Tulsa Ballet

Even the Women are Brandishing their Swords - Edwaard Liang's Romeo and Juliet

2012-01-23T11:39:00.000-06:00

by Lawrence Knox

Romeo and Juliet is one of the most tragic love stories of all time. There are scenes in which there will not be a dry eye in the audience, but there is also plenty of action along with the romance. In preparation for the fight scenes, the dancers have been training with J. Steven White during rehearsals. Although the sword fighting is mostly left to the men, especially those who dance the part of Romeo, Mercutio, Tybalt, and Benvolio, some of the women also get their chance to take part in the action.

Surrounding the fencing, there are choreographed side stories between the Montagues and Capulets. There is plenty of excitement during this Act One fight, full of hair pulling, kicking, and punching. I have to say I never thought I would be backhanding another girl onstage, but sure enough, I was wrong. I don’t want to give too much away, but I will tell you that some food props might also be put to good use in these fights. Given the large amount of people onstage during this fight, it is important for us to keep focused for safety reasons, but as you can probably imagine, there has been quite a bit of fun in these rehearsals.

To hear some of the dancer’s experiences and for a greater look into how the choreography for this fight scene was created, take a minute to watch Tulsa Ballet’s video:

Performances run from Feb. 10-12 at the Tulsa Performing Arts Center. For tickets call 918-740-6006 or visit us online at www.tulsaballet.org.

Angel Tree Project

2011-12-19T11:56:00.000-06:00

Lawrence Knox is back to guest blog again about the dancers' recent angle tree project for the holidays.

For the holiday season, I was hoping to put together a donation for a shelter of some sort from the dancers. However, after seeing the amount of children still left on one of the Salvation Army’s Angel Trees in the mall, I decided to bring the Angel Tree idea to Tulsa Ballet. In the spirit of giving back, we were able to share the gift of Christmas with ten children who, without the Angel Tree, might not receive presents on Christmas morning.

Special thanks to (from left to right) Sarah Jane Crespo, Ian Buchanan, Carolyn Trumbo, Chelsea Keefer, Alexandra Christian, Erin Pritchard, Amy Zvacek, Mrs. Georgia Snoke, and Diana Peters (not pictured) for helping the Angel Tree.

Below is a picture of some of the presents we gathered for these ten children. We not only collected the essentials, such as clothing, but also items on the children’s wish list, including Barbie dolls, Hot Wheels, learning toys, and even a tricycle.

If you have not already experienced helping a child through the Angel Tree organization, I encourage you to make this a holiday family tradition! As many of the participating dancers found out, it is not only a great opportunity to help a child in need, it is fun to go back and shop through the toys in the children’s section! Wishing everyone a Merry Christmas and a Happy New Year!

No Place Like Hope for the Holidays

2011-12-14T14:44:00.000-06:00

Every year Tulsa Ballet hosts Hope for the Holidays. Our very first Nutcracker performance is given to those who may need some extra holiday cheer this season. More than 2,000 clients from local service agencies enjoy an evening at the ballet complete with Christmas characters like the Nutcracker, a Christmas Mouse, Frosty the Snowman and Happy Feet. Cookies are provided as well as Nutcracker ornaments as souvenirs.

This is one of our favorite events as this is exactly what the arts is all about – enriching the community. Many of the families that come to Hope have never seen a ballet before, let alone step foot in a theater. The children especially were so excited to see the ballerinas and be swept away by this magical fairytale.

We offer thanks to The Barnett Family Foundation, The Robson Companies, The Anne and Henry Zarrow Foundation, The Barnett Family Foundation and The Maxine and Jack Zarrow Foundation for presenting this special performance of Tulsa Ballet’s The Nutcracker. Refreshments are courtesy of QuickTrip convenience stores and Hiland Dairy. Also, we appreciate all of our volunteers from the Barre Society and Cygnet Society for all of their help during this special show. Without their generous support, we would not be able to offer this treat to so many Tulsans who need a little extra holiday magic this year.

The Nutcracker - Behind the Curtain

2011-12-05T13:50:00.000-06:00

Tulsa Ballet's performances of The Nutcracker begin this weekend! Before you and your family head to the Tulsa PAC, learn more about the history of the Nutcracker and how Tulsa Ballet's beautiful production was created. Inspired by the city of Tulsa, this Nutcracker provides audiences with the exciting visuals of a Broadway show with the heartwarming story of a fairytale Christmas.

Tickets are selling fast! Performances December 10, 11, 17 and 18 at 2 p.m.; and December 16, 17, 22 and 23 at 7 p.m. at the Tulsa Performing Arts Center. Call 918-749-6030 to reserve your seats now! Or visit us online at www.tulsaballet.org. See you at the ballet!

Notes from Knox

2011-11-29T12:34:00.002-06:00

Corps de Ballet Dancer Lawrence Knox shares with us the dancers' Thanksgiving weekend and preparing for The Nutcracker season!

*All images by Rosalie O'Connor

With Thanksgiving passing and the winter holidays swiftly approaching, we are reminded of all we have to be grateful for. I took a few minutes to ask some of the dancers what they are thankful for and how they spent their four-day weekend.

Joshua Stayton traveled to Cincinnati to visit his family with Jose Antonio Checa Romero. They are both thankful for “family, friends, and the arts.”

Joshua Stayton

Jose Antionio Checa Romero

Although distance prevented a big family celebration this year, Alexandra Bergman is thankful that her whole family is healthy. She enjoyed this past weekend “doing mother daughter things with Sanya,” before the Nutcracker performances begin.

Alexandra Bergman

There is no Thanksgiving in Japan, but since coming to the United States, it has become one of Hanae Seki’s favorite holidays. For dinner, she cooked Japanese food with fellow dancer, Yoshihisa Arai. She is thankful that dance has allowed her to have so many friends of different nationalities.


Hanae Seki

Yoshihisa Arai

I drove home to Arkansas and spent a wonderful weekend with those who I am most thankful for, my family. There was never a dull moment with five of us kids, my parents, grandparents, friends, five dogs, and two cats in the house.

Now, back in the studio with tummies full of turkey, we return to Nutcracker rehearsals in full swing. Although Tulsa Ballet’s version differs from the traditional story, it is just as magical, if not more, with the glamorous costumes, the extravagant scenery, and the different choreography. The polonaise is more challenging and the second act demonstrates the strengths of the company members.

Soo Youn Cho and Alfonso Martin dancing the roles of Marie and Charles in The Nutcracker

I remember first seeing this Nutcracker with my mother when I was eleven and leaving the theater without a doubt in my mind that I wanted to be on that stage. The next year my mom drove me to Tulsa each day in order to train with the school. I will never forget when I received the letter saying that I would share the part of young Marie with two of my friends. My mom had just picked my siblings and me up from school and we were pulling into the neighborhood when we stopped to get the mail. That was only the beginning of the magic for me.

This Nutcracker has always held a special place in my heart and I only wish the people of Tulsa will leave the theater as enchanted as I felt those nine years ago.

Cooking with Caroline - Happy Thanksgiving

2011-11-22T10:44:00.000-06:00

Here at the Tulsa Ballet studios, our halls have been filled with the patter of little mice feet as we prepare for The Nutcracker season. But before the mice and soldiers go off to battle beginning December 10th at the PAC, they're enjoying a short break with their families for Thanksgiving.

Our own Office & Facility Manager Caroline Crain shared with us one of her favorite Thanksgiving recipes - her Grandmother Owen's Corn Pudding. It's a family favorite as her 93 year old father asks for it every year.

Corn Pudding

1 No. 2 can cream-style corn

1-1 ½ cups whole corn (frozen or fresh – NOT canned)

1T sugar

1 tsp salt

3 T melted butter (not margarine)

5 eggs, well beaten

3 cups whole milk (or 2 cups milk & 1 cup ½ & ½ )

1 T chopped pimento

1 T corn starch

1 T cold water

Combine corn, sugar, salt, butter, pimento, eggs and milk. Dissolve cornstarch in water and stir into corn mixture.

