| |
Dan Duell's Ballet Blog - Past Entries |
|
| |
About Us > Duell Blog > Past Entries |
|
 |
| |
 Chicago's voice of Balanchine
read Dan's biography
6/9/2011 - Banner Year Ends in Rave Reviews
and
In Praise of Parents
"Ballet Chicago Delivers a Burst of Balanchine" ---
What an outstanding year this has been for Ballet Chicago!
Our Balanchine Celebration May 13 - 15 at the Athenaeum Theatre brought outstanding critical acclaim from the Chicago Tribune's Sid Smith, TimeOut Magazine's Zac Whittenburg, and other Chicago critics. Herewith a few quotes from Sid Smith's unqualified rave:
"A program consisting entirely of works by George Balanchine is the dance equivalent of a Pablo Picasso retrospective, and that about sums up the thrills of Ballet Chicago's weekend outing at the Athenaeum Theatre."
All Choreography by George Balanchine © The George Balanchine Trust
photos by Vincent Chaigne
 "...associate artistic director Patricia Blair's sublime staging of Serenade, the enactment of which was both technically clean and poetically graced, impressed most of all..."
"The tricky, ingeniously modern Rubies felt not just authentic but joyous...the performance captured the audacity of the moves here and yet glowed every minute in the delight of live ballet - youth embracing, rather than being intimidated by, a demanding classic."
"Ballet Chicago Artistic Director and former Balanchine dancer Daniel Duell served his mentor well here... lighting fire under tomorrow's stars."
"Lighting fire under tomorrow's stars..." These words capture the very essence of our goals in serving our mission of advancing American classicism. They underscore the value of our artistic programming for the students and professional guest artists who participate, as well as for the audiences who see Mr. Balanchine's magnificent ballets performed with the authentic movement aesthetic that defines his American classicism.
A few other highlights since our fall term began September 7, 2010:
September 30, 2010 - Over 100 people gathered in our studios to honor Phil and Marsha Dowd for their extraordinary contributions to Ballet Chicago. A seven-year retrospective video featuring performance clips of Dowd scholars was shown, along with walls lined with student testimonials and a special live performance tribute choreographed by former Dowd scholar Ted Seymour. That day our main studio became "The Dowd Studio". (Special thanks to chairperson Rebecca Halpern for this event, which raised $15,000.00 matched by Phil and Marsha for a total of $30,000.00).
From left to right; Act I, Party Scene; Act I, Snow Scene; Act II, Russian Dance; Act II, Grand Pas De Deux
From left to right; choreography by Patricia Blair, Dan Duell and George Balanchine © The George Balanchine Trust
Photos by Sasha Fornari
November/December, 2010 - Our students performed for over 1,000 Chicago Public School children at the Chicago Cultural Center in association with the International Music Foundation, danced live on Daley Plaza at the opening of "Christkindl Market," performed again at the Chicago Cultural Center for the city's "DanceAlong Nutcracker," danced for hundreds of families at the Field Museum's Annual Holiday Tea Party, performed to special student sold-out matinees of our Nutcracker at the Athenaeum Theatre, and then delivered four performances of our full Nutcracker to record audiences.
February/March, 2011 - Our students joined over a dozen other Chicago troupes for "Duets for My Valentine" on Saturday, February 12, then on February 27, March 6, and March 9, delivered world premiere performances of "Instruments of Revelation" in collaboration with Chicago's Orion Ensemble and composer Victoria Bond, dancing in concert venues in Evanston, Lake Geneva, and at Roosevelt University's Ganz Hall.
April, 2011 - Nine of our younger dancers performed choreography by our own Ted Seymour at Macy's Oakbook store to unveil a new Lladro ballerina sculpture by Javier Molina.
May, 2011 - The Ballet Chicago Studio Company and professional guest artists, several of them SBC alums, triumphed in performances of "A Balanchine Celebration," dancing three of Balanchine's most demanding and beloved classics, Serenade, Rubies, and Who Cares?
In Praise of Parents
A great deal of what we do would not happen without the invaluable help of our School of Ballet Chicago Parents' Organization (SBCPO), established in 1997 in conjunction with the formation of our Studio Company. The SBCPO helps us with costuming, fund-raising events, merchandising, and more. Every year for our Nutcracker season and later, for our Spring Repertory performances, the all-volunteer "Guild of the Golden Needle" gathers to create, maintain, and execute at professional level the costumes that make us look so beautiful onstage every season. The SBCPO also conceives and hosts events such as the Nutcracker Sweets party, and more recently our "Backstage at Ballet Chicago" event connected with Spring Repertory. Independently, SBC school parents also help us in areas where they have professional expertise, such as website management, graphic design, and information systems counseling. Ballet Chicago parents deserve an ongoing round of applause!
In a special parent's meeting on May 21, some wonderful testimonials emerged from parents whose children have trained with us for years, as well as from parents who are newer to Ballet Chicago. A new parent was moved to relate his story of how he discovered Ballet Chicago and subsequently enrolled his young daughter: "One morning last summer, I was walking to work from the Metra train station located on Randolph and Michigan. As I was walking, a group of young ladies caught my attention. I could instantly tell that these young ladies were ballerinas due to the buns in their hair and their apparel. As I walked behind them, I was impressed at how graceful they were. Since my wife and I were looking for a new dance school for my daughter, I instantly wanted to know where these young ladies were going. I followed them for another block until they entered a building I had passed multiple times before but never paid any attention too. I looked at the Ballet Chicago sign and made a mental note. When it was time to enroll my daughter into a dance school for the fall semester, I told my wife we needed to look at Ballet Chicago. At visiting Ballet Chicago, she quickly came to the conclusion that Ballet Chicago was the best place for our daughter."
Another parent felt we should let the world know how accessible we make quality performance experience as well as classroom training ---I quote this parent of a very young dancer: "Ballet Chicago makes classical ballet accessible to dancers of all ages, socio-economic status, cultural identities, and walks of life. They do this through the promotion of a performance-based curriculum not afforded by other schools..."
And a parent (among the many) whose daughter "grew up" here and now has a professional performing
career, offers this:
"From an early age at ballet Chicago, Julie was able to reach her potential through excellent
training, hard work, focus and wonderful performance opportunities. Julie developed a strong
work ethic as a result of the encouraging and nurturing Ballet Chicago staff. Even though
dancers are challenged to be their personal best, Dan and Patricia always emphasized the
importance of being a team player. Julie is now realizing her dream daily as a professional
dancer with Ballet Memphis."
We sing praises for the commitment of time and resources parents give to their children to pursue their dreams. That is a gift beyond measure.
Watch for exciting new developments soon to be announced for our upcoming year!
With deep thanks,
Daniel Duell
Artistic Director
|
|
4/19/2011 - Jewel of a Program
May 10 Open Rehearsal
Diversity, April Dance Bulgaria Project, July Dance/USA conference
The weekend of May 13 - 15 will find three of George Balanchine's most beautiful and celebrated masterworks, Serenade, Rubies, and Who Cares?, gracing the stage of Chicago's Athenaeum Theatre.
This triple bill shows three distinct aspects of Mr. Balanchine's creative genius. Serenade, Mr. B.'s first work choreographed in America, displays the expansive yet detailed movement and performance aesthetic that defined the direction of his American classicism; Rubies shows the master at play some thirty-three years later with an ultra-modern vocabulary that pushes the neo-classic envelope, and the jazzy, effervescent Who Cares? delivers the ultimate testament to Mr. B.'s statement, "The urge to move to music is an impulse born of joy".
Performed by members of the Ballet Chicago Studio Company and guest artists from Chicago, New York, Philadelphia, and Washington, D.C., each ballet opens with a "take-your-breath-away" tableau. The performances of these masterworks will provide our community of performers wondrous artistic growth as well as superb entertainment for Chicago audiences.
Also, On May 10, 2011 come join Associate Artistic Director Patricia Blair and dancer/choreographer Ted Seymour at the Athenaeum Theatre for a behind-the-scenes look at Ballet Chicago's final preparations for "A Balanchine Celebration", showcasing excerpts from Serenade and Rubies.
