Breakfast: a piece of homemade bread toasted with peanut butter and jam, scrambled eggs, possibly some berries or part of a banana, and coffee
Lunch: a sandwich – turkey and cheese being a common go-to option – or dinner leftovers
Dinner: some sort of protein such as chicken or fish, accompanied by a grain and vegetable combo
Breakfast Recipe - 100% Whole Wheat Nut and Seed Bread
1 1/3 cups lukewarm water
3 tablespoons olive oil
5 tablespoons honey, molasses or maple syrup
4 cups whole wheat flour
1/4 cup sunflower seeds, chopped*
1/4 cup walnuts, chopped*
1 1/2 teaspoons salt
2 1/2 teaspoons instant yeast
To prepare the dough: Combine all of the ingredients, and mix them until you have a shaggy dough. Let the dough rest, covered, for 20 minutes, then knead till fairly smooth. Allow the dough to rise, covered, for about 2 hours, or until it’s puffy and nearly doubled in bulk.
Gently deflate the dough, shape it into a log, and place it in a lightly greased 8 1/2″ x 4 1/2″ bread pan. Cover the pan with lightly greased plastic wrap (or a clear shower cap), and allow it to rise for about 2 hours, till it’s crowned about 1″ to 2″ over the rim of the pan.
Bake the bread in a preheated 350°F oven for 40 to 45 minutes, tenting it lightly with aluminum foil for the final 20 minutes of baking. Yield: 1 loaf.
Breakfast: coffee and oatmeal with a handful of blueberries or some other fruit
Lunch: sandwich with pesto, sliced mozzarella, Roma tomatoes, and something leafy on two slices of homemade whole wheat bread
Dinner: pasta with marinara sauce, ground turkey (or grilled chicken) and possibly some cooked broccoli or spinach mixed in at the end, a salad with crumbled feta and kalamata olives, and a baguette fresh out of the oven
Snacks: Greek yogurt, almonds and fruit are great for workday pick-me-ups
Lunch Recipe - Homemade Wheat Bread
7 cups whole wheat all-purpose flour
1 1/2 tablespoons Yeast
1 tablespoon kosher salt (increase or decrease to taste)
1/4 cup Vital wheat gluten
Mixed into a food safe but not airtight container, add and mix in:
3 & 1/4 cups lukewarm water
1/2 cup of honey (You can also use only water instead of honey)
Don’t over-mix, this is a no-knead recipe!
Leave container of dough covered, out on the counter for 2+ hours to allow it to rise, and then put it in the refrigerator. You can use the dough piece by piece for up to two weeks.
Pull off a cantaloupe-sized chunk of dough, shape it into a ball, then elongate it a bit into an oval and toss it into a loaf pan. Let it rest (loosely covered with plastic wrap) for 90 minutes and then bake it at 350 degrees for 50-60 minutes. Note: If you use only water you’ll have to adjust baking time and temperature, but the process is essentially the same.
After letting the loaf cool, slice it up to have sandwich bread for the week!
Breakfast: a bowl of cereal, some juice, and a banana
Lunch: leftovers, or a sandwich or something else quick from a nearby restaurant. Can’t miss homemade Thai food from Royal Blue Grocery on Fridays!
Dinner: simple and quick meals for dinner, with enough for a few days of leftovers
Snacks: fruit, yogurt, trail mix, and chocolate milk
Dinner Recipe – Ed’s Simple Stir Fry
6 tablespoons soy sauce (or to taste)
2 tablespoons minced ginger
2 (or more) cloves of garlic, minced
Optional: crushed red chilies, rice vinegar, teriyaki/Sriracha/hoisin/oyster sauce, etc.
sesame or other neutral oil (for use over high heat)
1 onion, chopped
1 lb. tofu (or another protein), cut into bite-sized pieces
6 cups assorted vegetables chopped into similar shapes/sizes
A splash of water, stock or white wine
First, prepare the sauce by combining the soy sauce, ginger, garlic, and whatever else you like in a small bowl. Taste, adjust, and set aside to let the flavors meld.
At this point it’s best to prepare all the other ingredients and have them ready by the stove.
Heat a tablespoon or so of oil in a large skillet or wok over medium-high heat. Add the onion and cook for a minute or two, stirring occasionally. When the onion begins to soften, add the protein and cook until the tofu begins to brown or the meat is almost fully cooked.
Add a splash of the sauce and cook, stirring frequently, until the tofu is nicely browned or the meat is done. Remove the onion and protein and set aside. Return the pan to the heat and add another tablespoon of oil. When the oil is hot, add the vegetables and turn the heat to high. Add the splash of liquid and cook, stirring constantly, until the vegetables are tender.
Turn off the heat and return the onion/protein mixture to the pan along with the rest of the sauce. Stir until evenly mixed and heated through. Serve immediately over rice or noodles, and save the leftovers for lunch!
You can see Brittany, Anne Marie and Ed in all of their well-fed glory, May 11-13 in Romeo & Juliet. Tickets here.
