Pages

Showing posts with label ballet. Show all posts
Showing posts with label ballet. Show all posts

Monday, January 27, 2020

REVIEW: The National Ballet of Odessa's Swan Lake at the North Shore Center for the Performing Arts in Skokie

THE NATIONAL BALLET THEATRE OF ODESSA BRINGS BALLET MASTERPIECES “SWAN LAKE” AND “ROMEO & JULIET” TO CHICAGOLAND THIS JANUARY


Guest Review: 
by Catherine Hellmann

“Everything is beautiful at the ballet. Raise your arms, and someone’s always there.”--A Chorus Line

The National Ballet Theatre of Odessa presented the ballet masterpiece Swan Lake at the North Shore Center for the Performing Arts in Skokie on January 21. Featuring 55 of Ukraine’s top performers, Swan Lake has familiar, sensual music by composer Prokofiev. The storyline “follows a young prince as he tries to free the beautiful swan maiden from an evil spell.” 

According to the press release, “Swan Lake is a ballet performed in four acts, with one intermission. The script is based on the scenario by Vladimir
Begichev and Vasiliy Geltser, directed by Elena Baranovskaya, and
choreographed by Marius Petipa, Alexander Gorsky, Lev Ivanov, Konstantin
Sergeyev and Yuri Grigorovich.” 

The dancing was incredible and made me feel like I should run home and do five hours of Pilates. Even the way ballet dancers walkoffstage puts me to shame; they are simply so elegant and graceful. I trip just walking to my car…

The costumes were gorgeous. What’s not to like about incredibly fit men in tight white tights?? (Oh, the women were lovely, too..) 

All of the dancers were extraordinary, but the lead ballerina was divine.

 

When I was a kid, my beloved uncle George, a Franciscan priest, used to take me to the Cincinnati Ballet. We had a bachelor relative who had extra money and was a big sponsor of the company and passed free tickets on to Fr. George. I loved those outings, even though George was so intellectually formidable then. 

My teenage daughter had never been to a ballet before, and she loved it. I was so tickled to pass the family tradition on to a new generation. 

Catherine Hellmann is a teacher, writer, and theater junkie. She has tried to inspire urban and rural middle schoolers for over twenty years. A mother of three, she is thrilled to once again claim Chicago as home.  


Acclaimed Ukrainian Ballet Company To Perform “Romeo & Juliet” at Harris Theater for Music and Dance, January 19, 2020 and “Swan Lake” at the North Shore Center for the Performing Arts in Skokie, January 21, 2020

The National Ballet Theatre of Odessa, is proud to announce two performances coming to Chicagoland in January 2020.  Featuring 55 of Ukraine’s top performers, “Romeo & Juliet” will be performed at the Harris Theater for Music and Dance, 205 E. Randolph St. in Chicago, Sunday, Jan. 19, 2020 at 3 p.m., and “Swan Lake” will be performed at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd., Tuesday, Jan. 21, 2020 at 7:30 p.m.. “Romeo & Juliet” tickets are $55 - $85 , and are available by calling the box office at 312-334-7777 or through www.harristheaterchicago.org. “Swan Lake” tickets are $38 - $68 and are available by calling 847-673-6300 or by visiting www.northshorecenter.org. 

“Romeo & Juliet” is a ballet performed in two acts, set to the music of composer Sergei Prokofiev, choreographed by Michael Lavrovsky, directed by Elena Baranovskaya and produced by Garri Sevoian. The fullscale production is based on the WIlliam Shakespeare’s tragedy of the two doomed young lovers. The principal dancers are Olena Dobrianska as “Juliet” and Sergii Dotsenko as “Romeo.” 

Thursday, January 23, 2020

REVIEW: The National Ballet Theatre of Odessa's Romeo and Juliet at Harris Theater

THE NATIONAL BALLET THEATRE OF ODESSA BRINGS BALLET MASTERPIECES “SWAN LAKE” AND “ROMEO & JULIET” TO CHICAGOLAND THIS JANUARY


Guest Review: 
by Flo Mano

The National Ballet of Odessa, is recognized as one of the most prestigious institutions of classical ballet and boasts an extremely varied repertoire, carrying the honor and the task to preserve the precious heritage of the great Russian ballets.

‘Romeo and Juliet’ was performed at Chicago's Harris Theater this past Sunday, with 55 of Ukraine's most talented and brightest ballet stars, presenting the most passionate and romantic love story of our time. With the music of Sergei Prokofiev, composed in 1935, this ballet is based on William Shakespeare's timeless tale of tragic love. This ballet has been conquering the hearts of viewers around the world. This full-length, lavish production included costumes and sets brought from the Ukraine.

The main disappointment lies in Mikhail Lavrovsky's choreography, which is mostly monotonous. The various characters swaying and flailing their arms isn't enticing. The contrast was stark between dancers' high emotion and threadbare moves, even if performed nicely by high-level dancers. 

Olena Dobrianska, as the beautiful, princess Juliet and Sergeii Dotsenko, as the handsome, towering Romeo were visually striking. Yet, Lavrovsky's various duets for the couple lacked originality, often structurally a repetitious pattern of the two dancers starting widely apart, racing together and embracing, racing back apart, and then repeating the movement, with a few dramatic lifts. These frailties are all the more obvious given the soaring qualities of Sergei Prokofiev's great score, one of the most hypnotic in all of ballet. 

There are some virtues. The sword fighting and stage combat was strategically on point with theatrical and artistic blocking. The dancers are also attractive and sharp. The cast is buoyant and energetic, though most of the secondary players are given little to do. 