In the world of classical ballet, stage rehearsals are a closely guarded process. Join the conversation. Witness the process. Learn the inside secrets. Come and see the transformation from perfecting skills in rehearsal to abandon and expansion in performance. Tickets are $75 per person, which includes one premium ticket for A Balanchine Celebration ($30 value). Visit our website at www.balletchicago/backstage.asp to purchase tickets for this event. All funds raised will support Ballet Chicago's Philip and Marsha Dowd Scholarship Program and will be matched dollar for dollar! Festive refreshments will be served.
Having profiled Serenade and Who Cares? in previous blogs, I'll focus now on Rubies, the centerpiece of our program. Also known as Capriccio for Piano and Orchestra (the title of the music), Rubies is the middle section of Balanchine's three-part full length ballet Jewels. Drawing on the nature of the gem itself, Balanchine's choreography delivers sharply etched, multi-faceted patterns and movements that dazzle the viewer with their complexity, playfulness, and athleticism. The central duet is characterized by a dynamic plasticity interspersed with bright solos for the lead couple, and the ballet's third movement enhances the drive and power of Stravinsky's score with an exhilarating finish that finds the dancers landing in their final pose one swift beat after the last note of music. Sandra Jennings, a brilliant former NYCB dancer and now a repetiteur for the George Balanchine Trust staging his works all over the world, will once again stage the ballet for us.
The great diversity in these three works is performed by a great diversity of artists on the stage. Our Studio Company brings dancers of multiple ethnicities and cultures together to work toward a common goal of artistic excellence and character development. The diversity in the make-up of our student body as well as in our guest performers results in a beautiful harmony amongst people of vastly differing backgrounds.
This reflects Ballet Chicago's long-standing commitment to fostering diversity within Chicago's growing dance community. For the past thirteen years we have shared a rich, multi-layered relationship with Deeply Rooted Dance Theater in our studios, and five years ago we added Luna Negra into the mix. There has been much interactive exchange with teaching, and we have been blessed to have guest artists from both DRP and Luna Negra for numerous performance seasons. In addition to the diversity engendered, the practice of sharing of space, artists, and resources is vital to the ongoing sustainability of not-for-profits in the performing arts.
Just this past April 3 - 10, DRP's Associate Artistic Director Gary Abbott and I traveled to Sofia, Bulgaria, participating in Petur Iliev's " Dance Bulgaria" project, which brings American teaching artists of varying genres to Sofia in pursuit of ongoing artistic and cultural exchange. Gary contributed his modern, African-based technique and new choreography, and I contributed American classicism and new choreography. The new choreography received a performance at week's end. This project affords a wonderful opportunity for these two artistic colleagues to represent Chicago abroad, and to offer scholarships to selected students for summer course study here in the United States.
Meanwhile, rehearsals continue apace back in Chicago, presided over by Associate Artistic Director Patricia Blair and assisted by Ted Seymour. This "behind the scenes" ongoing work is crucial to the preparation of our May performances.
Turning again to the subject of diversity, I again urge any and all dance aficionados and supporters to join the Dance/USA Conference here in Chicago this coming July 13-16. Visit the website at www.danceusa.org for more information about this unique opportunity to share experiences with dancers, choreographers, dance administrators, dance organization Board members, managers, presenters, and others in the dance industry from around the country. There are discussion events, performance events, and receptions, all bringing together the vast panoply of dance lovers and supporters here in the United States.
Tickets to our May 13 - 15 performances are on sale! You can purchase seats by contacting Ticketmaster at 800-982-2787 /www.ticketmaster.com, or by visiting the Athenaeum Theatre Box office. Discounts are available for groups of 12 or more; to arrange group tickets, contact Bryant Liggett at 312-251-8838.
Come join us May 13 - 15! Celebrate the beauty and the excitement of ballet and the genius of Mr. Balanchine in this very special program!
Please visit our website at www.balletchicago.org for information on our May performances, ways you can donate, and information on our classes and programs.
With deep thanks,
Dan Duell
Artistic Director
|
|
3/14/2011 - Ballet Chicago Dances Into Spring
Instruments of Revelation and "A Balanchine Celebration"
(Special July Chicago event! Dance/USA Conference - see* below)
On Wednesday, March 9 we completed the last of three wonderfully successful performances of our collaborative world-premiere venture, Instruments of Revelation, involving Ballet Chicago, the Orion Ensemble, and composer Victoria Bond.
This project brings live dance to an evening of concert music, a variation on the more usual formula of adding live music to an evening of dance. The subject matter, three iconic figures from the Tarot card deck, the Magician, the High Priestess, and the Fool, is chock full of delicious imagery for both music and choreography.
 Instruments of Revelation audiences have thrilled to the intimate concert hall settings, the connection to the performers, and the experience of hearing and seeing live music and dance woven so closely together. This type of project is close to my heart, as I deeply believe that audiences who hear music better see dance better. Victoria Bond's original music for this project, rich in character and nuance, provided a wonderful road map and a joyous experience for this choreographer. This season we performed"Instruments" at the Music Institute of Chicago in Evanston (Feb. 27), at Fox Valley Presbyterian Church in Geneva (Mar. 6), and at Ganz Hall right here in the Chicago Loop (Mar. 9). Ballet Chicago dancers Jordan Nelson (Magician), Rachel Seeholzer (High Priestess), and William Miglino (Fool), beautifully performed the choreography for their characters, and the Orion Ensemble superbly demonstrated their extraordinary musicianship throughout the series. I am deeply grateful to Kathryne Pirtle and the Ensemble for proposing this project, and am honored to have played a part in it. We hope to present more of this work in the future.
And on we go into preparations for "A Balanchine Celebration" May 13- 15 at Chicago's Athenaeum Theatre! Last month I wrote about Mr. B.'s glorious Serenade - this month the focus is on Who Cares?
 First performed in February 1970, Who Cares? is a jazzy romp through the songs of George Gershwin. Balanchine's affinity for American dance forms and expansive movement mesh beautifully with Gershwin's music, resulting in a hip-thrusting, high-spirited work that seems to smile broadly and wink saucily from beginning to end. Arranged for a large cast of corps and soloists supporting a central male and three ballerinas, the ballet features ingeniously rhythmic footwork and high technical demands. Its duets are charmingly romantic in a decidedly American vein, and its closing movement, set to Gershwin's "I've Got Rhythm," sizzles with irrepressible brio.
Recently, at the invitation of Indiana University Ballet Department Chair Michael Vernon, I joined Merrill Ashley, one of Balanchine's great ballerinas and a frequent partner during our performing years, in coaching sessions for the principal roles of Who Cares? Merrill learned and performed all three of the ballet's ballerina roles under Mr. B.'s direction, and was witness and participant to the ballet's creation in early 1970. At that time a scholarship student at the School of American Ballet, I was living at the home of Jacques D'Amboise, on whom Mr. B. choreographed the central male role. I recall vividly Jacques' astounding energy, technical virtuosity, and masterful partnering in those early performances of Who Cares? Later I received coaching from Jacques himself on the male solo and the pas de deux as a member of his concert troupe. Merrill and I shared great joy in re-visiting many ingenious delights and details in Balanchine's choreography.
Such "from the source" insight and experience informs staging of all the Balanchine choreography we perform here at Ballet Chicago.
Europe calls! In April and May, while my wife Patricia continues the crucial work of preparing our "Balanchine Celebration", I will take Ballet Chicago's approach to teaching Balanchine-based American classicism to Sofia, Bulgaria for the third time, and for the first time also to Copenhagen, Denmark, teaching classes for two weeks at the Royal Danish Ballet as they prepare for their May and June 2011 four-city United States tour. It is an honor and a privilege to represent this Chicago dance organization abroad!
|
|
2/18/2011 - The Miracle of Serenade, Instruments of Revelation and Duets for My Valentine
As we prepare to perform Mr. Balanchine's beautiful Serenade May 13-15, 2011, along with three other of Balanchine's seminal masterpieces (Square Dance, Rubies, and Who Cares?), we hearken back to Serenade's creation and why it has such extraordinary significance in the world of ballet, indeed the world of dance.
Balanchine's profound respect for his choreographic forebears, combined with his adventuresome spirit and extraordinary musicality, found a welcome meeting with the new and open milieu of dance in America when Balanchine landed here at Lincoln Kirstein's invitation in late 1933. The first day of classes at the brand new School of American Ballet was Jan. 2, 1934. I now quote from Bernard Taper's wonderful "Balanchine, a Biography":
Serenade was the first ballet that Balanchine created in the United States... It was a choreographic tour de force. Balanchine devised it as a lesson for the students in his advanced class. He wanted to show them how the fundamental steps they were painfully trying to master can become transformed,
when shaped by a choreographer, into something more than routine exercises, and he also wanted to bring home to these novices that ballet, for all its ancient heritage, is a living, contemporary art..."