Romeo & Juliet marks the end of the 2011/12 season, and with elaborate sets and costumes it is certainly a grand production. Read on for a behind-the-scenes look at some of the most interesting production stats.
Costume and Set:
80 costumes and 25 head pieces are worn throughout the production, including period style handcrafted leather boots which cost around $450.
4 wardrobe crew members and special changing booths constructed backstage allow for the dancers’ quick costume changes.
So what is the production budget for all the costumes? Approximately $100,000 when Ballet Austin first acquired them. Replacement costs in today’s prices would range from $200,000 to $250,000.
Lady Capulet’s ballroom gown, worn by Associate Artistic Director Michelle Martin, weighs 30 pounds.
The costumes were made from fabrics like silk chiffon, linen, wool and cotton to give them the realistic look and feel of the clothing worn during the Italian Renaissance.
Ironically, the first person to wear (and sweat in) the Romeo costume was not Romeo himself, but current Company Manager Eugene Alvarez!
Dancers will go through roughly 80 pairs of pointe shoes during Romeo & Juliet rehearsals and performances.
The tomb scene once used live candles. Due to fire codes this is no longer allowed, and now 360 lighting instruments illuminate the stage throughout the production.
3 truss spot operators are suspended over the stage during the performances. Truss spots are follow spotlights manned by operators on a rig above the stage.
Romeo & Juliet has 45 characters, which means some of the dancers play multiple roles and require many costume changes.
From cats that play dead to dogs that wear scarves, our dancers’ pets are almost as diverse as the Company members themselves:
Orlando Julius Canova
Pet: Lia // Dog
Age: 8 years old Lia acts about as far from 8 years old as she can get. Not only does she bound around the Ballet Austin offices with the energy of a puppy, she loves to swim and roll around in the water. When Orlando moved from Chicago to Texas with Lia, it was too hot for her to fly in the pet section of the airplane. So, instead, Orlando and his mom took a 2-day road trip down to Texas with Lia in tow. In the words of his mom, “This dog better live forever.”
Ashley Lynn Gilfix
Pets: Samson // Dog and Desmond (Desi) // Cat
Age: Samson is 4 years old; Desi is 8 years old Orlando isn’t the only one who brings his dog to work: Ashley’s dog Samson is also a frequent visitor – getting treats from the front desk before running back to the locker room where he is crated during rehearsals. Ashley’s cat, Desmond, is also a performer – this big kitty loves to “sing” and is definitely the boss of the two pets.
Anne Marie Melendez & Paul Michael Bloodgood
Pet: Cordelia (officially “Cordelia Chase Bloodgood”) // Cat
Age: 8 years old Adopted just before Paul and Anne got married, Cordelia is more like a dog than a cat. In addition to running to the door when Paul and Anne come home, she also has a bag of tricks that includes sit/stay, shake and play dead when Paul shouts, “BANG!”\
Pet: Bowser // Dog
Age: Almost 2 years old Bowser, a huge snuggle bunny with an extreme overbite, is friends with a few of the other dancers’ dogs – particularly Samson and Stella (see the end of this post). Happy and energetic, Bowser loves to play fetch outside, but hates giving back the ball. According to Chelsea, he is definitely a mama’s boy – even if his dad disagrees!
Pet: Chibi // Dog
Age: 2 years old For such a tall dancer, Chris has a very small dog. Fittingly-named, “Chibi” means “little person” in Japanese. Chris got Chibi from a local breeder, despite originally setting out to get a different dog. When Chris arrived at the breeder, however, it was Chibi who was the most interested and playful of all the puppies. Later that night, after Chris took Chibi – then only the size of an iPhone – home to his new house, she curled up on his foot and promptly passed out. Love at first cuddle.
Pets: Tucker // Dog & Dudley and Scoot // cats
Age: Tucker is almost 8 years old; Dudley and Scoot are 1.5 years old Beth rescued Tucker almost 7 years ago during a road trip to California, and later adopted her two cats (Dudley and Scoot) to help keep Tucker company when she’s at work. Tucker is full of energy and loves to go along for bike rides with Beth in the mornings. People often mistake him for a puppy because he’s so wiggly and affectionate. Dudley and Scoot are convinced they’re dogs, too, and according to Beth they love to follow along on walks around Town Lake.
Pet: Stella // Dog
Age: 1.5 years old Kirby’s dog Stella, a brindle boxer, is filled with energy and constantly has love to give (usually with slobbery kisses). A social butterfly, Stella loves trips to the off-leash dog park in Kirby and her husband’s neighborhood, as well as weekend trips to Red Bud Isle, Zilker and Turkey Creek.
When we began talking internally about Light / The Holocaust & Humanity Project, Artistic Director Stephen Mills walked us through the inception of the ballet. Read below to see how he found inspiration for his work – or in this case, how it found him.