Pour into a greased, shallow 2 quart baking dish. Bake at 350 degrees for about 1 hour or until custard is firm. It should be a light golden brown on top.

Yield 6-8 portions. I usually double this and put it in a regular 9x13 pyrex dish.

This is a very lovely, light custard. And it’s still good, rewarmed as a leftover. Have a happy Thanksgiving and see you at Nutcracker!

Barre Society - Rehearsal & Drinks with the Dancers

2011-11-18T13:38:00.000-06:00

Local young professionals of The Barre Society gathered in Studio K for a private rehearsal viewing of Tulsa Ballet's principal dancer Ma Cong rehearsing his piece Calling on fellow company dancers. Set to Balkan-inspired music, Barre Society members commented on how unique and fun Cong's movements were, some of them even wishing to join the dancers on the stage and "groove" with them.

Following rehearsal, Urban Furnishings hosted a cocktail party for the Barre Society and dancers to mingle, enjoy champagne and converse over the beautiful furniture of Natuzzi Italia. Guests were greeted with a red carpet and photographers to capture the fun evening. By the end of the night, we welcomed some new members to The Barre Society!

Amber Buchanan and Barre Society Member Hannah Bledsoe

Tulsa Ballet Demi-Soloist Jonnathan Ramirez Mejia and Corps de Ballet Erin Pritchard.

Barre Society Members Jennifer Alden, Hilary Parkhurst, Dustin Thames and Christy Craig

Tulsa Ballet Principal Ma Cong and new Barre Society Members Sheila Zamanian and Thomas Landrum.

Barre Society Members Hillary Pane, Taheerah Salim with Carolyn Long.

We are still inviting new members to join The Barre Society! For more information please contact Katie Selvidge at katie.selvidge@tulsaballet.org. Don't forget the half-season membership is only $150 - this gives you access to all of the spring events and tickets to all of the spring performances!

The Cygnet Society - Hip Hop & Shop

2011-11-15T11:09:00.000-06:00

The Cygnet Society enjoyed their second dance workshop at Tulsa Ballet. This time they danced Hip Hop while their mothers enjoyed some Christmas shopping at Ribbons. The Cygnets learned a routine to Beyonce's latest hit Run the World (Girls) - fitting for this exceptional group of young women.

Write Your Own Review - Nine Sinatra Songs

2011-11-01T09:36:00.000-05:00

Many of our audience members raved over this past weekend’s performances on our Facebook and Twitter sites. Alicia Chesser of Urban Tulsa and James Watts of Tulsa World wrote wonderful reviews of the triple bill performances. We want to hear from you! What was your favorite piece, music or dancer? Use the comment box below to write your own review of the ballets performed this weekend.

In the Middle, Somewhat Elevated -

Sechs Tanze -

Nine Sinatra Songs -

Nonsensical Poetry in Motion - "Sechs Tänze" by Jirí Kylián

2011-10-26T15:12:00.000-05:00

Internationally acclaimed Jirí Kylián began his choreographic career at the Nederlands Dans Theater. Over the years, Kylián has become known for his unique and personal style as his works are profoundly based on musicality and poignantly reflect the mystery of human beings. Kylián has explained that the choreographer’s job is to explore “the extremities of our souls.” Sechs Tänze unveils hidden traces of humanity while providing a comedic, nonsensical flair that has entertained audiences across the globe.

Nederlands Dans Theatre Rehearsal Director Roslyn Anderson set Sechs Tänze on Tulsa Ballet dancers. Companies Anderson has worked with include the San Francisco Ballet, Joffrey Ballet, American Ballet Theatre, National Ballet of Canada, Cullberg Ballet, Royal Swedish Ballet, The Royal Ballet, Rambert Dance Company, Paris Opera Ballet, Singapore Dance Theatre, The Australian Ballet, Compañia Nacional de Danza, and Royal Danish Ballet.

Here is a clip of rehearsal footage of the Tulsa Ballet dancers and an interview with Roslyn.

“Mr. Kylián’s works are the expression of the human soul and, as such, they touch each and every audience member in their core. We presented Petit Mort two years ago, a work of sublime poetry. With Sechs Tänze we are going to explore another side of Mr. Kylián’s personality: his unparalleled gift for humor.” – Tulsa Ballet Artistic Director Marcello Angelini

Words from Jirí Kylián -

Two centuries separate us from the time Mozart wrote his German Dances. A historical period shaped considerably by wars, revolutions and all sorts of upheavals. With this mind, I found it impossible to simply create different dance numbers reflecting merely the humor and musical brilliance of the composer. Instead, I have set six seemingly nonsensical acts, which obviously ignore their surroundings. They are dwarfed in face of the ever present troubled world, which most of us for some unspecified reason carry in our souls.

Although the entertaining quality of Mozart’s Sechs Tänze enjoys great general popularity, it shouldn’t only be regarded as a burlesque. Its humor ought to serve as a vehicle to point towards our relative values. Mozart’s ability to react upon difficult circumstances with a self-preserving outburst of nonsensical poetry is well known.

-Jirí Kylián

To enjoy this hilarious work as well as Twyla Tharp's classic Nine Sinatra Songs and William Forsythe's edgy in the middle, somewhat elevated,buy your tickets now by calling 918-749-6006. Or visit us online at Nine Sinatra Songswww.tulsaballet.org. Performances run from Oct. 28-30 at the Tulsa PAC.

Nine Sinatra Songs - Sneak Peak

2011-10-24T15:12:00.000-05:00

Alfonso Martin and Soo Youn Cho

One of America’s most respected and recognized choreographers, Twyla Tharp has choreographed more than one hundred thirty-five dances (including Nine Sinatra Songs), five Hollywood movies, directed and choreographed four Broadway shows. She received one Tony Award, two Emmy Awards, nineteen honorary doctorates, the Vietnam Veterans of America President's Award, the 2004 National Medal of the Arts, the 2008 Jerome Robbins Prize, and a 2008 Kennedy Center Honor.

With Nine Sinatra Songs, Tharp combines nine songs by Frank Sinatra and ballroom-inspired choreography to create an intimate view into each of the seven couple’s relationship. Original costumes, gowns and tuxedos, were designed by the great Oscar de la Renta to reflect the Sinatra era while enhancing Tharp’s sweeping to sharp movements. Created for the Twyla Tharp Dance company in 1982, this work is now a popular Tharp classic and is in the repetoire of companies around the world.

“I chose songs only in arrangements from the 1950s,” Tharp has been quoted, “when my parents were still together, when all parents were together, the last time we assumed as a culture that of course men and women lived together and loved for a lifetime.”

Original Nine Sinatra Songs cast member Shelley Washington staged the ballet for the Tulsa Ballet dancers. Washington is one of a few experts on the Tharp repertoire. We had the chance to ask her a few questions about this classic piece and capture some rehearsal footage of Tulsa Ballet dancers Soo Youn Cho, Alfonso Martin, Sofia Menteguiaga and Wang Yi.

“Twyla Tharp’s works are a reflection of the American culture; they reflect the hearts and souls of the American people and traditions. Ms. Tharp has become an essential element of the cultural fabric of this country and is probably its leading ambassador, at least for our art form, worldwide.” – Tulsa Ballet Artistic Director Marcello Angelini

Performances run from October 28-30, 2011, at the Tulsa Performing Arts Center. Evening also features William Forsythe's In the Middle, Somewhat Elevated and Jiri Kylian's Sechs Tanze. Purchase tickets by calling (918) 749-6006 or by visiting www.tulsaballet.org.

The Cygnet Society's Movement & Music Workshop

2011-10-20T09:48:00.000-05:00

Tulsa Ballet welcomes 32 Cygnets for the 2011-2012 Cygnet Society! A cygnet is a young swan. For one year, each eighth grade girl enrolled in the Cygnet Society receives an inside look to the world of dance through taking dance and music classes, enjoying interactions with the professional dancers, watching Tulsa Ballet performances – all while building lasting friendships with other Cygnets through this artistically-enriching program.