Performed today all over the world, Serenade may well be the most beloved plotless ballet in history.
In Serenade, Balanchine was devising, and again I quote Bernard Taper, "an approach to ballet that would be natural for American dancers." Thus this ballet is much more than a beautiful piece of choreography, it is a vision, indeed a template, for American classicism. Balanchine lovingly re-examined
and re-fashioned European-Russian technique, from how one does plie and tendu to how one moves in complex combinations. My dear long-time friend, the great ballerina Violette Verdy, summarized it neatly in a lecture some years ago at Chicago's Alliance Francaise: "He amplified, clarified, sophisticated, and enhanced all that had gone before."
When my wife Patricia Blair and I founded the School of Ballet Chicago in January of 1995, it was with the commitment to serve and forward that vision. We held as a dream performing Serenade, and in May of 2000 we did just that for the first time, garnering from the Chicago Dance Community the Ruth
Page Award for Outstanding Dance Achievement that year. Since then we have performed it in several succeeding seasons.
Training our dancers in Balanchine-based technique is central to performing this work with the streamlined arabesques, deep plies, heightened lyricism of heads and arms, swift, precise footwork, straight back-leg preparations for turns, spotting front, and other technical innovations that are Balanchine's departures from more traditional classical technique.
For dancers, Serenade is a treasured experience in great part because the beauty and technical challenges in its intricate steps improve ballet dancers' overall abilities. Whenever Patricia, who performed this ballet under the direction of Edward Villella (one of Balanchine's, and America's, great
male stars) stages the ballet for Ballet Chicago or other companies, she inevitably "sees the dancers become transformed." My own first experience with Serenade was early in my performing career at New York City Ballet under Mr. B.'s direction; I was one of the four men who enter toward the end of
the ballet to partner the eight women arranged in lines on the stage. Each man partners two ladies in quick promenades, supported pirouettes, and off-balance arabesques. The sequence is short but challenging, and I learned a lot about partnering "a la Balanchine".
For audiences, the unfolding of unparalleled visual beauty set to the strains of Tchaikovsky's sublime "Serenade for Strings" makes this ballet a universally compelling experience.
Please come see us perform Serenade, Rubies, Square Dance and Who Cares?* this May 13-15, 2011 at Chicago's Athenaeum Theatre.
And coming right up Feb. 27, March 6 and March 9, come see and hear the wonderful Orion Ensemble in a fascinating evening of music and dance, with Ballet Chicago dancers William Miglino, Jordan Nelson, and Rachel Seeholzer performing in composer Victoria Bond's brand new "Instruments of Revelation."
See the promotion below!
One more note - On Saturday, Feb. 12, at the invitation of producing dance companies Culture Shock Chicago and Chicago Dance Crash, Ballet Chicago dancers Liliane Baptistucci, Jordan Nelson, and Rachel Seeholzer took the stage of the Park West Theater and performed along with three other Chicago dance schools and a wide range of Chicago dance troupes in "Duets for My Valentine." Performing original choreography by Ballet Chicago's Ted Seymour, our trio elegantly captured both the music of Led Zeppelin's "Stairway to Heaven" and the hearts of the audience. A Valentine treat for all!
*Program subject to change
|
|
1/7/2011 - Ballet Chicago's Nutcracker a Hit, Summer 2011 National Audition Tour, and Watch for Spring
A very happy new year to all!
Ballet Chicago's four public "Nutcracker" performances at the Athenaeum Theatre Dec.17 - 19, 2010 were our most successful ever -we set a new record for audience attendance and surpassed our budgeted goals. Our performers generated overwhelming enthusiasm every performance and had audience members on their feet. Artistic excellence, charisma, and joy reigned supreme throughout the run, from our established guest artists and Studio Company members to the youngest wee mice. Our performers' artistic growth was a marvel to witness, and my wife and Associate Artistic Director Patricia Blair and I could not be more proud of them all.
I'd like to take a moment to acknowledge all the volunteers who gave of their time and talent, our wonderful production crew Lumen Siccum, our dedicated staff, our Board for their support and sponsorship, our Parents' Organization, and all others who helped make our 2010 "Nutcracker" such a resounding success.
And now here we are in 2011, on the eve of our most extensive summer course audition tour to date. Each year in January and February, Ballet Chicago senior faculty members hold auditions at selected locations throughout the United States for our annual five-week Summer Course and two-week Advanced Summer Intensive. We teach a full class at every location (twenty-two US cities this year), and never cut auditionees from any portion of the class. This gives prospective attendees the opportunity to sample the type of instruction given at Ballet Chicago, and also gives us a chance to see how prospective attendees work as well as what they can do. We have found this to be a wonderfully effective way to evaluate and recruit dancers for the School of Ballet Chicago, and it helps build strong relationships with our colleagues in the field, the directors and teachers of other companies and schools.
This annual tour is a vital part of the original vision Patricia and I had when we opened the School of Ballet Chicago in January 1995, a vision for a School that would bring students from around the nation and the world to Chicago as well as from the Chicago area, a School with a recognized, well-defined point of view in its training (Balanchine-based American Classicism), and a School that would send beautifully-trained young artists from Chicago into professional careers. We are proud of our results to date, and very much look forward to building on our record-setting summer 2010 attendance.
A primary component of our training is performance experience in challenging repertory. Watch for upcoming announcements about our Spring 2011 Balanchine Celebration, featuring some of Mr. Balanchine's most beloved masterpieces performed by the Ballet Chicago Studio Company and selected guest artists.
Also keep an eye open for our special "Instruments of Revelation" performances with Chicago's renowned Orion Ensemble February 27, (Evanston), March 6 (Geneva), and March 9 (Roosevelt University's Ganz Hall) featuring music of composer Victoria Bond and choreography of mine in a world premiere event - this will be a truly unique concert experience! Visit www.orionensemble.org for detailed information and tickets.
Last but far from least, I would like to express heartfelt gratitude to all of you, our readers, audience members, and donors, for your patronage and support this past year.
With deep thanks,
Dan Duell
Artistic Director
|
|
12/8/2010 - Ballet Chicago's Nutcracker 2010 - a Vibrant Production Serving Chicago
There are no small parts
By the time you read this, Ballet Chicago will have made numerous "Nutcracker" appearances in the heart of the city - two performances on Nov. 18 for over 800 Chicago Public School children at the Chicago Cultural Center, a performance Nov. 26 on Daley Plaza for the opening of the city's "Christkindl Market," two more appearances on Dec. 5 at the Chicago Cultural Center in the city's annual "Dance Along Nutcracker," and a performance at The Field Museum on Dec. 9 for its annual Holiday Tea.
On Wednesday Dec. 15 and Thursday Dec. 16, another fifteen hundred Chicago Public School children will be bused into the Athenaeum Theatre to experience our condensed one-hour version of this colorful production. (This is Ballet Chicago's eleventh consecutive year of special daytime "Nutcracker" matinees for Chicago Public school children.)
This wonderful ballet, first performed in 1892 at the Maryinsky Theatre in St. Petersburg, offers extraordinary opportunity for both high entertainment and crucial artistic growth. The number of delightful and imaginative characters from E.T. A. Hoffman's tale is such that every production in existence finds dancers performing multiple roles, from a "stage parent" to a mouse, from a Soldier or Columbine Doll to a Spanish or Russian character, from a sinuous Arabian dancer to a lyrical Waltz of the Flowers dancer, from a darting, leaping snowflake to a playful, delicate "Dance of the Reed Flutes," and even from a mysterious Drosslemeyer to the grand Cavalier partnering the Sugar Plum Fairy.
Our "Nutcracker" has grown from the inside out within the framework of a two-pronged artistic appraoch: respecting the ballet's traditions and forging new American classicism. Thus our version tells the traditional story using today's contemporary American classicism in its dancing.