While Lavrovsky fails to deliver in key scenes, he deserves credit for tinkering with the ensemble dancing, injecting echoes of brisk, lively folk dance into the crowd festivities and crafting an especially eerie spectral corps of mourners.

Since 2017, the Artistic Director of The National Ballet Theatre of Odessa, Ukraine is the People’s Artist of Ukraine, Elena Baranovskaya. Production is by Garri Sevoian.

The ballet company consists of the best performers, all graduates of prestigious Ukrainian and Russian choreography schools. Many talented artists have danced with the Odessa National Opera Company in its different periods and many of them have been soloists in major international companies.

Flo Mano is a CPS elementary teacher/librarian, hairdresser, and theater/film fanatic who catches hundreds of Chicago shows annually. She volunteers at numerous film venues and theaters.


THE NATIONAL BALLET THEATRE OF ODESSA BRINGS BALLET MASTERPIECES “SWAN LAKE” AND “ROMEO & JULIET” TO CHICAGOLAND THIS JANUARY

Acclaimed Ukrainian Ballet Company To Perform “Romeo & Juliet” at Harris Theater for Music and Dance, January 19, 2020 and “Swan Lake” at the North Shore Center for the Performing Arts in Skokie, January 21, 2020

The National Ballet Theatre of Odessa, is proud to announce two performances coming to Chicagoland in January 2020.  Featuring 55 of Ukraine’s top performers, “Romeo & Juliet” will be performed at the Harris Theater for Music and Dance, 205 E. Randolph St. in Chicago, Sunday, Jan. 19, 2020 at 3 p.m., and “Swan Lake” will be performed at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd., Tuesday, Jan. 21, 2020 at 7:30 p.m.. “Romeo & Juliet” tickets are $55 - $85 , and are available by calling the box office at 312-334-7777 or through www.harristheaterchicago.org. “Swan Lake” tickets are $38 - $68 and are available by calling 847-673-6300 or by visiting www.northshorecenter.org. 

“Romeo & Juliet” is a ballet performed in two acts, set to the music of composer Sergei Prokofiev, choreographed by Michael Lavrovsky, directed by Elena Baranovskaya and produced by Garri Sevoian. The fullscale production is based on the WIlliam Shakespeare’s tragedy of the two doomed young lovers. The principal dancers are Olena Dobrianska as “Juliet” and Sergii Dotsenko as “Romeo.” 

Sunday, October 15, 2017

OPENING: CHICAGO PREMIERE OF GISELLE AT THE JOFFREY BALLET 10/18-29

Chi, IL LIVE Shows On Our Radar:

THE JOFFREY BALLET OPENS 2017-18 SEASON
WITH CHICAGO PREMIERE OF LOLA DE ÁVILA’S VISIONARY ADAPTATION OF GISELLE


At the Auditorium Theatre, October 18-29, 2017

The Joffrey Ballet launches its 2017-18 season with the Chicago Premiere of Lola de Ávila’s visionary adaption of Giselle, one of the greatest and most beloved Romantic era ballets. De Ávila, former Associate Director of the San Francisco Ballet School, has elevated this classic tale of passion beyond the grave to new heights, set to prolific 19th century composer Adolphe Adam’s original score created for the ballet’s premiere in 1841. Giselle is presented in 10 performances only, October 18-29, 2017.

“Giselle marks the beginning of our 2017-18 season as well as my tenth year as Artistic Director of The Joffrey Ballet,” said Ashley Wheater. “During this time, we’ve worked tirelessly to redefine dance at the highest level and promote remarkable and moving experiences. One of the most renowned ballets, Giselle showcases the youthful passion of the human spirit in a time when it’s never been more needed. I’m thrilled to present Giselle – the first ballet I worked on as Artistic Director of the Joffrey – to Chicago audiences this fall.”

A ballet in two acts, Giselle is set in the Rhineland of the Middle Ages on the day of the grape harvest festival. When the curtain rises, the cottage of Giselle and her mother Berthe is seen on one side, while opposite is the cottage of Duke Albrecht of Silesia, a nobleman. Albrecht comes to the village in disguise before his marriage to Bathilde, the daughter of the Prince of Courland. Against the advice of his squire Wilfrid, Albrecht flirts with Giselle, who falls completely in love with him. Hilarion, a gamekeeper, is also in love with Giselle and warns her against him, but she refuses to listen. A hunting party enters, among them Bathilde and her father. Giselle is entranced by the nobility. When the party departs, Albrecht reappears with the grape harvesters. A celebration begins but the merriment is brought to a halt by Hilarion who, having investigated Albrecht’s cottage, brandishes the nobleman’s horn and sword. When Giselle learns the truth of Albrecht’s deception, madness overwhelms her heart and she dies.

Act Two begins near Giselle’s grave on the night of her burial. Hilarion is grieving Giselle’s death. He is frightened by Myrtha, Queen of the Wilis – female spirits jilted before their wedding day. At night, the Wilis rise from their graves and seek revenge upon men by dancing them to death. Albrecht enters searching for Giselle’s grave. As her spirit appears before him, Albrecht is overwhelmed by remorse and grief for the girl he grew to love. He begs forgiveness. Her love undiminished, Giselle does. Hilarion enters, pursued by the Wilis, who throw him to his death in a nearby lake. The Wilis then surround Albrecht and sentence him to death. He begs to be spared, but Myrtha refuses. As the Wilis attempt to dance Albrecht to exhaustion, Giselle protects him. Day breaks and the Wilis retreat to their graves. Giselle’s love has saved Albrecht. By not succumbing to the Wilis and their feelings of vengeance and hatred, Giselle is freed from their grasp and returns to her grave to rest in peace.