Earlier in the season, the young ladies enjoyed watching The Merry Widow at the Tulsa PAC, and later, were able to ask the dancers about the performance at their recent Music & Movement Workshop. Also during their Music & Movement Workshop, the Cygnets learn ballet movements in a master class with Tulsa Ballet Mistress Susan Frei. Following their ballet class, they learned about the music used in ballet from Tulsa Ballet Pianist Andrew Lahti.

After watching a company rehearsal, Cygnets had a brief Q & A with the dancers.

Cygnets enjoyed learning various ballet steps in the movement portion of their workshop.

Cygnets learned jumps and turns.

Each Cygnet received a pointe shoe signed by Tulsa Ballet Principal Soo Youn Cho.

The Cygnet Society of 2011-2012.

For more information about the Cygnet Society, visit our website at www.tulsaballet.org.

Leaps Outreach Program

2011-10-04T13:28:00.000-05:00

Education Programs Coordinator Colleen Lahti shares an insider’s look to one of Tulsa Ballet’s most successful outreach programs. Thanks to our generous supporters, including many Sinatra Ball guests who recently helped us raise more than $18,000 for outreach programs during the event’s live auction, Tulsa Ballet is able to educate local school children about the beauty, discipline and fun in dance.

Leaps Outreach Program is in full swing! What does that mean exactly? It means that three mornings a week, nearly 200 students travel from their elementary schools to Tulsa Ballet for ballet class! The morning starts out when the students from Marshall Elementary and Wright Elementary arrive and make their way into the student locker rooms to change into their ballet uniform (provided by Tulsa Ballet). Then it’s around the corner into their assigned studio –Pam Cameron teaches the girls’ class and Andrea Wamble teaches the boys’ class. For the next forty-five minutes, the students are intensely focused on the different and challenging movements being demonstrated first by their instructors. Even the accompanying school teachers join in when it’s the students’ turn! After class, it’s back out to the locker room to change back into their school uniform before heading out the front doors and back to their schools.

Our first week was a little different from the normal routine, as Tulsa Ballet staff and volunteers took several students at a time out of class and administered tests in jumping, sit-ups, flexibility and balancing to all participants. At the end of the six week program, we will do another set of the same tests to show students how their ballet classes have helped them improve in these foundational areas!

I love seeing this program come to fruition since this may be the only exposure to the art of ballet that hundreds of children receive every year. Each student’s family also receives a voucher for free tickets to one of the Tulsa Ballet’s performances at the Tulsa PAC, broadening even more the horizon for appreciation of dance beyond the individual student. I have had the pleasure of seeing over the years several of our TBCDE students start out in the Leaps Outreach Program and continue to nurture their love of ballet right here in the Tulsa Ballet studios. -Colleen Lahti


Marshall Second Grade Boys

Marshall Second Grade Girls

Write Your Own Review!

2011-09-28T15:20:00.000-05:00

Tulsa Ballet opened its season with the comic and enchanting The Merry Widow this weekend. From breathtaking ball rooms to flirtatious can-can girls, at this ballet we had audiences tweeting:

“another must see” (@TaraVreeland)

and

"beautiful costumes and spectacular performance” (@kjprough)

There were several reviews of the ballet over the weekend, but we want to know what you thought of the performance. What did you think of Ronald Hynd's choreography? Franz Lehar's music? Roberta Guidi di Bagno's costumes and sets? What about our dancers?

Support the Ballet by Buying Shoes at Marmi

2011-09-22T16:14:00.000-05:00

You can support the ballet by shopping! On Thursday, September 22, join Tulsa Ballet's Board President Betty Pirnat at Marmi for a fun shoe shopping evening from 4:00pm - 6:00pm. Enjoy 10% off your purchase for the entire weekend and know that 10% of event proceeds benefit the Tulsa Ballet.

Ronald Hynd's The Merry Widow

2011-09-13T13:46:00.000-05:00

Opening the season in style, Tulsa Ballet delights audiences from September 23 – 25 with the Oklahoma premiere of The Merry Widow. Choreographed by the internationally-acclaimed Ronald Hynd, this lavish production showcases spectacular dancing and tells the intoxicating tale of money, romance and intrigue. Tulsa Ballet will present three performances of The Merry Widow at the Tulsa Performing Arts Center. Tickets may be purchased by calling (918) 749-6006 or by visiting www.tulsaballet.org.

Recently, we had a chat with choreographer Ronald Hynd and his wife/repetuer Annette Page as they described the ballet and set the premise of the evening. Check out the interview and rehearsal footage of The Merry Widow in our latest video!

Choreographer's Circle - In the Middle, Somewhat Elevated

2011-09-02T16:45:00.001-05:00

Recently, members of Tulsa Ballet’s Founders Society were treated to an intimate rehearsal and reception with dancers and current guest artist Jodie Gates. Members observed as Gates staged one of the iconic pas de deuxs from William Forsythe’s neoclassical masterpiece In the Middle, Somewhat Elevated to be performed by Tulsa Ballet this October. Following rehearsal, the patrons enjoyed learning more about Forsythe and the complexity of his work through a private discussion with Gates and the dancers. Take a look inside the Choreographer’s Circle with a preview to In the Middle, Somewhat Elevated…

Tulsa Ballet will be performing In the Middle, Somewhat Elevated at the Nine Sinatra Songs performances. Performances will be at the Tulsa PAC on October 28 at 8 p.m., October 29 at 8 p.m. and October 30 at 3 p.m. For tickets please visit us online at www.tulsaballet.org or give us a call at (918) 749-6006.

Raising the Barre

2011-08-19T16:10:00.000-05:00

Last night Tulsa Ballet hosted the Barre Society’s Kick-Off Party! Young professionals (ages 20-40) interested in supporting the art of dance began the evening with an exclusive rehearsal viewing of William Forsythe’s In the Middle, Somewhat Elevated. Set to Thom Willems’ electric score, guests were impressed with the complexity and razor-sharp quality of the choreography that the dancers executed with a cool sense of edginess. Following rehearsal Studio K was transformed from a rehearsal space to a party scene with hors d'œuvres, drinks and fun music. Barre members mingled with the Tulsa Ballet dancers and staff while eyeing the many exciting prizes up for membership drawing.

Tulsa Ballet Corps de Ballet Federica Bagnera, Barre Society Committee Member Melissa Baker, Kristi Bush, Tulsa Ballet Corps de Ballet Stefano Maggiolo

Tulsa Ballet Demi-Soloist Yoshihisa Arai, Barre Society Committee Member Taheerah Salim, Tulsa Ballet Principal Soo Youn Choo

Prizes included four Tulsa Shock tickets, $25 to Little Black Dress with a bottle of 32 Winds Wine, $50 to Fleming’s Prime Steakhouse & Wine Bar, $100 to Total Pilates, $50 to Doc’s Food & Wine, $50 to Kilkenny’s Irish Pub, $50 to Chrome, a six month membership to the YWCA, $100 to Black Optical, a 14kt pearl necklace from Israel Diamond Supply, $25 to Edit with a bottle of 32 Winds Wine, a 50-minute massage to Ihloff Salon & Spa, three private training sessions with Kristi Bush, a three month membership to Sky Fitness and a VIP lunch for four at Saks followed by a makeup makeover and fashion consultation. We are so appreciative of the generosity from so many local vendors.

Tulsa Ballet Corps de Ballet Gabriela Gonzalez and Barre Society Member Amy Anderson

Tulsa Ballet Senior Soloist Sofia Menteguiaga
and Barre Society Committee Member Mark Perkins

By the end of the night, the Barre Society officially welcomed 50 members to the 2011 - 2012 season. It's not too late to sign up! There is always room for more at our Barre!