An important aspect of our production, indeed of all our performances, is the challenges our dancers must meet in ensemble dances. At Ballet Chicago, there is no dancer who is "just a corps member" - every single dancer is called on to dance like a soloist. Our group dances are intentionally designed with a constant flow of changing patterns and demanding steps that build straong performance quality in all participants. Spatial awareness, stamina, and stage persona are all constantly cultivated. This helps every dancer develop individuality and confidence onstage --- there is no "hiding" in the ensemble dances at Ballet Chicago! By the time our young dancers have performed our group works, they have grown palpably both as artistic individuals and as artistic team members.
Not so coincidentally, audiences are treated to ensemble dances alive with the inherent interest of constantly moving choreographic design and glowing individuality of the performers.
We have found a wonderful niche on Chicago's near north side at the venerable Athenaeum Theatre, where we present our "Nutcracker" for the eighth consecutive year, where audiences continue to grow.
Watch for star caliber performances by our Studio Company members throughout the production - their confidence and polish are a marvel each year. Our cast in this year's production also includes a world-class line-up of spectacular guest artists to complement our Studio Company's performances: alumna Elly Green joins us from the Royal Danish Ballet as the Sugar Plum Fairy, partnered by returning Chicago artist Hamilton Nieh, currently with Luna Negra Dance Theater. Alumnus Ted Seymour and returning guest artist Matthew Renko of the Suzanne Farrell Company help round out the cast, along with Deeply Rooted Dance Theatre's Joshua Ishmon, a long-time participant in our "Nutcracker."
And each year audiences are delighted by our full cast of over 120 performers.
Don't miss our spectacular full production of "The Nutcracker" Dec. 17 - 19, at the Athenaeum Theatre! Our commitment to offering tickets at family-friendly prices remains strong! Tickets are on sale now by calling Ticketmaster at 800-982-2787, or by visiting the Athenaeum Theatre Box Office. For more information and box office hours, please call the Athenaeum Theatre at 773-935-9680.
Wishing you a beautiful holiday season,
Dan Duell
Artistic Director
|
|
11/5/2010 - Nutcracker 2010 - A Special Production
What makes Ballet Chicago's Nutcracker such a special experience?
When Associate Artistic Director Patricia Blair and I decided to grow a Chicago "Nutcracker" from scratch in 1997, barely three short years after opening the School of Ballet Chicago, we resolved that we would trust movement to tell the story, as good choreography should, and from that strong artistic core we would grow a production increasingly lovely and lavish over the years, yet a production in which the dancing would always prevail.
Today our production is filled with colorful costumes and sets, and characterizations have grown and become rich in charm. But that strong artistic core, the quality of the choreography, shines through at the heart of it all.
Our Act 1 Snow Scene includes both a majestic, deeply musical duet for Snow King and Queen, and a Waltz of the Snowflakes filled with swift-moving steps and stage movement that suggest a true snowstorm as no other production in Chicago does. Dancers dart here and there in the beginning, and as the dance proceeds, patterns of group movement increasingly capture the exciting swirl of windblown snowfall. The dance has a flowing architecture that provides interest and satisfaction for viewers in the uppermost balcony as well as those closer to the stage. Many call our snow scene the most beautiful they have ever seen.
Another example is our pacing of Act 1, where we have streamlined the party and battle scenes. The swift-moving children's dances are endearing, gracious, and charming, and, the battle is kept to the "leaders" only, (Mouse King and Nutcracker), making Act 1 shorter than many other productions, yet the storyline is fully communicated.
In Act 2, each beautifully costumed dance has a distinct character style deeply imbued in the steps and unmistakably communicated through the dancing of our performers. In the production's biggest dance, "Waltz of the Flowers," a constancy of flowing stage patterns interspersed with Dew Fairy's brilliant star turns brings the majestic excitement of Tchaikovsky's music to a high peak.
Formative experiences have contributed to the artistic values of our production. As a professional dancer with the New York City Ballet, I was honored to have Mr. Balanchine's extensive direct coaching in a number of "Nutcracker" roles I performed for years, in particular the role of Cavalier opposite the Sugar Plum Fairy in Mr. B.'s magnificent Act 2 Pas de Deux. Those rehearsals with him gave me deep first-hand insight into his innovative approach to the art of partnering as well as into the beauty of his choreography. Truly the successor to the more traditional choreography of Marius Petipa, this very pas de deux appears each year in Ballet Chicago's "Nutcracker", the only Chicago-area production where it can be seen.
Watch for star caliber performances by our Studio Company members throughout the production - their confidence and polish are a marvel each year. Our cast in this year's production also includes a notable line-up of guest artists to complement our Studio Company's performances: alumna Elly Green joins us from the Royal Danish Ballet as the Sugar Plum Fairy, partnered by returning Chicago artist Hamilton Nieh, currently with Luna Negra Dance Theater. Alumnus Ted Seymour and returning guest artist Matthew Renko of the Suzanne Farrell Company help round out the cast, along with Deeply Rooted Dance Theatre's Pierre Clark and Joshua Ishmon, both long-time participants in our "Nutcracker." And each year audiences are delighted by our full cast of over 120 performers.
Don't miss our spectacular full production of "The Nutcracker" Dec. 17 - 19, at the Athenaeum Theatre! Our commitment to offering tickets at family-friendly prices remains strong! Tickets are on sale now by calling Ticketmaster at 800-982-2787, or by visiting the Athenaeum Theatre box office. For more information and box office hours, please call the Athenaeum Theatre at 773-935-9680.
With deep thanks,
Dan Duell
Artistic Director
|
|
10/13/2010 - Raising the Barre - a Tremendous Success; Nutcracker in Full Preparation
 On September 30, our new home at 17 N. State St. was transformed into a hall of celebration as our studios were filled to overflowing for "Raising the Barre", the event honoring Phil and Marsha Dowd for their extraordinary contributions to Ballet Chicago.
The evening showcased a classic line-up of festive and artistic offerings, arranged "to a T" by event committee members Mary Ann Cronin, Rebecca Halpern, Ellen Layton, and Brigitte Lenz. Arriving guests met and mingled to the strains of the Orion Ensemble, the internationally renowned chamber troupe that concertizes throughout Chicago, broadcasts live performances, and is regularly featured on WFMT (go to www.orionensemble.org for an upcoming Ballet Chicago/Orion Ensemble collaboration, "Instruments of Revelation," featuring newly commissioned music by Victoria Bond and new choreography of mine).
In Studio 1, our largest studio and the one henceforth to be known as the Phil and Marsha Dowd Studio, catering by George Jewell offered sumptuous hors d'oeuvres, desserts, and beverages, while tasteful floral decor by Rosa Yamada of Designs by Rosa graced the tables set up around the studio.
In Studio 2, guests observed faculty member and former Ballet Chicago student Thalia Bruehl conducting a class of Level 4 students, a group to keep an eye on for the future.
An enticing array of silent auction items filled Studio 3, along with a wall of written testimonials from former students, many of them now professional dancers, thanking Marsha and Phil for helping to change their lives through support of their training at Ballet Chicago. Another wall of Ballet Chicago season posters colorfully highlighted our annual performance activity.
After the "meet and mingle" time, event chair and Ballet Chicago Board member Rebecca Halpern summarized Ballet Chicago's accomplishments and introduced the rest of the program. A video retrospective that beautifully captures the breadth and quality of the artistry by Dowd recipients in Ballet Chicago performances 2003-2010 was shown, and at its end a spontaneous, lengthy standing ovation ensued.
Then followed a live performance by three current Dowd recipients, choreographed especially for the occasion by Ted Seymour, himself one of the very first Dowd recipients and now a rising choreographer as well as a professional performer. Set to the second movement of Mozart's Concerto for Piano and Orchestra, KV 595, Ted's exquisite patterns of movement and intricate rhythms revealed the warmth and beauty of Mozart's music, and the dancers delivered this truly intimate performance to perfection. Toward the end of the dance a very young ballerina entered, carrying a miniature version of the wall plaque designating Studio 1 as the Phil and Marsha Dowd Studio. She gracefully handed the jewel-like artifact to the three other dancers, who then danced it into the Dowds' hands, a balletic blessing offered in thanks to Mr. and Mrs. Dowd.
While Ted's choreography pointed to the future as well the present, so indeed did the entire event, as its offerings abundantly showed the wide variety, broad scope, and high caliber of Ballet Chicago's artistic activities.