Tickets and Schedule
The Joffrey Ballet performs Giselle October 18–29, 2017; the full performance schedule is as follows:
Wednesday, Oct. 18 at 7:30pm, Friday, Oct. 20 at 7:30pm, Saturday, Oct. 21 at 2:00pm and 7:30pm, Sunday, Oct. 22 at 2:00pm, Thursday, Oct. 26 at 7:30pm, Friday, Oct. 27 at 7:30pm, Saturday, Oct. 28 at 2:00pm and 7:30pm, Sunday, Oct. 29 at 2:00pm

Single tickets range from $34 - $174 and are available for purchase at The Joffrey Ballet’s official Box Office located in the lobby of Joffrey Tower, 10 E. Randolph Street, as well as the Auditorium Theatre of Roosevelt University Box Office, by telephone at 312.386.8905, or online at Joffrey.org.

About The Joffrey Ballet
Classically trained to the highest standards, The Joffrey Ballet expresses a unique, inclusive perspective on dance, proudly reflecting the diversity of America with its company, audiences, and repertoire which includes major story ballets, reconstructions of masterpieces and contemporary works.

The company’s commitment to accessibility is met through an extensive touring schedule, an innovative and highly effective education program including the much-lauded Academy of Dance, Official School of The Joffrey Ballet, Community Engagement programs and collaborations with myriad other visual and performing arts organizations.

Founded by visionary teacher Robert Joffrey in 1956, guided by celebrated choreographer Gerald Arpino from 1988 until 2007, The Joffrey Ballet continues to thrive under internationally renowned Artistic Director Ashley Wheater and Executive Director Greg Cameron.

The Joffrey Ballet gratefully acknowledges the generous support of Giselle Production Sponsor JHL Capital Group, LLC and Live Music Sponsor The Marina and Arnold Tatar Fund for Live Music.

Special thanks to Co-Sponsors of the 2017-2018 Season: Abbott Fund, Alphawood Foundation Chicago, NIB Foundation, Daniel and Pamella DeVos Foundation, and Season Partners: pamella roland and Fox Ford Lincoln, Clear Channel Airports, JW Marriott, and Chicago Athletic Clubs.

For more information on The Joffrey Ballet and its programs, visit joffrey.org. Connect with the Joffrey on Facebook, Twitter and Instagram.

Friday, March 21, 2014

The Joffrey Ballet Celebrates 20 YEARS IN CHICAGO with 2014-15 Season #Dance

Here at ChiIL Mama and ChiIL Live Shows, it's been our pleasure to promote and work with the Joffrey Ballet for years.  They put on world class productions and are a true Chicago treasure.  Check out their new season and reserve your tickets early for the best seats for their 20th anniversary season.  We're particularly jazzed about The Man in Black, Johnny Cash ballet. ChiIL Mama will be there... will YOU?!  Click here for some of our past photo and video filled Joffrey coverage. 




Chicago Premieres include a ballet set to Johnny Cash music by James Kudelka,
A major newly envisioned Swan Lake by Christopher Wheeldon,
And work by New York City Ballet’s Justin Peck,
Alongside work by George Balanchine, Nicolas Blanc, Alexander Ekman, Ashley Page, Yuri Possokhov, Antony Tudor and Stanton Welch

Ashley Wheater, Artistic Director of The Joffrey Ballet, announces programming for the company’s 2014-15 season celebrating 20 years of the Joffrey calling Chicago home. The 2014-15 anniversary season features both company favorites and a slate of eight premieres.

For the second year, following the success of the Joffrey’s “Russian Masters” program that launched the 2013-14 season, an additional season opener will be presented in September, a one-weekend-only engagement featuring the return of two Joffrey repertory favorites, George Balanchine’s Prodigal Son and Antony Tudor’s Lilac Garden, along with the Joffrey/Chicago Premiere of Yuri Possokhov’s Asian-themed RAkU, September 18-21, 2014. The Joffrey’s annual fall engagement brings the Joffrey/Chicago Premiere of Christopher Wheeldon’s newly envisioned Swan Lake, October 15-26, 2014, followed by the return of the classic holiday chestnut, Robert Joffrey’s The Nutcracker, December 5-28, 2014. The Joffrey continues its recent tradition of presenting a contemporary program for its winter engagement, featuring three company premieres, James Kudelka’s The Man in Black set to Johnny Cash music, Stanton Welch’s Maninyas and Alexander Ekman’s humorous Tulle, February 11-22, 2015. Rounding out the season is a spring program featuring the Joffrey/Chicago Premiere of New York City Ballet soloist Justin Peck’s In Creases, a World Premiere by British choreographer Ashley Page and Evenfall from the Joffrey’s own ballet master, Nicolas Blanc, April 22-May 3, 2015.

All performances take place in the Joffrey’s home venue, the historic Auditorium Theatre of Roosevelt University, in downtown Chicago at 50 East Congress Parkway. Various programs throughout the season feature live orchestral accompaniment by the Chicago Philharmonic conducted by Scott Speck, Music Director of The Joffrey Ballet.

In 1995, escaping a crowded New York City ballet market, then Joffrey Artistic Director Gerald Arpino relocated the company he had started with Robert Joffrey from the East Coast to Chicago with the help of a group of ardent supporters. Having successfully toured through Chicago since 1957, the company found fertile soil in a city with a rich dance heritage but, until then, no major ballet company of its own. The Joffrey Ballet quickly became a bedrock of Chicago’s burgeoning theater district, moving into its own state-of-the-art home of Joffrey Tower at State and Randolph Streets in 2008 and soon after, opening The Joffrey Academy of Dance, Official School of the Joffrey Ballet.

