Costume sketches for Alexei Ratmansky's new "Harlquinade" for ABT. Courtesy ABT.
Wonder what's going on in ballet this week? We've pulled together some highlights.
ABT's New Harlequinade is Finally Here
The long wait for Alexei Ratmansky's Harlequinade for American Ballet Theatre is finally over. June 4-9, catch ABT at the Metropolitan Opera House in this bold and colorful tribute to the Italian commedia dell'arte traditions, based on the archival notes of Marius Petipa. If this trailer by Ezra Hurwitz is any indication, this new story ballet is sure to delight (fingers crossed that those dogs make their way to the stage).
Houston Ballet's Sara Webb and Chun Wai Chan in "The Nutcracker." Photo by Amitava Sarkar, Courtesy Houston Ballet.
Houston Ballet has a message for Mother Nature: Don't mess with Nutcracker.
After flooding from Hurricane Harvey caused extensive damage to the Wortham Center, Houston ballet's home theater, the company was forced to reschedule and relocate two of its programs this fall. But when the Wortham announced last month that it would be closed for repairs through mid-May, the company faced a bigger, financially scarier problem: cancelling 34 performances of its annual Nutcracker.
Melody Mennite in "Nutcracker." Photo by Amitava Sarkar, Courtesy Houston Ballet.
But artists are nothingif not resourceful. Yesterday, the company announced that its Nutcracker will be going on a "hometown tour," with 14 performances at the Smart Financial Center in nearby Sugar Land (December 10–23), and 14 performances at the Hobby Center for the Performing Arts (December 30–January 6). The production, choreographed by artistic director Stanton Welch, was new last year, and includes opulent scenic and costume designs by Tim Goodchild. Current ticket holders can click here to reschedule their performances, while tickets will go on sale to the general public on October 14.
Houston Ballet's Melody Mennite with Ian Casady in Kylián's Forgotten Land. Amitava Sarkar, Courtesy HB.
If you're a member of a repertory company, tight rehearsal timelines are often a fact of life. You might have only a few weeks to memorize and master a piece before you take the stage. In that time, you'll need to absorb not only the steps but also the choreographer's particular style—the qualities and quirks that set that choreographer apart. Should the movement be buoyant or grounded, fluid or staccato? Is your port de bras meant to be classical or pedestrian? How should you relate to your fellow dancers, and to the audience? Answering these questions will take your performance to the next level. After all, a ballet is so much more than the sum of its steps.
"The ballet isn't going to be the ballet without the choreographer's intention and style," says Sandra Jennings, a longtime répétiteur for The George Balanchine Trust. "Balanchine had an intent in his choreography that affects how we move, from our musicality to the way we use our feet on the floor and how the man offers his hand to the woman in partnering. Those nuances matter."