And on we proceed to "Nutcracker" season! From its first in-studio performance in December 1997, our production has grown amazingly and is now deeply woven into the fabric of Chicago's holiday tapestry. On November 18, in collaboration with the International Music Foundation, we will perform "Nutcracker" excerpts for hundreds of schoolchildren in the Chicago Cultural Center's spectacular Preston Bradley Hall, and there also on Dec. 5 we will join the city for its annual "DanceAlong Nutcracker." On Dec. 9 over a thousand children and families will see us perform "Nutcracker" excerpts at the Field Museum's annual Holiday Tea, and on Dec. 15 and 16 we will perform for up to another two thousand Chicago schoolchildren bussed into Chicago's venerable Athenaeum Theatre.
And finally, general audiences will experience our spectacular full production in four performances Dec. 17-19, also at the Athenaeum Theatre. The only production in Chicago to feature George Balanchine's thrilling Act 2 Grand Pas de Deux, Ballet Chicago's "Nutcracker" offers many delights that render it an artistic triumph, so save the dates and get your tickets (!), available for purchase starting October 24 via Ticketmaster or the Athenaeum Theatre box office.
With deep thanks,
Dan Duell
Artistic Director
|
|
9/15/2010 - Fall Excitement at Ballet Chicago
Fall Term Begins, Nutcracker Around the Corner,
September 30 Event Excitement Builds
Fall Term - One year ago we began our fall term with a record pre-enrollment on the eve of moving into our new studios and offices at 17 N. State St. We start the 2010 fall term setting a new record once again, surpassing our numbers of last year. Our student body is again wonderfully diverse, with dancers of all ages and backgrounds enrolling from as far away as Brazil and Bulgaria.
Bodies rested from the late August break, dancers begin training at a measured pace, so they can gain strength gradually before taking on performing activity later in the term. The slower pace of initial classes affords a crucial re-visiting of basics even at advanced levels, so that a new sheen appears in the dancers' technique when they move on to faster classes, rehearsals, and then performances. Speaking of performances, please read on!
Nutcracker 2010 - Ballet Chicago's "Nutcracker" has grown from a studio presentation in December of 1997 to a solidly established presence at Chicago's venerable Athenaeum Theatre, where we present our "Nutcracker" for the eighth consecutive year. This year I am glad to report that our annual audition for children's roles brought us by far the largest turnout in our history. Save the dates of December 17, 18, and 19 for our vibrant production, the only one in Chicago to feature the stunning Act 2 Grand pas de Deux by George Balanchine. Other special features of our production include my exuberant Snow Scene with its majestic pas de deux for Snow King and Queen, inventive choreography for the colorful array of characters in Act 2, and exciting performances by area guest artists as well as our own polished, highly accomplished dancers.
Sept. 30 "Raising the Barre" - Program plans and details are rapidly being finalized in preparation for our Sept. 30 "Raising the Barre" event honoring Phil and Marsha Dowd for their extraordinary contributions to Ballet Chicago since Spring 2002. Wonderful silent auction items have poured in, program plans are in place, and Board and staff are busy with final logistics. I include below a couple of paragraphs from my last blog describing this very exciting special event:
"Phil and Marsha began supporting Ballet Chicago in 2002, when they settled on us as a cultural/educational institution worthy of major support. Since then, they have provided scholarship assistance to over 100 talented young dancers, many of whom have gone on to professional careers in companies from coast to coast. Their steady support has helped us to grow sufficiently that we were able to move to beautiful new quarters here at 17 N. State Street just under a year ago. Their interest in our teaching methods and artistic niche in Chicago runs deep and is multi-layered, as they attend our performances, visit our studios often to see classes and rehearsals, and are close to the impact we have on the many aspiring young artists they have helped support.
The event is a fund-raiser as well as a tribute. Donations to the Phil and Marsha Dowd Merit Scholarship Program are as vital as ever to Ballet Chicago, and attendees' generosity is encouraged. To RSVP to the event and/or offer a silent auction item, please contact Bob Bondlow at bbondlow@balletchicago.org, or call him at 312-251-8838. You can also RSVP via our website at www.balletchicago.org , by clicking on the "Raising the Barre" link. "Raising the Barre" will be an event to remember --- don't miss it!"
The event supports our commitment to pursuing and presenting American classicism at its best, right here in America's heartland city of Chicago.
With deep thanks,
Dan Duell
Artistic Director
|
|
8/11/2010 - Sept. 30 Raising the Barre - Honoring a Legacy
Summer Course Dancers' Feedback
Words are not sufficient to express the depth of gratitude we at Ballet Chicago feel for the contributions of Phil and Marsha Dowd, two patrons of the arts who have truly raised the bar very high when it comes to a legacy of faithful giving.
Phil and Marsha began supporting Ballet Chicago in 2002, when they settled on us as a cultural/educational institution worthy of major support. Since then, they have provided scholarship assistance to over 100 talented young dancers, many of whom have gone on to professional careers in companies from coast to coast. Their steady support has helped us to grow sufficiently that we were able to move to beautiful new quarters here at 17 N. State Street just under a year ago. Their interest in our teaching methods and artistic niche in Chicago runs deep and is multi-layered, as they attend our performances, visit our studios often to see classes and rehearsals, and are close to the impact we have on the many aspiring young artists they have helped support.
Thus, on September 30th, 2010 Ballet Chicago will honor Phil and Marsha with a special benefit event entitled "Raising the Barre," to be held in our new studios.
A special program including new choreography by rising young choreographer Ted Seymour will be presented. Members of the internationally renowned Orion Ensemble will play sublime live music, and my wife Patricia and I will host a historical tribute to this wonderful couple. In honor of their legacy of giving, Studio 1 (our largest studio) will be permanently given the name "The Phil and Marsha Dowd Studio".
The event is a fund-raiser as well as a tribute. Donations to the Phil and Marsha Merit Scholarship Program are as vital as ever to Ballet Chicago, and attendees' generosity is encouraged. A silent auction will also be held. We've already acquired some wonderful items, and are looking for more offerings of donated services and items of $50 value and up. To RSVP to the event and/or offer a silent auction item, please contact Bob Bondlow at raisingthebarre@balletchicago.org, or call him at 312-251-8838. You can also RSVP via our website at www.balletchicago.org, by clicking on the "Raising the Barre" link. "Raising the Barre" will be an event to remember --- don't miss it!
"Dancing in the Light", and BC Summer Course Dancer Feedback
On July 22 we held our 2010 summer course workshop showing in two "informance" style presentations at the University of Illinois Theater. This annual showing is the culmination of five weeks of intensive training in classical ballet, modern dance, and East European character dance, and parents of attendees from coast to coast travel to Chicago each year to pack the theater. Several hours prior to the first showing at 4 PM, an area power outage darkened the lights at the theater, putting the showings in jeopardy. But UIC Theatre management's quick and resourceful actions to restore power resulted in the first show going on no more than 30 minutes behind schedule. The cooperative spirit of all parties in this circumstance was quite special, and our record group of over one hundred dancers lit up the stage as planned in two vibrant showings, drawing tremendous applause. Through it all we felt truly "held in the light".
Dancer responses to our 2010 summer course were overwhelming in their enthusiasm. Herewith some quotes:
- "It's an amazing experience with outstanding faculty. I have learned so much, it is mind-blowing. As a Cechetti student I have fallen in love with Balanchine-based technique and intend to pursue it."
- "Ballet Chicago is intimate with personal instruction, small class sizes with students at the same level, plenty of classes with a nice balance between classical ballet and other forms of dance, and a summer full of great improvement and personal growth."
- "Ballet Chicago is: nurturing, challenging, fun, a personal growth period, and technically stimulating."
Nice to look to the coming year with such heartfelt testimony from the recipients of our training.
Remember "Raising the Barre" September 30th!
With deep thanks,
Dan Duell
Artistic Director
|
|
7/15/2010 - Ballet Chicago Springs Into Summer
Artistic and Critical Triumph "Classical Twist"
Precedes Record-setting Summer Course
What a glorious success we had at the Athenaeum Theatre May 21 - 23! One of the strongest programs we've ever presented garnered wonderful critical praise from Zac Whittenburg of "TimeOut Chicago", who favorably compared our performance of Balanchine's challenging Divertimento # 15 with that of one of America's major professional companies, Pacific Northwest Ballet. He also praised our performance of Balanchine's Who Cares? as "sparkling with raw energy."