In its 20th Chicago Anniversary season, the Joffrey focuses on narrative in dance, exploring the concept of “story ballet” with a series of both repertory and evening length work that each tell a story in a freshly conceived way, either through iconic music, a familiar fantasy re-imagined, or by seeing human relationships through fresh eyes. Many choreographers who have made recent contributions to Joffrey’s repertory return this season, becoming signature artists of the company.

“Next season, The Joffrey Ballet celebrates twenty years in the city of Chicago with a series of programs exploring the expressive power of dance.  By telling stories drawn from diverse sources, by embracing our history and our future, we celebrate the voice and spirit of this great American city,” said Wheater.

About the Season
September
The Joffrey launches its new season with a mixed repertory program featuring George Balanchine’s Prodigal Son, Antony Tudor’s Lilac Garden and the Joffrey Premiere of Yuri Possokhov’s RAkU

Prodigal Son, not performed by the Joffrey since 2000, was one of the first Balanchine ballets to achieve an international reputation. Set to music by Sergei Prokofiev, it is a dramatic story of sin and redemption based on the Gospel according to St. Luke. Wheater will make a rare return to the stage portraying the Father.

Lilac Garden, set to music by Ernest Chausson, is an intimate work showing Tudor’s increasing interest in revealing psychological motivation through choreography. It is a story of a young woman who must say farewell to her lover on the eve of her arranged marriage to a man she does not love. It was last performed by The Joffrey Ballet in 2008.

Finally, Possokhov, San Francisco Ballet Resident Choreographer, brings RAkU to Chicago for the first time since its San Francisco Ballet debut in 2011. Set to music by Shinji Eshima, this contemporary ballet with a modernist, sepia-toned costume and set design with projections and moving screens, tells the tale of a Japanese emperor, his wife and a jealous monk driven mad by obsessive love. It is a stylized interpretation of the burning of the Kyoto Temple of the Golden Pavilion, brimming with lush lyricism and dark drama.

Lilac Garden, Prodigal Son and RAkU are presented in five performances only, September 18-21, 2014.

October
For its main fall production, The Joffrey Ballet brings a newly re-imagined Swan Lake to Chicago, choreographed by one of ballet’s most acclaimed choreographers, Christopher Wheeldon. A $1.5 million production with lavish costumes by Jean-Marc Puissant and scenic design by Adrianne Lobel, Wheeldon’s Swan Lake was commissioned for the Pennsylvania Ballet in 2004 to celebrate the company’s 40th Anniversary. Set to Pyotr Ilyich Tchaikovsky’s score and modeled from the original Lev Ivanov and Marius Petipa choreography, Wheeldon sets Swan Lake in the 19th century milieu of the Paris Opera Ballet, during the time when Tchaikovsky was actually composing Swan Lake and when Edgar Degas was on the rise. The ballet uses actual Degas imagery to create an Opera Ballet studio as young boy Siegfried daydreams of escaping rehearsal for the lake, while the ensemble prepares for a major opening night gala. The ballerinas and their wealthy patrons serve as the central characters of the ballet in a re-telling of the classical fantasy. Swan Lake is presented in 10 performances only, October 15-26, 2014.

December
Robert Joffrey’s The Nutcracker, Chicago’s most popular holiday tradition and America’s #1 Nutcracker, returns for its seasonal run at the Auditorium Theatre, bringing Tchaikovsky’s classic score to life with battling toys, raucous rodents, swirling snowflakes, waltzing flowers and the splendor of the full Joffrey company on stage with over 100 young dancers from the Chicagoland area.  Robert Joffrey’s The Nutcracker is presented in 24 performances, December 5-28, 2014.

February
Three leading contemporary ballet choreographers, all former Joffrey guest artists – James Kudelka, Stanton Welch and Alexander Ekman – return with Joffrey Premieres in the winter of 2015, each working in a distinctly different mode from what Chicagoans have seen of them before.

Kudelka’s The Man in Black sets an ensemble of three men and a woman, all in cowboy boots, against the songs of soulful American crooner Johnny Cash. Six songs, all from the latter part of Cash’s career, reflect working-class grit, lighthearted looseness and moving tenderness as Kudelka’s choreography seamlessly sways between ballet and country western dance styles including line, square, swing and step dance. A 2010 premiere for the BalletMet Columbus, The Man in Black has garnered rave reviews from restagings by the National Ballet of Canada, Atlanta Ballet and Cincinnati Ballet. This will be the first time it’s seen in Chicago.

Originally created for San Francisco Ballet in 1996, Welch’s Maninyas is also a small ensemble work, a series of duets and trios, though more abstract in nature. It is set to Maninyas Concerto for Violin and Orchestra by Australian composer Ross Edwards and presents dancers moving in and out of a series of shimmering veils, a dance metaphor for the unveiling of one’s self in a relationship, that gradual and sometimes frightening process of revealing layers both physical and emotional. 

Completing the contemporary program is Swedish choreographer Ekman’s Tulle (Tyll in Swedish), a ballet about ballet. Premiered in 2012 at the Royal Opera House of Stockholm, it was Ekman’s first piece working with pointe shoes and classical ballet vocabulary and is his affectionate commentary on the art form and where it comes from. Tulle, in characteristic Ekman style, incorporates video projected on three huge LED screens featuring interviews with the Joffrey dancers with their candid and often humorous thoughts on ballet.