Tulsa Ballet Corps de Ballet Ian Buchanan, Barre Society Committee Member Christy Craig, Kristi Bush

Membership with Tulsa Ballet's Barre Society includes a season pass to five Tulsa Ballet productions, plus invitations to special events, rehearsals and receptions throughout the year. See more details below:

Basic Membership

$250 per person (only $25 per month for 10 months)

· Season ticket, including all five season productions

· Entry into drawings for valuable prizes

· Two exclusive rehearsal previews

· Receptions with the dancers throughout the year

· Free or discounted tickets to fundraising events

· Recognition in Tulsa Ballet publications throughout the year

· Subscription to CenterStage, the Tulsa Ballet newsletter

· Private backstage tour

· Admission for 2 in the patron lounge at every performance

· One free ticket to bring a friend to the ballet

Platinum Membership

$1,000

· Two season tickets, including all five productions

· Entry into drawings for valuable prizes

· Two invitations to at least two exclusive rehearsal previews

· Invitation for two to two Founders Society previews and dinners

· Receptions with the dancers throughout the year

· Free or discounted tickets to fundraising events

· Recognition in Tulsa Ballet publications

· Subscription to CenterStage, the Tulsa Ballet newsletter

· Private backstage tour

· Admission for 2 in the patron lounge at every performance

· One free ticket to bring a friend to the ballet

· Two guest passes to the patron lounge at a PAC performance of your choice

Tulsa Ballet Corps de Ballet Erin Pritchard, Tulsa Ballet Corps de Ballet Jonnathan Ramirez Mejia, Barre Society Member Anna Black, Barre Society Committee Member Gary Black, Barre Society Committee Member Dustin Thames, Barre Society Member Sean Comaeux, Barre Society Member Lindsey Lazaroff, Barre Society Member Kenton Grant

For more information on the Barre Society please visit www.tulsaballet.org.

For more information on joining please contact Katie Selvidge at katie.selvidge@tulsaballet.org.

Boys & Girls Club visits Tulsa Ballet

2011-08-15T13:57:00.000-05:00

Last Wednesday, the Tulsa Ballet welcomed children from the Boys & Girls Club of Tulsa to the studios for a special dance education day. The children watched the Tulsa Ballet dancers rehearse William Forsythe’s In the Middle, Somewhat Elevated for the 2011-2012 season.

Following the rehearsal, they had a question and answer session with principal dancer and resident choreographer Ma Cong. Ma answered all sorts of questions from, “When did you start dancing?” to “Is ballet harder than football?” which of course, he answered yes. The children then took a tour of the wardrobe department and showed off their ballet positions in the studios before it was time to go home. Thanks for stopping by and come again soon!

The Salvation Army Mabee Red Shield Boys & Girls Club is located on 1231 N. Harvard.

Checking in with TB Apprentice Lawrence Knox: Summertime and the living is...busy!

2011-06-29T08:59:00.003-05:00

by Lawerence Knox, Tulsa Ballet Apprentice

Backpacking in Europe. Skydiving. Riding in a hot air balloon. Zip-lining in Canada. I would love to tell you that these ambitious adventures described my summer, but, with four siblings, it has become increasingly difficult to find a common week of time off. So, what have I been doing during this break? My first thought, when Amy asked me this question, was "Well, I got my haircut," but I won't bore you with the excitement that brought me.

This summer is actually the first that I have not traveled to attend a summer ballet intensive, so I have been fortunate to be with my family for the past month. However, this is not the only reason that this break has been unusual for me. From 10am to 3pm, Monday through Thursday, I can be found in a classroom at the University of Arkansas Fort Smith. I am now two days away from completing my first two college credits, Math and English. At this point, I'm hoping to major in Journalism, as I continue my college education along side my ballet career. I am planning on completing the second semester of my English Composition class while dancing in the fall. Although I have enjoyed using this side of my brain again, I will take a full day in the studio over five hours sitting in a desk any day!

I have also been teaching private ballet lessons to girls here in Fort Smith a couple days a week. This has provided me the opportunity to share my passion with those around me who are not as aware of the professional side of the ballet world. Unfortunately, the arts are not supported here like they are in Tulsa, granted it is a much smaller city.

The time I've had with my family this summer, whether it be watching movies, swimming, running errands with my parents, or bike riding with my sister and friends, is time that I will always cherish. The summer had started off with a trip to Colorado for my brother's college graduation, and was soon followed by my sister's high school graduation. Not long ago, my mom and I helped with microphones backstage during my sister's theater week of "Hairspray" here in town, in which she played Amber. It was a fun experience for me to be on the other side of the performance. (Guess I can't stay away from the theater for too long!)

I will be in Tulsa for a little while as well. Babysitting three wonderful children while their parents vacation for eight days, taking some morning classes at Pointe to the Future, and teaching a couple of the adult classes are on my list of things coming up soon and before I know it, the season will be starting!

So, although I have not traveled far this summer and I can't provide you with a tale of how I survived free-falling out of an airplane, I have had a great summer— fun, relaxing, accomplished, never dull, and exactly how I wanted it to be.

TBCDE Student Performances

2011-05-02T14:06:00.001-05:00

Dear Friends,

I am excited to invite you to our 8th annual End of Year Performances! This marks the end of an incredibly successful year at Tulsa Ballet Center for Dance Education. We branched out in the competition arena attending the Youth America Grand Prix in New York and definitely put TBCDE on the map with a top 12 finish! Our Pre-Professional Ensemble had a fabulous year which resulted in two members being promoted into our main Company. And our summer workshop, Pointe to the Future, is shaping up to be a record breaking year. We have much to celebrate: our accomplishments, our wonderful faculty, and especially our talented students.

Students in our school are truly exceptional; they have a level of dedication and ability that allows them to thrive in the studio. Their desire to learn coupled with our extraordinary artistic faculty from all over the world is a definite road to success. I know their hours of hard work will be evident on the stage.

The purpose of our performances is quite simple: to showcase the training and technique of our students. Tulsa Ballet Center for Dance Education is a training facility for students who love the art of dance, from beginning ballet students to those pursuing professional careers. We want to ensure all levels of dancers receive the same quality instruction whether they attend one day per week or six days per week.

I hope you will join us as we showcase our dancers and I thank you for your continued support of Tulsa Ballet. I am extremely proud of our students, as I know you will be!

~Stacey Jenkins
Director of Education and Outreach

Pre-Professional Division Performances
Tulsa Ballet ~ Studio K
Friday, May 20th 7pm
Saturday, May 21st 7pm
Sunday, May 22nd 2pm

Tickets are available at the Tulsa Ballet reception desk Monday through Friday from 4-8pm; tickets are $10 and seating is general admission.

Marcello Angelini honors retiring principal dancer Ashley Blade-Martin

2011-05-02T13:06:00.005-05:00

Ashley Blade-Martin in Sleeping Beauty. Photo by Sharen Bradford.

Ashley Blade-Martin and Alfonso Martin in Nacho Duato's Por Vos Muero. Photo by Sharen Bradford.

When I came to Tulsa 16 years ago, the thought of
a dancer spending most of his or her career and
retiring with my company was not something I ever
would have imagined happening. But at the end of
this season, this will become a reality when we see
one of Tulsa Ballet’s most dedicated dancers take
her last bow.

After 12 seasons with our company, Ashley Blade-
Martín, or just “Blade” as I like to call her, has decided
to hang up her pointe shoes. While it is heartbreaking
for all of us to think that we will no longer experience
Ashley’s beautiful artistry, it is important that we take
time during her last performances to celebrate her
career and many contributions to the company.
We are all going to miss Ashley. She is part of Tulsa
Ballet’s backbone, one of those handful of dancers
who made the company into what it is today. With
her husband Alfonso Martín, she has survived
many iterations of the company and inspired many
generations of dancers, patrons and audience
members. Her respect for the art form, commitment
to the company, willingness to set the standards for
the rest of the company not only on stage but every
minute of every day, in the studio or in the theater,
is the “stuff” that makes a dancer lead a company
of artists from all over the world into a cohesive,
polished and attractive troupe. The differences
people like Ashley make distinguish the ordinary
from the extraordinary.