Our dancers' performances of Divertimento # 15 brought classical technical execution to the fore. Difficult steps were delivered with lightness, delicacy, precision, and control, allowing viewers to experience the sublime musicality and witty invention of Balanchine's choreography. For many, this was their favorite work.
Our program closer, Who Cares? put serious technical challenges into the framework of playful romance and jazzy high spirits. Our dancers took off and ran with this one, bringing down the house.
These two masterpieces surrounded newer work that further extended the dancers' interpretive range and provided audiences great variety:
Ted Seymour's stunningly beautiful world premiere, A Pulse Stolen, delivered a series of short vignettes that develop into a compelling narrative of contemporary movement themes. Ted has a wonderful capacity to change the classical canon in inventive and surprising ways, and audiences were deeply moved by the group of five performers dancing individual and shared journeys to Ted's selections of affecting, exquisite music. Chicago lighting designer Margaret Nelson used her superb lighting skills as a full partner in this endeavor, resulting in a noteworthy collaboration. A Pulse Stolen strongly marks Ted's continued emergence as a choreographer with a truly original voice.
Conceived to evoke the power of cultural rituals, my Mono No Aware delivered martial-arts flavor and high athleticism for five men and one woman in a test of stamina, technique, and artistic style. Frequent guest artist Hamilton Nieh delivered the central role with power, abandon, and deep commitment. And again, Margaret Nelson's wonderful lighting contributed rich atmosphere to the work.
As has been so for many years, audience members expecting to see a student-level recital were astonished at the professional-level troupe they saw, performing demanding ballets with powerful technique and interpretive skill. Indeed, our talented young artists deliver performances that transcend their age. And our increasing roster of alumni guest artists from professional companies around the nation (and Chicago!) adds depth and power to our talent line-up, making Ballet Chicago's Spring Repertory an exciting, fulfilling audience experience each and every time.
Now we are in the midst of our biggest summer course yet, populated with over one hundred young dancers hungry for the forward-looking American classical training that only we offer in this region. Coming from around the area, the nation, and from other countries, these dancers will be brought to a new level over the next few weeks by our diverse, intensive training. Those whom we ask back are eligible to join our annual program, beginning once again the process that culminates each year in our beautiful "Nutcracker" and our annual Spring Repertory.
A Chicago-born organization, Ballet Chicago continues to foster American classicism in this deeply American city.
"Save the date" --- We are excited to announce our Fall fundraiser to be held in our new studios on Thursday, September 30, 2010. This very special event will showcase the Philip and Marsha Dowd Merit Scholarship Program. It will include a silent auction, live performance by Ballet Chicago artists, and dedication of our main studio. Most importantly, all funds raised will benefit the Dowd Merit Scholarship Fund! Watch your email for more details and an invitation later this summer.
Sincerely,
Dan Duell
Artistic Director
|
|
5/11/2010 - Ballet Chicago's Classical Twist Serving a Vision of Dance
As we continue preparing the glittering program of works the Ballet Chicago Studio Company will perform this May 21 - 23 at Chicago's Athenaeum Theatre, I am reminded daily of the vision of dance the program represents and serves.
It is a vision of beauty, vitality, musicality, sophistication, and diversity. It is a vision that brings large-scale amplitude and energy to movement, yet a vision that also heightens and refines all the "little moments", the quick transitions, the simple steps, the in-betweens, so that they are polished and made visible as little miracles in their own right. It is a vision that guides dancers toward explicitly clear articulation of arms, hands, head, neck, shoulders, legs, knees, and feet while developing strength of attack, clarity of rhythm, purity of positions, clear turns and balances, pliant jumps, and joyous confidence. It is a vision that trusts movement in space and time to deliver deeply moving messages to artists and audiences alike. And above all, it is a vision that calls on dance and dancers to serve the medium without which dance would not exist, music.
Incorporating the late twentieth-century classicism developed over five decades by George Balanchine at his School of American Ballet and his company, the New York City Ballet, each day at Ballet Chicago Associate Director Patricia and I work to unlock the individual potential of our dancers by honing their technique, cultivating their musicality, and developing their natural stage persona.
After all, dancing choreography onstage in performance for audiences is the culmination of, the raison d'être for, training. At Ballet Chicago, performance of choreography onstage is also the guideline for our training, for it is choreography that is the catalyst for schools of training, not vice versa. Analogous to serious schools of music that bring up young musicians on identified masterpiece repertory, re-visiting it over the years at increasing skill levels, Ballet Chicago brings up its dancers on the masterpieces of George Balanchine, along with selected new choreography, to prepare them for future careers.
Is focusing primarily on one choreographer limiting? Quite the contrary, as rarely if ever has there been a choreographer possessed of a vision at once so vast in breadth and specific in detail. Drawing on his Russian roots, Mr. Balanchine, who considered Marius Petipa his spiritual forefather, re-visited lovingly and in depth the full movement vocabulary and technique he had grown up with, and built from it. He re-fashioned body placement, extended the length of body lines, clarified directions, made positions more exact. He found a way to make clear rhythm an integral part of the dancer's technique, and for dancers to be liberated from having to look where they are going in order to know where they are going. As the great ballerina Violette Verdy said during a lecture at Chicago's Alliance Française, "He amplified, he clarified, he sophisticated, and he enhanced...all that had gone before."
Come see our dancers May 21 - 23, performing works that range from exquisite classicism in Balanchine's "Divertimento #15", to jazzy neo-classicism in Balanchine's "Who Cares?". And in keeping with Mr. B's dictum for young choreographers, "Whatever you do, dear, it has to be your own!" Come experience very different stylistic explorations in Ted Seymour's "A Pulse Stolen" (Ted's own distinctly unique contemporary movement), and my "Mono No Aware" (martial-arts based movement motifs inspired by the 20th-Century samurai, poet, and author Yukio Mishima).
Of note too, are our guest artists, featuring School of Ballet Chicago alumni Nicole Stout, Parker Brasser-Vos, and William Miglino along with alumnus Ted Seymour (all now in professional careers), and Hamilton Nieh, who is in his 4th year performing with us. We also warmly welcome Abigail Simon of the Joffrey Ballet, Matthew Renko, New York City Ballet and Suzanne Farrell Ballet, and well-known Chicago artist J.P. Tenuta of Momenta and Luna Negra, performing with us for the first time.
See you May 21 - 23 at the Athenaeum Theatre!
Sincerely,
Dan Duell
Artistic Director
|
|
4/19/2010 - Ballet Chicago's Classical Twist A Touch of the Sublime, Diversity Galore
We are preparing a truly extraordinary program of works to be performed by the Ballet Chicago Studio Company this May 21- 23 at Chicago's Athenaeum Theatre.
As I write, we are deep in rehearsals for our opening work, George Balanchine's exquisite "Divertimento #15", set to the Mozart music from which the ballet takes its name. Getting close to this lovely, wonderfully detailed piece is a dose of heaven on earth..an inside look at one of the most beautiful of works by two towering geniuses. The blessing of having learned and performed one of the ballet's three principal male roles under "Mr.B.'s" direction adds valuable first-hand knowledge to the preparation of the work.
In addition, we have engaged the staging expertise of long-time artistic friend and Balanchine repetiteur Sandra Jennings, who also performed "Divertimento # 15" with New York City Ballet under Balanchine's direction. An exceptional authority who now stages Balanchine works all over the world, Sandra brings a wealth of knowledge and experience. We are very happy that she is so thoroughly impressed by our dancers, the depth of their Balanchine-oriented training for this very challenging work, and the dynamic coaching of Associate Director Patricia Blair.
Balanchine profoundly revered Mozart, and is known to have said, "All of Mozart's music dances!" A personal story: one day in Mr. B.'s company class as I was working to perfect a complex sequence of petit allegro steps early on in my performing years, he stopped me, and said, "Dear, don't ignore glissade" (glissade is a transitional, connecting step). He went on, "You see, a composer is a very, very, great person. He starts with nothing, and makes a design of sound in time, and every moment of this design is conscious, so we (dancers) must show conscious attention to every moment of this design." He then went on to say, "You know, if you merely copied down one note per second of all Mozart's music, in seventy years you would not finish writing down what he composed from scratch in his thirty-five years." Mr. B.'s reverence for Mozart's music was made abundantly clear to me that day. That reverence and Mr. B's genius have resulted in a work that can only be called sublime in its aesthetic beauty and its wondrous illumination of Mozart's exquisite score. It is high time it is seen in Chicago again!