The Man in Black, Maninyas and Tulle are presented in 10 performances only, February 11-22, 2015.

April/May
The season closes with a third mixed repertory program featuring three more premieres, including the Joffrey Premiere of In Creases by New York City Ballet soloist Justin Peck, a World Premiere by British choreographer Ashley Page, and the Joffrey Premiere of Evenfall by the company’s own ballet master Nicolas Blanc.

The first work Peck choreographed for New York City Ballet, In Creases premiered in 2012 at the company’s annual summer residency at the Saratoga Performing Arts Center. Set to Philip Glass’ Four Movements for Two Pianos, the choreography playfully uses neoclassical symmetry and geometry, matching the score’s energetic, looping melodies, throughout seven movements that build in speed and power as they unfold.

Page began his professional career as a dancer with London’s Royal Ballet in 1984, working closely with Frederick Ashton and Kenneth MacMillan. He was promoted to Principal in 1984, the same year in which he choreographed his first professional work for the company, A Broken Set of Rules. Page continued to develop his choreographic voice alongside his dancing career, creating 17 ballets for the company. In 2002, after 27 years with the Royal Ballet, Page was offered the artistic directorship of the then-failing Scottish Ballet, and over the subsequent 10 years redeveloped the Company into an internationally renowned modern ballet company with an eclectic repertoire. Now in the third phase of his career as a freelance choreographer and director, Page is currently working on numerous commissions from ballet and contemporary dance companies around the world.

A ballet master with The Joffrey Ballet since 2011 after a career dancing with such companies as the Nice Opera Ballet, Deutsche Oper am Rhein in Dusseldorf, Zurich Ballet and San Francisco Ballet, Frenchman Blanc created Evenfall in 2013 for Joffrey dancers Derrick Agnoletti, Fabrice Calmels, Rory Hohenstein, Anastacia Holden and Victoria Jaiani, premiering it at the “Festival Danse en PlaceS” in Montauban, France. Set to Max Richter’s The Four Seasons, this lyrical piece follows the thread of poetry running through the lives of a couple at the beginning of their romance and then through their autumn years.  As the poet suggests, life is a collection of memories.

In Creases, Ashley Page’s World Premiere and Evenfall are presented in 10 performances only, April 22-May 3, 2015.

In the spring, the Joffrey plans a special gala performance celebrating 20 years in Chicago.

Tickets and Subscriptions
Three-program subscriptions, which do not include the September engagement or The Nutcracker, start at $84.  Subscriptions will be available for purchase as of February 19, 2014, online at joffrey.org, by mail (Joffrey Ballet Subscriptions, The Joffrey Ballet, Joffrey Tower, 10 East Randolph Street, Chicago, IL 60601), by telephone at 312-386-8905, by fax at 312-739-0119, or by email at subscriptions@joffrey.org.  Subscribers have the option to add on the September engagement at 50% off the single ticket price.

Single tickets are priced from $32 to $170 for the September, October, February and April/May performances.  Single tickets for The Nutcracker are priced from $32 to $134.  Single tickets for the September engagement will be available for purchase June 2; single tickets for all other programs will be available starting August 1, 2014. Single tickets are available at The Joffrey Ballet’s official Box Office located in the lobby of 10 East Randolph Street, as well as the Auditorium Theatre of Roosevelt University Box Office, all Ticketmaster Ticket Centers, by telephone at 800-982-2787, or online at www.ticketmaster.com.  

The Joffrey Ballet is grateful for the support of its 2014-2015 Season Sponsors and Partners.  With special thanks to Alphawood Foundation Chicago, The Anne and Burt Kaplan Fund of the Mayer & Morris Kaplan Family Foundation, NIB Foundation, Abbott Fund, Chicago Center for Orthopedics at Weiss, Dr. and Mrs. Josef Lakonishok, JW Marriott, United Airlines and AthletiCo.


For more information on The Joffrey Ballet and its programs please visit joffrey.org.

Tuesday, October 1, 2013

DANCE OPENING: DANCING HINDU GODS, LIVE SNAKES, LOVE AND VENGEANCE At The Joffrey Ballet

The Joffrey Ballet Presents Chicago Premiere of Exotic, Romantic Ballet set in India,
LA BAYADÈRE: THE TEMPLE DANCER

Auditorium Theatre, October 16 – 27

Less than a month after its special “Russian Masters” program, The Joffrey Ballet transports Chicago audiences to India with the Chicago Premiere of La Bayadère: The Temple Dancer, choreographed by Houston Ballet Artistic Director Stanton WelchLa Bayadère is presented over 10 performances with orchestral accompaniment by The Chicago Philharmonic conducted by Joffrey Music Director Scott Speck, at the Auditorium Theatre of Roosevelt University, 50 E. Congress Parkway, October 16 – 27.



Set in story-book India, La Bayadère: The Temple Dancer premiered at the Houston Ballet in 2010 and revolves around Nikiya, a temple dancer in the royal courts, her secret lover Solor, and the jealousy and betrayal that rips them apart.  Based on Marius Petipa’s classic choreography – including the famous “Kingdom of the Shades” scene, which Welch has left intact – Welch revitalizes a 19th century classic full of the fantastic mysticism of the Orient, complete with dancing Hindu gods and live snakes. 