Ashley will pursue a career in nursing, a calling she
identified early in her life. We all wish her a brilliant
career in the medical field and an equal amount
of success and personal accomplishment as she
achieved in dance. Ashley, you will be missed!

Marcello Angelini,
Artistic Director

Ma Cong on his new creation, premiering next week!

2011-04-20T15:10:00.002-05:00

Ma Cong spoke to us about his new creation Tethered Pulse and the returning Blood Rush. Both ballets are a part of the Creations in Studio K series running April 29-May 8. Seating is limited and these shows will sell out - get your tickets now at 918-749-6006.

Is Ballet Dead? Not in Tulsa!

2011-04-14T16:44:00.003-05:00

Soo Youn Cho and Alberto Montesso in the world premiere of Speaking of Each by Ma Cong, April 2010

There is no lack of cutting-edge, new works at Tulsa Ballet, the primary reason Jennifer Homans, author of Apollo’s Angels: A History of Ballet, thinks that ballet is dying.

“We are at a conservative moment in ballet, and dancers need to feel like they are doing new work,” Homans pointed out in an article printed by Independent.co.uk on April 5, 2011. “Unfortunately, for the most part, the new work is not living up to the old work.”

Not so at Tulsa Ballet. To date, ten new ballets have premiered in Studio K (Tulsa Ballet’s own theater located in Brookside) since the spring of 2008, to rave reviews. At least three of these works have been acquired by a number of companies in both Europe and the Far East. Tulsa has officially become an exporter of art worldwide.

“We are very fortunate in Tulsa to have a space like Studio K, dedicated to the creation of original works,” said Marcello Angelini, Tulsa Ballet Artistic Director. “At this time, there are only three other companies in this country that enjoy the luxury of an intimate, yet proper on-site theater in which to share dance with their audiences.”

On April 29 to May 8, the fourth annual Creations in Studio K series will premiere two more original works.

The first ballet, titled Tethered Pulse, is by Tulsa Ballet resident choreographer and principal dancer Ma Cong. This work is about people trying to understand different kinds of relationships, and the inspiration comes from Mr. Cong’s own personal experience.

“The emotion of this piece comes from the ideas and inspiration I have known in my own life,” said Mr. Cong.

The second new creation is Blur, by French choreographer Tony Fabre, who is a former principal dancer with companies ranging from The Royal Ballet I London to Compañía Nacional de Danza in Madrid. Recently, he served a decade long term as artistic director of Compañía Nacional de Danza 2. Blur is an ensemble work with the lead couple representing the struggle confronting every human being – that of choosing between instinct and conscience.

“That is when life becomes a bit of a "blur" and one struggles to find peace,” said Mr. Fabre. The third ballet, back by popular demand, is Ma Cong’s Blood Rush, which energized crowds at the opening of Studio K three years ago. Despite an absent storyline, Blood Rush is very direct in its presentation of the melding of two very different forms of dance – classical ballet and the tango.

“Tulsa Ballet has never played by the rules, and these three exciting pieces show that ballet can be fresh and new,” said Angelini. “Ballet is dying? Not in Tulsa.”

A new work by Ma Cong

2011-04-12T16:36:00.006-05:00

Later this month, audiences will be treated to two new ballets created for Tulsa Ballet dancers, one by Ma Cong and one by Tony Fabre. We couldn't help snapping some photos of the artists at work.

Ma Cong, Diana Gomez and Jonnathan Ramirez Mejia

Diana Gomez and Jonnathan Ramirez Mejia

Erin Pritchard

Tickets for the Creation Series are available at www.tulsaballet.org

Photos by Julie Shelton

2011 Bella Cucina raises funds for outreach programs

2011-04-01T10:21:00.005-05:00

Photo: Isaac Rocha and Rania Nasreddine

Isaac Rocha, this year’s chair of Tulsa Ballet’s unique fundraiser, Bella Cucina, reported a successful conclusion to the most anticipated evening of the year. The event, which raises funds for Tulsa Ballet’s artistic and educational programs, is an unparalleled evening of fine dining and fine wines set in some of Tulsa’s most beautiful private homes. With a renewed focus on sponsorships, in addition to individual donors, patron gifts have increased by 40% this year over last year.

According to Isaac, “A chair is only as good as his committee, and I have been blessed with a great group of people to work with.” Committee members are Cheryl Chambers, Pat Chernicky, Rosalie Childs, Rebecca Creal, Becky Dixon, Charlotte Edmundson, Janie Funk, Marcia Harris, Jim McCarthy, Marian McCarthy, Mia Oven, Isaac Rocha, Karen Young and Chris Zollinger.

Hosts and chefs for this year's "The Art of Food" include: Nancy and Bruce Bolzle with Timothy Sean Fitzgerald, Timothy Sean Fitzgerald Catering; Pat Chernicky with Justin Thompson, The Brasserie and Sonoma; Charles Faudree and Bill Carpenter with Terri Fermo, Bohemia Catering; Suzanne and Jim Kneale with Austin Terry, Fleming’s Prime Steakhouse and Wine Bar; Jackie Kouri and Gary Paxton with Nuhad Farhood, The Cedars Deli & Catering; Mike Krimbill with Hope Egan, Hope’s Table; Robin and Ron LaButti with Candace Conley, The Girl Can Cook; Susan and Lynn Fesperman with Orr Nalp, Just Catering by Orr; Evelyn Hatfield with Seth Smith, Taste Catering; Bob and Carol Skib and Samantha and Tony Henry with Richard Schlosberg, Wolfgang Puck Bistro; Meredith and Oliver Howard with Geoffrey van Glabbeek, Gilcrease Restaurant; Rita and Si Levit with Angie Johnson, Eats 2U Catering; Donna and Jim Ogez with Drew Flatt, D’Novo Lean Gourmet; Betty and Steve Pirnat with Tuck Curren, Biga and The Local Table; Rania Nasreddine and Macy Amatucci with Trula in the Mayo Hotel; Sylvia and Ed Taylor with Devin Levine, Tulsa Convention Center; Paul Woodul with Mandy Parkhurst and Megan Moore, In the Raw.

Sponsors for Bella Cucina include: Jo and Jack Babbitt, The Bama Companies, Margery F. Bird, Hall Estill, Mr. and Mrs. Oliver Howard, Suzanne and Jim Kneale, ONEOK, Inc., Lisa Owens and Craig Anderson, Betty and Steve Pirnat, Roy M. "Skip" Teel, Jr., Kathy and Bob West, The Williams Foundation, and The Zarrow Families Foundation. Gourmand Patrons are The Barnett Family Foundation, Irene and Stan Burnstein, Bill Cameron, Patricia Chernicky, Lon Foster and Mary McMahon, Janie and Earl Funk, HoganTaylor, Greg Holt, M.D., Bonnie Klein, Jackie Kouri and Gary Paxton, Laurie Bowen-Krimbill, Robin and Ron LaButti, Marian and Jim McCarthy, Julie and John Nickel, Ludmila and Frank Robson, Tamra and David Sheehan, Max R. Vowell, Mary Wheeler and Spencer Brown, Patricia W. Wheeler, Paul Williams, and Mollie Williford. Gourmet Patrons are Nameplates, Inc. - Colorvue Digital, Hannah and Joe Robson, Summit Bank, and Karen and Carl Young. Foodie Patrons are Lisa and Steve Antry, Linda and John Bates, Rita E. Bell, Leta Bell, India Carter, Mr. and Mrs. Peter Childs, Kathleen Coan, Virginia Cohlmia and Mark Eagan, Laura and Keith Colgan, Penny L. Downing, Jacqui and Roger Haglund, Charles and Gretchen Heinberg, Joan and Bob Hunt, Carol Bailey Kamp, Genny and Kirby Lehman, Leigh Ann Moss and Eric Sherburn, Dennis Neill and John Southard, Oklahoma Surgical Hospital, Janet B. Pagano, Drs. Heather and Andrew Revelis, Francine Ringold, Rich and Cartmill, Inc., Rita and George Singer, Jane B. Sneed, Bob Stewart, Marilyn S. Strange, and Kathy Taylor and Bill Lobeck.