But audiences are also in for other special experiences in our program. Balanchine's jazzy, irresistibly high-spirited "Who Cares?" set to a suite of glorious George Gershwin songs, returns to close our program with a bang, and in between Balanchine's masterpieces are the return my "Mono No Aware", a martial-arts styled fantasy to music of Phillip Glass, and a world premiere by choreographer Ted Seymour to movingly tender and evocative music by Chopin, Project, MUM, and Max Richter. Diversity galore, indeed!
More commentary to come on this wonderful program...I look forward to seeing you at the Athenaeum Theatre May 21 - 23!
Sincerely,
Dan Duell
Artistic Director
|
|
1/26/2010 - Ballet Chicago Concludes Successful Nutcracker, Leaps into 2010
Ballet Chicago's "Nutcracker" had a very successful run at Chicago's Athenaeum Theatre just a month ago. Overall attendance met our projections, a real accomplishment in this economy, and attendance by Chicago school children (in partnership with Urban Gateways and Chicago public schools) substantially exceeded projections! Advertising presence on the CTA helped bring many new faces into our audiences, and corporate sponsorships were up; in addition to Target as overall season sponsor for a sixth consecutive year, all our public performances were individually sponsored by Chicago corporations, a strong sign of growing support for Ballet Chicago from the city's business community.
Over twenty Ballet Chicago debuts took place in featured roles, marking tremendous artistic development in our dancers. Repeat collaborations with the highly respected dance companies Deeply Rooted Productions and Luna Negra Dance Theater brought us splendid guest artists to fill out our very large cast. Production enhancements included a stunning new Christmas tree, new lighting effects, and lovely all-new costumes for our "Waltz of the Flowers".
2010 sees wonderful things already happening at Ballet Chicago - we are honored to host the cast and crew of the smash-hit musical "Billy Elliot" in our studios, for which the building out of a fifth dance studio was recently completed to accommodate preparation of the show. Having accepted an invitation to teach the young male stars a special class on January13, I can testify first-hand to their very great talent. The show opens in March at the Oriental Theater, and rehearsals will continue at Ballet Chicago throughout the year.
Our most extensive national audition tour yet is also in full swing. During this month and throughout February, Associate Director Patricia Blair and I, along with guest teachers Ted Seymour and Sheila Rozann, are auditioning students coast-to-coast in twenty-one cities for our 2010 Summer Intensive. This tour provides students around the country with a sample of our training, enhances our recruiting, and helps maintain a national presence for Ballet Chicago. Thus far the tour is going extremely well, as numbers of auditionees and talent level are both up.
Meanwhile, in our beautiful new studios we have resumed training of our talented young artists in today's dynamic American classicism, utterly unique in this region. American classical training is now an established leading force in the art form, attracting students from around the world as well as from the United States. Forged on American dancers at George Balanchine's School of American Ballet, its innovations and beauty can be found abundantly right here in our own studios. On January 22nd we celebrated Mr. Balanchine's one hundred sixth birthday, and we have much to thank him for!
Plans are being finalized (soon to be announced) for our Spring Repertory performances this May 21- 23, bringing our full-year program to its annual culmination in performances of major Balanchine works along with innovative recent and new work...a live-performance experience not to be missed!
So save the date, and stand by for more news from Ballet Chicago as we continue our vital contributions to Chicago's cultural scene and to our beautiful art form.
Sincerely,
Dan Duell
Artistic Director
|
|
12/10/2009 - Ballet Chicago's The Nutcracker - - - A Production With A Difference
Since its first performances in Russia in 1893, "The Nutcracker" has delivered delight and joy to millions. The simple tale of a little girl's dreams around Christmas touches hearts the world over, and Tchaikovsky's beloved score, brimming with beautiful melodies and colorful orchestration, carries the story line irresistibly with majesty and mystery. There are many versions of this beloved work; herewith a few things that distinguish Ballet Chicago's "Nutcracker":
The traditional Battle Scene in many productions involves regiments of toy soldiers and mice in extended battle sequences. In our version, the battle is kept to a struggle between the two primary opponents, the Nutcracker, who has magically come to life, and the Mouse King. Our production also condenses the Party Scene, resulting in a streamlined Act 1 that flows by quite swiftly. This makes the overall length of our production somewhat shorter than most, and very family-friendly.
Another special feature of our production is George Balanchine's stunningly lovely Act II Grand Pas de Deux for Sugar Plum Fairy and her Cavalier. This beautiful duet is America's successor to the original choreography by Petipa and can only be seen in Chicago in our production.
Then there is the great diversity of our performers, who appear from age three and up and span all cultural and economic backgrounds. High-quality performances from our own star-caliber Studio Company members are supplemented by outstanding guest artists Pierre Clark and Joshua Ishmon of Deeply Rooted Productions and Hamilton Nieh of Luna Negra Dance Theater, as well as the return of one of our own graduates, Ted Seymour, who now performs with the internationally renowned Suzanne Farrell Ballet of Kennedy Center.
Another unique artistic aspect of Ballet Chicago's "Nutcracker," is the Snow Scene in Act I and Waltz of the Flowers in Act II, often used primarily as a vehicle for one or two soloists with the ensemble very much in the background. In our production, these dances feature a constant flow of movement patterns and brilliant steps for the ensemble that complement exciting virtuoso choreography for the leading dancers. This enhances opportunity for all dancers to shine, and results in a rich viewing experience for audience members no matter where they are seated. It also provides a strong aesthetic core to the production; were we to strip away our vibrantly colored costumes, props, and scenic elements, viewers could enjoy our "Nutcracker" for the dancing and movement design alone.
Of course our "Nutcracker" provides a full array of gorgeous costumes, charming props, and beautifully painted scenic backgrounds, presented in Chicago's historic Athenaeum Theatre. A cultural gem on Chicago's near North side, this intimate theatre has excellent viewing throughout the house. No audience member feels distanced from the action on stage, a special feature in its own right.
Twelve years after its studio debut, Ballet Chicago's "Nutcracker" has evolved into a beloved treasure in Chicago's holiday offerings, and its popularity continues to grow. Get your tickets now! Call Ticketmaster at 1-800-982-2787, or visit the Athenaeum Theatre box office at 2936 N. Southport Ave., Chicago, IL 60657.
Warmest holiday wishes,
Dan Duell
Artistic Director
|
|
11/5/2009 - Classes and Programs Begin in Ballet Chicago's New Quarters
Wonderful things have been happening at Ballet Chicago since my last blog! We are up and running in our new space, thanks to the exceptional organization, energy, and dedication of our small staff and large crew of volunteers. Dancers, parents, and visitors are all overwhelmed by the beauty and the spaciousness of our new quarters.
In addition to School of Ballet Chicago classes and Ballet Chicago's vibrant production of "The Nutcracker" in full preparation, our resident troupes Deeply Rooted Productions and Luna Negra Dance Theater are busy rehearsing, reveling in the airy lightness of the studios, and no longer hearing the "El" roar by during classes and rehearsals.
Our new space enables us to develop our young artists and foster diverse artistic collaborations in an environment that reflects the quality of the work being produced. This environment helps us better prepare the educational and performance offerings that occupy such an important niche in Chicago's cultural landscape. In addition to our major performances of "Nutcracker" and annual Spring Repertory, each year we do multiple performances for young people at Chicago's Cultural Center and at the Athenaeum Theatre, providing valuable performing experience for our young artists and inspiration for future audiences. In-studio performance events will also complement our programming; as an example, this past September 27, in association with the Auditorium Theatre, we conducted a Balanchine Symposium that drew 111 participants in a combined program of master classes and lecture-demonstration by Miami City Ballet principal ballerina Jennifer Kronenberg, her partner Carlos Miguel Guerra, and Ballet Chicago School Director Patricia Blair. (I am grateful to Ballet Chicago Board members Mary Ann Cronin and Sandy Popik , Miami City Ballet Artistic Director Edward Villella, the Auditorium Theatre's Executive Director Brett Batterson and his staff, Ballet Chicago staff members, and of course the two glorious dancers for making the event such a success).
Our upcoming "Nutcracker" performances are next! Our production emphasizes beautiful dancing as little Marie's magical story unfolds; the excitement of our dancers' polished technique and the flow of lovely movement patterns keep the action moving along delightfully. With our vibrantly colorful costumes and Tchaikovsky's irresistible music, our "Nutcracker" is a special experience. And in our new space we are able to prepare our dancers in a large studio with dimensions much closer to the actual stage of the Athenaeum Theater.