La Bayadère is a legendary ballet, with the third act ‘Kingdom of the Shades’ reigning as one of the most memorable dance sequences in the classical tradition,” said Ashley Wheater, Joffrey Ballet Artistic Director.  “136 years after its creation, I sought a fresh way of telling the story.  Stanton Welch’s production breathes new life into La Bayadère, while retaining the best of Marius Petipa’s original choreography.  Stanton has compressed and clarified the story, focusing on physical action rather than traditional pantomime.  The story is told through movement with athleticism that appeals to contemporary audiences.”

A ballet in three acts, La Bayadère features lavish costumes and sets by British designer Peter Farmer and is accompanied by Ludwig Minkus’ score as arranged by John Lanchbery. The costume designs evoke a story-book India through traditional attire such as harem pants and saris.  “Peter's scenic design is not a realistic depiction of India,” commented Welch.  “It's like looking through an old picture book from western culture with a view of romanticized India.  The production has a very painterly look, almost reminiscent of Monet, which gives it dreaminess and romance.”  The lavish production includes 121 costumes comprised of 568 items.  This also includes 26 handmade white tutus for the “Kingdom of the Shades” scene.

The ballet opens in the wild, lush jungle of India as the brave warrior Solor kills a menacing Bengal tiger, consequently saving the life of the temple dancer Nikiya.  The two are love-struck, but Nikiya has devoted her life to dancing only for the gods.  However, the High Priest of the temple, or Brahmin, is also in love with Nikiya.  As a reward for killing the man-eating tiger, Solor is promised the hand in marriage of Gamzatti, the Rajah’s daughter, a further obstacle to Solor and Nikiya’s blossoming secret love.  From there, the drama compounds and the twists unfurl as Nikiya and Solor struggle to fulfill their love while the forces of jealousy, vengeance and fate conspire to keep them apart.

La Bayadère’s third act, the famous “Kingdom of the Shades,” showcases the female ensemble dancers in white tutus, executing 38 synchronized arabesques as they slowly fill the stage, one of the purest forms of ballet-blanc, or white tutu ballet.  “The ‘Kingdom of the Shades’ is a challenging segment because it requires such control and precision from the women,” added Welch.  The “Kingdom of the Shades” is so popular it is often performed on its own.

Although the exact origin of the story of La Bayadère is unknown, it is an example of 19th century Romantic ballets set in an exotic location with a fascination with the Orient, spiritualism, triangular relationships, ethereal beings and dramatic plot lines.  Petipa’s La Bayadère premiered on the Bolshoi Ballet in St. Petersburg, Russia, in 1877.  

Tickets & Performance Schedule
Single tickets range from $31 to $152 and are available now at The Joffrey Ballet’s official Box Office located in the lobby of Joffrey Tower, 10 E. Randolph Street, as well as the Auditorium Theatre of Roosevelt University Box Office, all Ticketmaster Ticket Centers, by telephone at (800) 982-2787, or online atwww.ticketmaster.com.  

La Bayadère: The Temple Dancer runs Wednesday, October 16 through Sunday, October 27.  The full performance schedule is as follows:  Wednesday, Oct. 16 at 7:30 pm; Friday, Oct. 18 at 7:30 pm; Saturday, Oct. 19 at 2 pm and 7:30 pm; Sunday, Oct. 20 at 2 pm; Thursday, Oct. 24 at 7:30 pm; Friday, October 25 at 7:30 pm; Saturday, Oct. 26 at 2 pm and 7:30 pm; and Sunday, October 27 at 2 pm.

About the Artists
Stanton Welch (Choreographer) was born in Melbourne, Australia and began his training in 1986, quickly winning a scholarship to San Francisco Ballet School.  In 1989, he was engaged as a dancer with The Australian Ballet, where he rose to the rank of leading soloist.  Welch’s choreographic career developed during his time with The Australian Ballet.  In 1990, he received his first choreographic commission from the company, marking the beginning of a series of commissioned works over the next fourteen years and developing his diverse choreographic style.  In 1995, Welch was named resident choreographer of The Australian Ballet.  In 2003, Welch assumed the leadership of Houston Ballet, America's fourth largest ballet company, as Artistic Director.  Since his arrival, Welch has transformed Houston Ballet by raising the level of classical technique, infusing the company with new energy, drive and vision; introducing works by distinguished choreographers to the repertoire; and attracting some of the world's best coaches to Houston to work with the dancers.  He has created works for such prestigious international companies as Houston Ballet, San Francisco Ballet, American Ballet Theatre, The Australian Ballet, Birmingham Royal Ballet, and Royal Danish Ballet.

Born in Luton, England, Peter Farmer's prolific career in set and costume design includes over 300 productions in dance and theater.  Farmer’s first work in ballet was the design of Jack Carter's Agrionia in 1964 for Ballet Rambert.  Since then he has created designs for many major ballet companies around the world, including Stuttgart Ballet, The Royal Ballet Touring Company, London Festival Ballet, The Australian Ballet, The Royal Ballet, Vienna State Opera, Birmingham Royal Ballet and the Royal Winnipeg Ballet.  He made his debut with The National Ballet of Canada in 1973 when he designed Erik Bruhn and Celia Franca's production of Les Sylphides.  In 1990, Farmer returned to the National Ballet to design the company's production of Robert North's Troy Game.  In 1992, he designed the sets and costumes for Houston Ballet’s production of Manon.  In 1995, The Australian Ballet unveiled Farmer’s sets and costumes for their production of Madame Butterfly choreographed by Stanton Welch.  Farmer continues to design for dance, creating sets and costumes for many companies across North America.