In-kind support was provided by Collins Midtown Liquor, Toni's Flowers, Rick Fortner, Abco Party Rentals and Thirst Wine Merchants. Oklahoma Magazine was the Media Sponsor.

Bella Cucina funds Tulsa Ballet's community outreach programs, which provides cultural and artistic enrichment programs for adults and children, including students in Tulsa Public Schools. Thousands of at-risk children are served through the educational outreach programs Leaps Ahead, Leaps In Motion and Journey Through Dance. Targeted at schools with large populations of students on the free or reduced lunch program, indicating financial need, these programs establish a foundation in arts education for students who might not receive the opportunity elsewhere.

TBCDE Student is "Driven"

2011-04-01T09:24:00.002-05:00

15 year old Calley Skallnik is interviewed by Mike Simons of the Tulsa World. Watch the video here.

The evening sunlight hits Calley Skalnik as she sits on the floor of Tulsa Ballet Center for Dance Education.

She smiles as she stretches with others in the top level of the pre-professional division. She knows that at 15 she has already chosen a career with a 100 percent injury rate. She hopes the big injury doesn’t come until she’s ready to retire.

Sometimes she sees herself in the mirror during practice and thinks it’s good enough. Her teachers are quick to tell her it isn’t. She knows, “it seems harsh.” She appreciates it because, “you realize you can do more than you thought you could.”

She practices four and a half hours a day, 6 days a week. She attends a mixture of formal school and home school.

Her dream is to be in a professional company somewhere, “just to be able to get paid to do what you love; just to be an artist would be amazing.”

TB students experience success at YAGP

2011-04-01T09:00:00.003-05:00

While most high school students spend spring break at the beach or on the slopes, our top ballet students prove once again they are not the typical teenagers. Tulsa Ballet Center for Dance Education level 6 students spent their spring break dancing alongside the top ballet students in the world. TBCDE students and faculty traveled to New York to compete at the Youth America Grand Prix International Finals held March 17th – 22nd. And it was well worth the work!

The YAGP competition was massive and the talent was amazing. To advance to the finals, schools had to qualify by attending a semi-regional competition. Only the top few students at each regional receive the opportunity to compete in New York, so we were truly among the best of the best. Being a first time competitor in a field representing 35 countries was truly an eye-opening experience for our 11 students from TBCDE. We hoped to gain experience, gain exposure, and gain opportunities for our talented students. We received much more than we expected!

Our 10 female students competed in the ensemble category, which included 96 pieces representing 8 countries. They performed both a contemporary and a classical piece choreographed and coached by Liudmila Polonskaya and they danced both beautifully. TBCDE ensemble was named as Top 12! These talented young women include: Grace Chanslor, Joy Chen, Reagan Collins, Michaela Harrington, Brittan Jenkins, Bobbie Lynn Kandravi, Hana Lethen, Madison Pride, Calley Skalnik and Rachel Wells.

The senior women’s category hosted 121 young women from 16 different countries. Calley performed a variation from Sleeping Beauty and a contemporary piece choreographed by Liudmila Polonskaya. The top 21 made it to the final round and our Calley Skalnik was among those who advanced! The final round was held at the New York City Center and Calley performed with confidence, grace, and beauty.

In the senior men’s category there were 49 dancers and Nikolas Gaifullin was a strong contender. Nikolas performed a variation from La Fille Mal Gardee and a contemporary piece choreographed by Stephanie Murrish. While he did not advance to the final round, he was noticed by many and received two scholarship offers for summer training. Nikolas and Bobbie Lynn Kandravi also competed in the pas de deux division, coached by Daniil Gaifullin and Stephanie Murrish, and danced well.

The students were wonderful and represented Tulsa Ballet extremely well. We are very proud and already looking forward to returning next year to showcase the talent and the training we have here at Tulsa Ballet.

by Stacey Jenkins, Director of Education and Outreach

In the studio: Slice to Sharp

2011-03-10T10:24:00.009-06:00

Nancy Euvernik visited Tulsa Ballet to set Slice to Sharp, a ballet by Finnish choreographer Jorma Elo. Slice to Sharp will be performed as part of Tulsa Ballet's spring triple-bill, Exceptional Synergy, March 24-26.

Alfonso Martin and Alexandra Bergman

Jesus Pastor
Jesus Pastor, Hanae Seki and Soo Youn Cho
Nancy Euvernik, Jesus Pastor and Soo Youn Cho

Who is Jorma Elo?

Choreographer Jorma Elo was born in Finland and trained with the Finnish National Ballet School and the Kirov Ballet School in Leningrad. Prior to joining Netherlands Dance Theater in 1990, he danced with Finnish National Ballet and with Cullberg Ballet. Throughout his career as a dancer, Elo worked closely with numerous master choreographers, notably Jirí Kylián, Hans van Manen, William Forsythe and Paul Lightfoot. These influences led Elo to a choreographic career of his own. Elo was singled out as a “talent to follow” by Anna Kisselgoff in her 2004 Year in Review for The New York Times. Within a few short years, he has become one of the most sought-after choreographers in the United States and Europe. He has created numerous works in the US and internationally for companies such as New York City Ballet, American Ballet Theatre, San Francisco Ballet, Boston Ballet, Royal Danish Ballet, Finnish National Ballet and Aspen Santa Fe Ballet. The 2005 Helsinki International Ballet Competition awarded Elo a choreographic prize and he is the recipient of the Prince Charitable Trust Prize and the Choo-San Goh Choreographic Award in 2006. Dance Magazine (April, 2007) featured Elo on their cover with a corresponding article, Pointe Magazine named him a Dance VIP of 2006, and Esquire Magazine named him a “Master Artist” in 2008.

Alfonso Martin on Push Comes to Shove

2011-03-09T16:54:00.001-06:00

Studio K's floor gets a facelift

2011-03-08T09:57:00.003-06:00

The crew maintenance and resurface the subfloor in Studio K, just moments ago at the Tulsa Ballet Center.

Brittney Feit on learning an Elo ballet

2011-02-28T09:35:00.008-06:00

Brittney Feit joined TBII this season after studying ballet with Edward Ellison. She placed 3rd in the semi-finals of the 2010 Youth America Grand Prix, as well as 1st place with her ensemble. This year, Brittney has joined the main company to dance in Swan Lake, The Nutcracker and Taming of the Shrew. Last week, Brittney was chosen as one of two TBII members to understudy for Jorma Elo’s Slice to Sharp. We caught up with Brittney after rehearsal and asked her what it is like to understudy one of the soloist roles in an Elo ballet.

Brittney in Company class, photo by Rosalie O'Connor.

Well, Monday morning, I walked into Studio C for company class and sat down near my fellow TBII dancers. One of them said to me, "You must be so excited about Slice to Sharp rehearsal!" I hadn't even looked at the board yet - I was called to rehearsal along with my friend Carrie Ruth, who is also in TBII. We were very excited to say the least… we would be working with guest stager Nancy Euverink and would get to observe some of the company's finest dancers learn and prepare this Jorma Elo ballet.

Early in the day I was called last minute to a rehearsal with Soo Youn, Ashley, Alfonso, Ma and Claudio. They had already started so I just had to dive in head first. It was probably for the best - no time to get nervous! We learned the beginning of a pas de deux, breaking down each moment to perfect the shapes and transitions. All the while we worked without music, so the steps could be mastered before the challenge of timing came into play. I was very happy because my partner was Claudio, who I had worked with for a long stretch of time to understudy Marie in the Nutcracker and also performed with in the Winter Celebration Gala.

Brittney Feit and Claudio Cocino, The Nutcracker, photo by Julie Shelton.

I can tell that working on Slice to Sharp is going to be a great learning experience for me. Already I feel that I am learning to move in a way that is foreign to me, whether faster than usual, or just altogether different, and I know this will allow me to mature as a dancer. The past week wasn't easy - I'm sure I'm not the only one with throbbing feet at night, but I can honestly say that between Elo's exciting choreography and Vivaldi's beautiful music, I am having so much fun!