An important note here: stepping up to a new future in this wonderful new space means we have incurred acquisition costs far above and beyond our normal operating budget, including movers, set-up of phone and internet systems, cleaning and clearing out of our previous space, and other costs. Please help keep us strong by giving generously to offset these extra costs. You may donate through our website by clicking here, or you can call, or mail, or deliver your contribution in person.
Balanchine-based, American classicism in Chicago is going strong!
|
|
9/13/2009 - Ballet Chicago on the Move
In the midst of a challenging economy and a competitive cultural environment, Ballet Chicago is taking an important step that significantly upgrades the platform for its future. Effective November 1, 2009, Ballet Chicago will take up residency in its new quarters at 17 N. State Street.
This change heralds a new era for our organization. We will be conducting our fall term with the largest pre-enrollment we have ever had in four freshly re-furbished studios with more space than those in our current facility, improved client amenities, full administrative offices, and increased opportunity for long-term growth.
This crucial, life-changing move is made possible through the efforts of the Board of Ballet Chicago's Real Estate Committee, and I wish to express deep thanks to David Fleener, Mary Ann Cronin, Rebecca Halpern, Ellen Layton, and Wes Broquard for their indispensable expertise and generous help.
Students, their families, dance professionals, and visitors will enter our building at ground level through a beautiful marble lobby with 24-hour security. After a ride to the 19th floor in one of the multiple elevators, clients will encounter air, light, and quiet as they are greeted by administrative reception. Full facilities in dressing rooms, including multiple showers for both men and women, will enhance attendees' experience as they prepare for work in the studios.
All four studios receive abundant natural light from large windows that look out onto lovely views of Chicago's downtown skyline. Comfortable sprung wood floors will support the vital ongoing work of Ballet Chicago and the Ballet Chicago Studio Company (Chicago's only Balanchine-based training institution), and its resident companies, Deeply Rooted Productions and Luna Negra Dance Theater.
A resting and eating area with sink, refrigerator, and microwave all situated by large windows affording natural light will pleasantly accommodate clientele and visitors during breaks and waiting times.
To help kick off our new residency, on September 27 Ballet Chicago will host its first ever Balanchine Symposium in the new studios. Developed through association with the Auditorium Theatre and its presenting of Miami City Ballet, this event will offer to area dance students master classes taught by Miami City Ballet principal ballerina Jennifer Kronenberg, Ballet Chicago Associate Director Patricia Blair, and a special advanced men's class taught by me. A lecture-demonstration that I will host features an in-studio performance of selected Miami City Ballet repertoire by Ms. Kronenberg and her partner Carlos Miguel Guerra. Go to our website at www.balletchicago.org/balanchinesymposium.asp, or call Programs Coordinator, Sara Ludington at 312-341-9290 for more information.
Ballet Chicago's commitment to fostering diversity in our art form continues apace through our performances for young audiences, our SOAR program through the state of Illinois, collaborations with our resident companies, and our encouragement of applicants for training from all socio-economic and ethnic backgrounds.
With a uniquely American classical curriculum that points to the future of the art form, multiple training programs and performance opportunities well established and increasing, and a fresh new facility to grow in, Ballet Chicago is indeed on the move!
|
|
8/13/2009 - Turn the Fifth
This little phrase, the special catchword for the School of Ballet Chicago summer course this year, carries within it a world of significance.
To begin with, the phrase refers to classical ballet's fifth position, fundamental to the ballet vocabulary. By drawing the feet together so as to fit, turned out, exactly heel-to-toe, it becomes the position that most completely collects the energies of the human physique into a single focal point, that point from which dancers can move in more directions in more ways than from any other single position. It is also the position that most often completes movements. Thus, fifth position is truly classical ballet's "home base."
As taught at the School of Ballet Chicago, the kinesthetic action required to make fifth position is carefully developed through the use of turn-out in a way that beautifies and makes secure all the movements that stem from, or arrive in, fifth position. Indeed, this action of turning from in to out, this constant spiraling of energy, enhances the beauty of all movements in today's classical ballet. Thus, "turn the fifth." At Ballet Chicago, fifth position is given its full due every time one arrives in it --- no rebounding out of it, which is an unmusical and inarticulate way to use this fundamental position.
A constant awareness of this vital action is a key ingredient to dancers' training. Often a single phrase, applied in conjunction with specific instruction, fosters such awareness. Mr. Balanchine, as he developed his specifically American approach to technique, often employed useful word phrases to help people remember important things. Our dancers have been hearing "turn the fifth" a great deal this summer! So simple, and so easy to remember, these three little words instantly recall all the kinesthetic processes our dancers work on so hard in our studios, and thus become a tool that they can carry with them to continue teaching themselves.
Thinking about the nearly forty dancers who have found professional employment after training at the School of Ballet Chicago since the year 2000 (our School opened in January, 1995), from companies in Chicago to ones throughout the United States and beyond, it is inspiring to realize that key little phrases, and beautiful fifth positions, follow those dancers throughout their careers.
As we close our 2009 summer program, once again students experiencing SBC's teaching for the first time this summer are clamoring to join our annual program. With just a few weeks to get acquainted with our American, Balanchine-based approach to classical training, they realize its sophistication and beauty, and crave more of it.
Watch for more on twenty-first century American classicism in my upcoming blogs!
|
|
7/6/2009 - Why Balanchine for the School of Ballet Chicago
One might answer that question simply with, �Just look at his magnificent ballets.� As the region�s school for Balanchine-based training and performance of his choreography, every year Ballet Chicago affords audiences the opportunity to see major Balanchine works during the Ballet Chicago Studio Company�s Spring Repertory performances.
But the question is truly a bigger one. Ballet Chicago is about a vision of dance that Balanchine developed here in America on American dancers at his own School of American Ballet. That vision that is now recognized the world over. Balanchine-based technique is truly an American form of classical ballet, therefore Ballet Chicago is about teaching today�s American classicism.
What makes it different from other approaches? For one thing, it is a highly sophisticated, contemporary classicism that evolved from its various roots, which include Balanchine�s experience as a student at the Maryinsky School in St. Petersburg, technical vocabulary and method applied from Enrico Cecchetti and from the great Danish master August Bournonville, and the grand palette of American dance, customs, athleticism, and adventuresome spirit that so entranced Balanchine throughout his long career. That evolution continues to this day through schools such as Ballet Chicago�s.
In addition to standard technical necessities like sound bio-mechanical alignment and placement, this technique demands heightened precision in leg and footwork, enhanced lyricism in arms and heads and upper body, great internal muscular support, and great rhythmic awareness (rhythm being a primary component of musicality). It also asks for warmth of spirit, alacrity, generosity, and a willingness to bring out one�s natural persona without affectation in every class, every day. This cultivation of natural persona translates beautifully to performance onstage.
These enhancements, these amplifications if you will, of the traditional Russian technique from which Balanchine came (and for which he had an abiding love), are aimed at serving the requirements of Balanchine�s ballets, of which over seventy are in active repertoire throughout the world. They are known and loved for their beauty, their vitality, their high technical demands, and are especially revered for their peerless musicality. While many do not describe a specific plot line, they have a deep and encompassing humanity that tells the magnificent and compelling story of the human spirit expressed through the human body in movement.
Bringing dancers to the place where they can dance Balanchine choreography takes years of preparation. Fortunately, my fifteen years in the New York City Ballet (ten under Balanchine�s direction until he passed away in 1983), in addition to three prior years in his School of American Ballet, serves as a broad first-hand grounding. In addition, the School of Ballet Chicago benefits from the invaluable experience of School Director Patricia Blair, who worked with one of Balanchine�s great stars, Edward Villella, and began rehearsing and teaching major Balanchine ballets while still an actively performing ballerina.
So, why Balanchine? It is a vast subject that no single message can cover, but here you have the beginning of an answer. Look for more in my next blog!
|
|
|
|
|
|
 |
|
|
|
|
|
|
|
|
Contributing Photography - Susan Aurinko, Mark Niekrasz, Vincent Chaigne, Daniel Duell and Margo Ruter
All choreography by George Balanchine © The George Balanchine Trust |
 |
 |
 |
|
|
|
| | |