The Joffrey Ballet is Chicago’s premier ballet company committed to artistic excellence and innovation, presenting a unique repertory encompassing masterpieces of the past and cutting-edge works of today.  Founded by visionary teacher Robert Joffrey in 1956, guided by celebrated choreographer Gerald Arpino from 1988 until 2007, The Joffrey Ballet continues to thrive under Artistic Director Ashley Wheater and Executive Director Greg Cameron.  The Joffrey is also committed to providing arts education and accessible dance training through its Joffrey Academy of Dance and Community Engagement programs. 

The Joffrey Ballet is grateful for the support of its 2013-2014 Season Sponsors and Partners.  With special thanks to La Bayadère Presenting Sponsors, Margot and Josef Lakonishok; La Bayadère Production Sponsor, Jane Ellen Murray Foundation; Abbott Fund and NIB Foundation, Co-Sponsors of the 2013-2014 Season; United Airlines, Official & Exclusive Airline; Vanguard Weiss Memorial Hospital, Chicago Center for Orthopedics, Official Healthcare Provider; AthletiCo, Official Provider of Physical Therapy; JW Marriott, Official Hotel; and MAC, Official Cosmetic Sponsor.

Upcoming
Robert Joffrey’s The Nutcracker returns for its seasonal run at the Auditorium Theatre, bringing Tchaikovsky’s classic score to life with dancing snowflakes, battling toys, waltzing flowers and the splendor of the full Joffrey company on stage with over 100 young dancers from the Chicagoland area.  Robert Joffrey’s The Nutcracker is presented in 23 performances, December 6 – 28, 2013.


For more information on The Joffrey Ballet and its programs, please visit joffrey.org.

Sunday, September 29, 2013

DANCE OPENINGS: Ballet West at Auditorium Theatre

ROMANCE AND MYSTERY FILL THE AUDITORIUM STAGE WITH BALLET WEST’S 

“The sleeping beauty” and MIXED REP INCLUDING “the Lottery” October 4 – 6 


Auditorium Theatre’s Annual Gala, “An Evening of Fortune and Chance,” October 6 

The Auditorium Theatre of Roosevelt University welcomes Ballet West to the stage for the Chicago Premiere of “The Sleeping Beauty ” and a mixed repertory  including Rubies,” Pas de Deux from Diamonds," a world premiere piece by Nicolo Fonte and the Midwest premiere of “The Lottery” October 4 - 6. Artistic Director Adam Sklute, formerly of The Joffrey Ballet, returns to Chicago while celebrating Ballet West’s 50th Anniversary. Ballet West, one of America’s favorite companies as well as the stars of the CW’s “Breaking Pointe,” bring the magic of a newly imagined fairytale, choreographed by Sklute and “The Lottery,” a suspenseful, innovative piece—never performed the same way twice—choreographed by Val Caniparoli with an original score by Robert Moran. Tickets ($30 – $90) are on sale now and available online at AuditoriumTheatre.org , by calling (800) 982-ARTS (2787) or at the Auditorium Theatre Box Office (50 E Congress Pkwy).


The Lottery

In conjunction with Ballet West’s engagement, the Auditorium will host their annual gala, “An Evening of Fortune and Chance” on Sunday, October 6. featuring a performance of “The Lottery” followed by a reception and dinner at the Hilton Chicago sponsored by the Pasquinelli Family Foundation. 

We are thrilled to welcome Artistic Director Adam Sklute back to Chicago and the Auditorium’s landmark stage where his former company, The Joffrey Ballet, makes their home,” said Auditorium Theatre Executive Director Brett Batterson. “This mesmerizing company brings diverse and captivating pieces that are sure to have audiences of all ages falling in love and wanting more.”

Adam Sklute’s newly conceived and produced staging of “The Sleeping Beauty” strives to take an ageless fairytale and make it exciting and relevant to modern audience’s while maintaining the classical purity of the beloved story. Taken from the famous Perrault fairytale, Princess Aurora is welcomed into the world by all except the evil Carabose. Cursing the princess with a wicked spell, the princess is doomed to an eternal sleep when she pricks her finger on a magical spindle. 100 years later, Prince Desire is led to Aurora by the enchanted fairies, breaking the spell with a special kiss demonstrating the triumph of good versus evil. With new characters, costumes and vision, Sklute’s “The Sleeping Beauty,” takes audiences on an enchanting journey through time and fantasy. 

I am so thrilled to return to this incredible city and to such a wonderful home at the Auditorium Theater,” said Sklute. “Both programs that Ballet West will perform offer something magical for all audiences. With “The Sleeping Beauty” they are transported to a fairytale story that still resonates today. With “The Lottery” audiences are able see a brand new performance each and every time allowing them a unique and thrilling experience.”

Based on Shirley Jackson’s shocking American short story, “The Lottery,” Val Caniparoli creates a truly suspenseful, interactive experience for both audiences and dancers. Set in a small American town, the community takes part in an annual barbaric ritual, sacrificing one of their own people for the good of the community by drawing ballots to see who will be chosen. In Caniparoli’s innovative ballet, all 14 dancers on stage choose their fate during the performance, creating a wonderful sense of tension and excitement for all. 

One of the greatest things about ballet is that it truly offers something for everyone―storytelling, art, music and astonishing athleticism,” said Sklute. “Our Ballet West dancers are prime examples as artists who are so musically attuned that their very gesture and glance can illuminate the subtlety and nuance of the music they dance to. That artistry and athleticism is shown in full-force during ‘The Lottery.’”