Brittney learns Slice to Sharp with fello TBII and Tulsa Ballet dancers.

An Interview with Nancy Raffa

2011-02-24T10:54:00.004-06:00

Nancy Raffa is in Tulsa to set Twyla Tharp’s Push Comes to Shove. This fast-paced ballet premiered in 1976 to rave reviews. The New York Times called the premiere "The Event of the Year". Nancy Raffa had the opportunity to dance in that premiere, along with Mikhail Baryshnikov.

Born in Brooklyn, New York, Raffa received her early training with world-renowned Kirov-trained teacher Madame Gabriella Darvash. In 1980, she became the youngest and first American female to win the Gold Medal at the Prix de Lausanne competition in Switzerland. The same year, Raffa joined Makarova and Company on Broadway. This troupe was created by Natalia Makarova when she retired from dancing with American Ballet Theatre and was not chosen as the Artistic Director, a post she lost to Mikhail Baryshnikov. Makarova carefully selected several of the world’s top ballet stars for her company, but she also chose 29 student dancers she personally discovered in ballet schools. Raffa was one of those lucky students. Following a performance of Paquita, where she danced the lead role as the understudy for an injured Makarova, Clive Barnes wrote in the New York Times, “Raffa made a dazzling debut. This girl is the real thing.”

Baryshnikov agreed with Barnes and invited Raffa to take class at ABT. Six months later, at age 16, he offered her a contract to join the company. She remained there until 1986, when curiosity led her to work in Chile at the Ballet de Santiago where she was a principal dancer. She was also a principal dancer at Ballet National Française de Nancy and then with Miami City Ballet. She is currently the Ballet Mistress at The Jacqueline Kennedy Onassis School at American Ballet Theatre.

We caught up with Nancy after rehearsals to ask a few questions.

Your mother was a ballet pianist, and has worked for American Ballet Theatre and Miami City Ballet. Who became interested in ballet first – your mother or you?

My mom became a pianist for ballet after I began studying ballet. I was at Ballet Arts Studio at Carnegie Hall when a pianist was a no show and my teacher was so upset there was no music. My mom was watching my class so she offered to site read because she did that well, and she did so well with that class that my teacher spoke to the head of the studio to give my mom work as a ballet pianist. Are you a musician as well? I come from musical and artistic family (my mom and two brothers play the piano, my dad was a saxophonist, my grandmother a singer, and another brother an actor, and another brother a film editor). I learned piano when I was a little girl and sang in the choir, but I did not stay with it; I dove into the ballet studies full time.

You trained with Madame Gabriella Darvash in New York City. She is said to have a unique teaching style. Does it follow the Vaganova method in which she was trained at the Kirov Academy?

Yes much of the basis of her training was the best of what she learned from the Vagonova method during her 9 years in Russia, but Madame figured out a way to teach technique that was unique. Her method stemmed from her scientific study of physics and its application to the human body and the body’s way of moving. She also has an amazing artistic and musical sense and was a choreographer.

It must have been truly amazing to win the Gold Medal at the Prix de Lausanne at age 15. Do you remember how you felt at that time?

It was so unexpected. I had just turned 15 and it was by chance that a man by the name of John Potter discovered me one month before the 1980 Prix de Lausanne. He watched me in class at Madame's school in New York and offered to sponsor me to go. I came from a very poor family and my father suffered from Parkinson's; there were 5 kids and mom supporting us with freelance piano playing and welfare, so going abroad never even crossed my mind. Madame had given me a scholarship and I knew I loved dancing and wanted to be a dancer one day, so I just worked hard in my classes. The fight to Switzerland for the competition was my first trip on an airplane, to Europe and seeing other student dancers. Alexandra Ferri was at that competition, as well as Deborah Bull from the Royal Ballet and Gen Horiushi who later went to NYC Ballet. When my name was called, all I could think of was my family back home in Brooklyn, and I sobbed all the way to center stage to collect my prize money and gold medal. It was overwhelming, but one of my dearest and most special personal memories in my lifetime.

Over the years you’ve danced with many of the greatest ballet dancers in the world. Who would you say made the biggest impression on you?

Without a doubt Fernando Bujones was one of the most influential partners I worked with. He gave me support and encouragement, not only when I danced a lot with at ABT, but also later on in life we worked together in Miami and then when he was directing Orlando Ballet. Fernando became a dear friend to me and taught me the most important lesson after our debut in Paquita. He gave me a stuffed animal signed by him, love Fernando, with the message: Nancy never stop believing in yourself even when everyone around you seems not to at times. Have a goal, and no matter the politics, move forward with faith and courage. I loved Fernando dearly for so many reasons.

You were seriously injured during rehearsal with Miami City Ballet in 1992. Can you describe what it is like to be unable to dance, to perform?

It was in a way a loss of self. For your whole life you mold yourself into being the person that does that task of being a dancer, without that I felt lost for a long time. Who or what do you credit with your recovery? A need to know myself at a deeper level and search for a greater meaning and happiness in life than that which is limited to only one’s identity with the self. Dr Paul Canali a holistic healer from Miami, is who I credit with giving me the tools I needed medically, mentally, but most importantly spiritually to heal and make a growth and rebirth into a new person with a new identity that eventually brought me back to the world of dance again in a new and even more enriching way.

Is this your first time to visit Tulsa? What is your impression?

Yes, this is my first time. It is a friendly city that has a welcoming energy to it. Tulsa Ballet and its artistic staff and dancers are wonderful artists. They are so professional, and they are super people also. I am having a wonderful experience working here.

You danced Push Comes to Shove during your time with American Ballet Theatre. Do you have any specific memories of that time?

Oh yes: Misha dancing like no one I have ever seen in my life! And I remember all of us walking off stage, laughing, having had the best time. We joked about how scared we were of making a mistake in front of Twyla. And Misha's was telling jokes in the wings right before I went out to dance the quartet with him, Peter Fonseca, and Carolyn Brown!

Push Comes To Shove is known as a very fun but very fast-paced ballet. What is your process of teaching the choreography?

You bet it is!!!! Basically, I break down each section of the choreography and divided the necessary time to teach the steps. Then I put the rhythms and counts to the steps and give the dancers the essence of the sense and quality the steps need. Then, I put the music on. I do this with each section and then connect the different dancers/characters, and the repeat as time permits When all the material is taught, I can put the larger sections together and run them for sequence and stamina and finally, when I come back a couple of weeks before the show, I will coach it and clean it for the premiere.

We Are What We Wear: A Dancer's Perspective

2011-02-17T08:28:00.003-06:00

We ran across this interesting article and wanted to share it. Enjoy!

We Are What We Wear: A Dancer's Perspective
By Julie Diana

Julie Diana, a journalist and principal dancer for Pennsylvania Ballet, discusses how costumes shape a dancer’s body, movement and attitude.

Alexandra Bergman in Vertiginous Thrill of Exactitude. Photo by Sharon Bradford.

Imagine you’re wearing a giant, floppy Frisbee around your hips. As you walk, it adds weight and bounce to your step. Try to turn quickly and the saucer skirt lags behind, like it has a stubborn will of its own. This is how it feels to move in the tutu from William Forsythe’s The Vertiginous Thrill of Exactitude. The costume might have space-age style and flair, but to dance in it requires a very grounded sense of strength and coordination.

The clothes we wear onstage do more than help create a visual aesthetic. They function as an extension of our own bodies, or like a trusted partner. We have to feel comfortable with added layers of fabric against our skin and confident that they’ll present us in the best way possible. Costumes also transform us into the roles we dance like an elaborate game of “dress up”: We are regal in bejeweled tutus and tiaras and then animalistic in flesh colored leotards with our hair down. During a performance, we are what we wear. Our costumes shape our bodies, affect the way we move, and influence the way we feel about ourselves.

