed with IMG Models. He favors an urban vibe—well-cut leather jackets, classic T-shirts, jeans and sneakers. But even with staple pieces, he has an eye for quality and detail. "I'm looking for cool, slightly different, but still simple," he says. "Not just a plain T-shirt you can find anywhere."
Photo by Quinn Wharton
Photo by Quinn Wharton for Pointe.
Why darn your pointe shoes? The Joffrey Ballet's Victoria Jaiani finds that darning gives her shoes a slightly bigger platform and harder tip, and helps them last longer through demanding ballets. We asked her to share her secrets with us.
Photo by Quinn Wharton for Pointe.
ABT's Calvin Royal III in Alexei Ratmansky's Serenade after Plato's Symposium. Photo by Rosalie O'Connor, Courtesy ABT.
Miami City Ballet's National Tour
Artists of Miami City Ballet in Justin Peck's Heatscape. Photo by Gene Schiavone, Courtesy Miami City Ballet.
In late April at the Harris Theater, Chicagoans found Miami City Ballet firing on all cylinders, following the company's Lincoln Center debut and an engagement at Northrop in Minneapolis. Stage-filling Balanchine classics like Bourrée Fantasque, Serenade and Symphony in Three Movements struck a perfect balance between relaxed exuberance and clean execution, while seasoned stars like Jeanette Delgado and Renato Penteado shone in contemporary works by Justin Peck (Heatscape) and Liam Scarlett (Viscera), respectively. Most memorably, a dream team of 23 artists—including the irrepressible Nathalia Arja—gave a commanding presentation of Symphonic Dances, created for MCB by Alexei Ratmansky.
This week, there's a whirlwind of dance in the Windy City. The annual Chicago Dancing Festival, celebrating its 10th anniversary this year, opened last night at the Auditorium Theater with glittering performances by the Joffrey Ballet, Martha Graham Dance Company, Pennsylvania Ballet and Daniel Ulbricht’s Stars of American Ballet. The festival continues through Saturday, with performances held at multiple theaters and parks across the city. While all shows are free, tickets for indoor performances went on “sale” in late July—and sold out fast.
Lillian Di Piazza and James Ihde in Concerto Barocco. Photo by Alexander Iziliaev, via PA Ballet.
Francesca Hayward as Juliet. Photo by Alice Pennefather, Courtesy ROH.
But don't worry, Chicagoland ballet lovers: No tickets are required for the festival’s outdoor Dancing Under the Stars program, held at Jay Pritzker Pavilion in Millennium Park on August 27. The evening includes the Joffrey Ballet in Christopher Wheeldon’s After the Rain, Pennsylvania Ballet in George Balanchine’s Concerto Barocco and Hubbard Street Dance Chicago in William Forsythe’s One Flat Thing. Newly minted Royal Ballet principal Francesca Hayward and soloist Marcelino Sambé will be there, too, dancing the pas de deux from Sir Kenneth MacMillan's Romeo and Juliet (a role Hayward talked about in our February/March cover story). The show also includes Chicago Dancers United, a collective of local dance companies which work in tandem with Dance for Life, to raise funds for critical health issues like HIV and AIDS. They'll be performing in a new work by Chicago-based choreographer Randy Duncan. The festival closes with Rennie Harris' Students of the Asphalt Jungle, performed by his hip hop company, Rennie Harris Pure Movement.
Stake out a spot early—the performance starts at 7:30 pm, but fixed seating at the Pavilion is first come, first serve. There is also lawn seating available. For more information, click here.
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