In addition to “The Lottery” Ballet West performs “Rubies” and Pas de Deux from Diamonds.” George Balanchine’s “Rubies” takes the audience on a journey into the wild 1920’s America. Part of Balanchine’s three-piece masterpiece, “Jewels,” composer Igor Stravinsky creates a three-movement “Capriccio” allowing for a breathless and exciting race to the finish line for the pianist, orchestra and dancers. “Diamonds,” the third section of Balanchine’s “Jewels” was choreographed to Tchaikovsky’s Symphony No. 3 in D major, Op. 29 capturing the grandeur and soul of imperial Russia. 

Also as part of the mixed repertory on October 6, the Auditorium will host the world premiere of a new piece by Nicolo Fonte.

Ballet West performances are made possible through the generosity of Patti Eylar and Charlie Gardner. Support for “The Lottery” is generously provided by the Kipper Family Foundation.

The Lottery” is presented by special arrangement with the Children of Shirley Jackson and Literal Media.

Auditorium Theatre’s Annual Gala “An Evening of Fortune and Chance”

Auditorium Theatre’s annual gala, “An Evening of Fortune and Chance,” sponsored by the Pasquinelli Family Foundation, will be held in conjunction with Ballet West’s engagement on Sunday, October 6. The affair will begin at 3 p.m. with a mixed repertory performance from Ballet West including “Rubies,” Pas de Deux from Diamonds,” a world premiere performance by Nicolo Fonte and Val Caniparoli’s “The Lottery” at the Auditorium Theatre. The evening continues at the Hilton Chicago (720 S Michigan) where guests will be treated to a reception and dinner. Patti Eylar, Barbara Kipper and Harriet Ross are the gala co-chairs. Special guests of the evening include Ballet West Artistic Director Adam Sklute, Choreographer Val Caniparoli and Choreographer Nicolo Fonte as well as author Shirley Jackson’s children. For tickets and more information please contact Amanda Martinez Byrne at (312) 341-2364 or at abyrne@auditoriumtheatre.org.

Performance Schedule and Ticket Information


Sleeping Beauty

Ballet West’s “The Sleeping Beauty ” and Mixed Rep  including “The Lottery” at Auditorium Theatre: 

   The Sleeping Beauty:” Friday, October 4 at 7:30 p.m.
                                  Saturday, October 5 at 2 p.m. and 8 p.m
Mixed Rep including      
The Lottery”:                Sunday, October 6 at 3 p.m.

Tickets ($30 - $90) are available online at AuditoriumTheatre.org , by calling
(800) 982-ARTS (2787) or in-person at Auditorium Theatre’s Box Office (50 E Congress Pkwy). Ballet West’s “The Sleeping Beauty” is also available at a 30% discount as part of the Auditorium’s Dance Subscription, starting at $84 for four dance shows and $101 for five dance shows. Subscriptions are available at (312) 341.2357 or AuditoriumTheatre.org .

Auditorium Theatre’s 2013 - 14 Season:

The full Auditorium Theatre 2013 – 14 season includes “Death Boogie” (September 5 – 7); Ballet West’s “The Sleeping Beauty” and a Mixed Rep including “Rubies,” Pas de Deux from Diamonds” and “The Lottery” (October 4 – 6); Hungarian State Folk Ensemble (November 22); “Too Hot to Handel: The Jazz-Gospel Messiah” (January 18 - 19); Alvin Ailey American Dance Theater (February 28 – March 9); Cloud Gate Dance Theatre of Taiwan’s “Songs of the Wanderers” (March 14 and 16); Houston Ballet’s “Aladdin” (March 22 – 23); Chick Corea and Béla Fleck (April 5); River North Dance Chicago (April 12); “The Idan Raichel Project” (May 15); and Paul Taylor Dance Company (May 17–18). 

About the Auditorium Theatre of Roosevelt University

The Auditorium Theatre of Roosevelt University, located at 50 E Congress Pkwy, is an Illinois, not-for-profit organization committed to presenting the finest in international, cultural, community and educational programming to Chicago, and to the continued restoration and preservation of the National Historic Landmark Auditorium Theatre. The Auditorium Theatre is generously supported by the MacArthur Foundation, the NIB Foundation, the Illinois Arts Council and the Palmer House Hilton.  For more information about programming, volunteer and donor opportunities or theater tours, call (312) 341-2310 or visit AuditoriumTheatre.org .

About Ballet West

From Balanchine to Bournonville and Petipa to Tharp, Ballet West boasts a rich and varied repertoire, elegant and versatile artists, and an American style and legacy that is dynamic, expansive and unexpected. Established by Willam F. Christensen in 1963, the company has toured the world several times over presenting the very best in American classical ballet. With 40 company members, 11 second company members, and a thriving Academy, Ballet West ranks among the top professional ballet companies in America. Since its inception, the Company has had five artistic directors – its founder Willam Christensen, Bruce Marks, John Hart, Jonas Kåge and, currently, Adam Sklute.

Since 2007, Sklute, former dancer, Ballet Master and Associate Director of The Joffrey Ballet, has further energized and expanded Ballet West’s remarkable repertoire with works by the most renowned choreographers of today such as Ulysses Dove, Jiri Kylian, Mark Morris, Twyla Tharp, and Stanton Welch. Sklute has also introduced historical masterpieces from the great Ballets Russes and continues to preserve Ballet West’s classical legacy.  Sklute continues to strengthen Ballet West’s heritage by introducing new creations by local, national and international choreographers. With this eclectic and ever expanding outlook, Ballet West is truly an American pioneer in the world of dance.


Rubies Photo Credit Erik Ostling

Google Analytics