When most people think of ballet, they picture perky, classical tutus. These costumes are a typical part of our wardrobe, yet they have been tweaked or replaced altogether for neoclassical and contemporary pieces. Take the Vertiginous tutu, one of the most whimsical costumes I’ve ever worn. The skirt and leotard bodice are made of neon green velvet that is both stretchy and breathable, while the back and neckline look naked to the eye but are actually covered with a thin, nude mesh. There is no elaborate beading, embellishment, or stiff tulle. Instead, designer Stephen Galloway chose an eye-popping color and a sexy, geometric shape to reflect Forsythe’s playful and extreme choreography. It is classicism with a twist. Even the men are dressed in purple velvet shorts and leotards with flesh-colored backs. And everyone has bare legs.

In contemporary works, it is common for dancers to perform without tights. Muscles tend to look more defined; visible flesh evokes a kind of informal physicality. Yet I always feel naked - cold, even. There is something about a thin layer of nylon from waist to toe that makes me feel dressed, warm, and prepared to dance. Maybe I’m conditioned to feel this way after years of putting on tights like a daily meditative practice. But not all dancers are so attached. “I don’t mind the feel of bare legs,” says Principal Dancer Martha Chamberlain. “It takes a little while to warm up and feel comfortable, but I think it looks interesting from a distance. As far as doing close ups, I’m so scarred on my legs [from being a tomboy] that I need a base tan to make it look okay.”

Pink tights can hide a dancer’s skin imperfections, but they are also very revealing when it comes to line and technique. It’s easy to see when our legs are not fully extended, properly crossed, or moving with articulation. Everything is exposed, particularly in a ballet like Christopher Wheeldon’s Polyphonia. It is a stark, neoclassical piece whose costuming is reminiscent of George Balanchine’s Agon and The Four Temperaments.The men are dressed in simple unitards while the women wear leotards and pink tights - no jackets, skirts, or coverage of any kind. “Every little step you take needs to be the best is can possibly be,” says Soloist Gabriella Yudenich. “The costume shows everything.” It inspires us to get back to basics, to really lengthen our lines and focus on proper alignment. Its simplicity also showcases the intricacies of Wheeldon’s choreography and contrasts the complexities of György Ligeti’s score.

Now, cue the red pointe shoes, slouchy clothes, and sneakers. Twyla Tharp’s In the Upper Room takes a dramatic turn with costumes by fashion designer Norma Kamali. The clothes look pedestrian; everyone starts dancing in a variety of slouchy shirts, skirts, and pants. Not often do dancers get to perform in clothes that feel as comfortable as pajamas. “The costume really helps with Twyla’s movement,” says Yudenich. “Some moments have to be soft, especially in your upper body. The loose-fitting top makes it flow a little bit.” On bottom, she wears a combination of nude nylons, red socks, and red pointe shoes. “It cuts my leg line, since we’re all red from the ankle down,” she says. “I have to point my feet as hard as I can because they really stick out.” While the leotards in Polyphonia expose the dancers’ bodies in a uniform and academic way, the Upper Room costumes focus more on style and functionality.

The Stompers in Upper Room, for example, do not have to point their feet at all. In fact they’re encouraged to fling themselves around and not worry about form. The Stompers wear white leather Reebok sneakers with thin pieces of suede glued to the soles, which enable the dancers to slide across the marley. “You don’t have to warm your feet up,” says Soloist Francis Veyette. “It’s great because there’s a lot of support and you can really grip the floor. It only gets problematic late in the show when you end up sweating a lot in the shoes.” The piece is so demanding that the dancers’ perspiration makes the sneakers feel squishy, like they’ve stepped in a puddle. The women Stompers have a gluey mess in their shoes because they rosin their nylons and socks to avoid slipping in the sneaker. Ballet dancers aren’t used to working in thick rubber soles. Pointe shoes are easy to manipulate because they mold to our feet. Sneakers, however, have a bulky ledge to fall over, and it’s easy to sprain a foot or an ankle. If a dancer is about to fall, it’s safer to just go with it.

That seems to be the theme for dancers in Tharp’s ballet - just go with it. They reach the point of exhaustion, are ready to collapse, and then dance some more. The vocals layered over Phillip Glass’ music in the final section are like angel voices, reflecting the dancers’ state of euphoria. Even the costuming suggests fatigue: The color red appears more and more throughout the ballet as dancers slowly shed layers of clothing. It’s as if their cores are so overheated that they can’t bear the weight and warmth of extra fabrics. The female Stompers, like everyone in the ballet, finish wearing much less than when they started. They bow in jazzy red leotards, nude nylons, red socks, and sneakers. Flash back to the 1980’s, and the Stompers look like they’ve been through a marathon aerobics class. “That’s the worst part,” says Chamberlain, “when the lights come up and you remember what you’re wearing. But when you’re dancing and moving, you don’t even care.”

Chamberlain’s experience is ideal: To lose yourself in a role and dance without inhibition. What we wear during a performance helps us do this. And although we prepare for each piece wearing things like practice tutus in the studio, pink tights for rehearsal, and socks over our gym shoes, nothing compares to putting on the real costume with full hair and make-up. When we walk out onstage under the lights, we are momentarily transformed.

What did you do on your Winter Break?

2011-01-13T17:04:00.001-06:00

Many people ask if the dancers live in Tulsa. The answer is yes. They spend 10 months of the year living and working in Tulsa. But they do get a short winter break and a longer summer break. We asked several dancers what they did for winter break.

I spent my break in Tulsa with close friends and lots of laughs. Joshua Stayton
I went home to Orlando, Florida and spent Christmas with family. On Christmas day we went to Harry Potter World at Universal Studios and it was amazing. I'm such a Harry Potter nerd :) Then, I went to Panama City Beach, Florida to spend New Year’s with my sister. Erin Pritchard

I went on holiday to Japan to visit the country and spend time with some friends .
Florent Bouyat

I went home to the UK to spend time with family and friends. I was really worried that the severe weather might affect my travel arrangements but everything went perfectly and I had a great time. Alex Harrison

I drove 11 hours in snow to Indianapolis with a toddler in the car, spent holidays with my sister, her husband and new baby boy, got the stomach flu along with my daughter and half the family, and missed the New Year’s ball dropping because the satellite lost signal at 11:58pm. But on the flight home I got to sit in first class thanks to a fortunate seating complication! Alexandra Bergman

I visited my family in New York City and had a great time despite the terrible blizzard! Elise Miller

I couldn't go to Colombia this Winter Break because the time was short, so I was a little sad!! But we wanted to go somewhere! So We went to LAS VEGAS for the first time, and It was AMAZING. We shopped and the best part was the "CIRQUE DU SOLEIL" – it was incredible. I really like it - I think this is one of the best shows I have ever seen. Diana Gomez

Over the break, I visited my Gramma in Florida, then drove with my family home to Columbia, SC. In Columbia, I did my Gyrotonic trainer update course, so I renewed my certification as a Gyrotonic trainer for two more years. Ballet dancers love Gyrotonic and Miami City Ballet has equipment in their studios...any chance Tulsa Ballet wants to buy the Cobra pulley tower ;)? I'll train anyone for free! Alexandra Christian

I went to Madrid (Spain) to see my boyfriend, my Mum joined us there and also my friends. I eat a lot!! And enjoy being with the people I love. Gwenaelle Poline

I went to Korea to see my family. Usually I go home once a year at summer break, but my family was very happy to see me, even though it was just a few days. I also went to Japan to see my boyfriend. I just relaxed and rested with nice people and good food. I also took a ballet class one time with my boyfriend because I don't want to get out of shape. Soo Youn Cho

I went to the famous Las Vegas, along with Diana, Andres and Rodrigo. It was the first time for all of us. We had a blast! We saw 2 Cirque du Soleil shows ( Zumanity and Le Reve), and they were absolutely outstanding!!!! Ma Cong

The Taming of the Shrew - Tulsa Ballet

2011-01-12T13:25:00.000-06:00