In the life of an artist one is always searching. The search for a narrative, music, new movement language, or simply a kernel of an idea is constant and ongoing. An artist has to remain open to possibilities. Ideas rarely come while sitting behind a desk or computer. Very often the best work comes from years of collecting seemingly disparate ideas. I keep files of tear sheets from magazines of images that are interesting or provocative. Art and fashion magazines as well as newspapers contain great source material. I store away unusual colors I find from various sources. Even paint chips can become part of my hoarding. I find music I like and put it back until I find a project it might be right for. I even collect titles for dances that might not be created for years, if ever. I hold all this information in files, on my computer or iPhone, and in my mind simultaneously. For me, the idea for a dance might happen over the course of years because all the visual and aural information I’ve gathered needs one unifying, ‘ah ha’ moment to bring it together. At that point it becomes like a puzzle where I can see all the pieces, and I go about assembling them. Why it happens like that, I don’t understand.
In my full-length ballet Hamlet, the dance is divided into two acts. Act II is set in a completely white environment with two very large ski slope like structures upstage. These ‘scoops’ serve a couple of purposes: Besides being aesthetically beautiful, the structures allow for the white of the floor to carry up onto the back wall, which visually elongates the floor. Secondly, they become the ground in which the character Ophelia is buried after her death. The idea for this device came to me at the end of a flight when I noticed structures such as this at the end of the runway. I believe that in an emergency they prevent the planes from over-shooting the runway. Originally designed as safety devices, they now find themselves in a ballet. This image, photos of red flowers and plexiglass tubes came together to create that ‘ah ha’ moment; the aesthetic of the work became inevitable.
And though artists are always in search of new projects, sometimes the project seeks out the artist. Light/The Holocaust & Humanity Project is an example of a work in search of an artist. In the creation of this piece I used images from my files – all of which were unrelated to the Holocaust. In developing this dance I used all the devices I’ve mentioned but brought one more element to my process of brainstorming: Memory. I spent an entire year researching the historical narrative of the Holocaust, and brought from Europe many photographs and books. Studying the ways in which the Holocaust has been represented in the past was very informative, and the ways in which loss and absence has been illuminated became important.
I have had the good fortune to spend time with many Holocaust survivors. Hearing firsthand accounts of the pain and loss people endured during this catastrophic event has left an indelible mark on my psyche. I am forever changed by this knowledge, as well as by the generosity of those who shared this intimate information. But there is no art – no enduring art – without inspiration. For me, the inspiration for this work came from Naomi Warren. A survivor of three of the most notorious death camps in history, Naomi lost nearly her entire family in the Holocaust. Naomi is inspiring because of her tenacious and resilient nature, and her positive perspective in the face of unimaginably negative knowledge is awesome. Creating this work was difficult, emotionally challenging, eye-opening and fulfilling. I have had the most profound experience of my dance making career because the inspiration for creating it came from a very spiritually connected place. I believe Naomi served the role of medium between that place and me, and obviously it will be nearly impossible to access that place again. I am no more certain of where inspiration comes from than before this project, but I now know to expect the unexpected and appreciate the opportunities when they arise.
Ballet Austin II dancer Sarah Hicks lets us into the world of creative “workshopping”.
As a young dancer, you don’t often have the privilege to be choreographed. The opportunity to have a completely new work of art created for you is perhaps one of the most exciting parts of being a dancer. The fact that I have experienced this with Nelly van Bommel’s Hansel and Gretel is absolutely thrilling, to say the least.
Every choreographer works and creates movement differently. In Nelly’s case, we went through an exhilarating, entertaining and, at times, completely hysterical process we called “workshopping.” In these creative brainstorm sessions Nelly would give us a simple idea, such as pretending to run through a room full of shattered glass, and have us show her our physical interpretation. From there, she would take the movement we gave her and morph it into something quintessentially “Nelly.”
After much manipulation and innovation on Nelly’s part, we ended up with movement that could easily be described as playful, energetic and even mischievous. Her choreography is largely based on a tribal-like community feeling in which moving as a group and being comfortable with your fellow dancers is crucial. She challenged us to create games, to be shamelessly verbal while dancing, and to spend a lot of time rolling, stomping, scooting and crawling on the floor (activities we “bun-heads” generally find mortifying!). Despite all this, the challenges paid off and we ended up with a piece that is funny, charming and truly unique.
Another notable quality of Nelly’s work is her use of props. As an audience member, you will quickly find yourself thrust into a world of spinning tables, four wheel drive shopping carts, and velcro cupcakes. Nelly created a full sensory experience in her fabulously comical interpretation of a fairy tale classic.
Hansel and Gretel is entertainment for the whole family, sure to please audience members of all ages. Don’t miss it!
Hansel and Gretel opens Feb 25. Tickets available here.
Associate Artistic Director, Michelle Martin, discusses how one choreographer’s personality, background and constant curiosity combine to make Hansel and Gretel a ballet you won’t forget.
Nelly van Bommel’s Hansel and Gretel, is one of those rare examples of a work that appeals across generations, and its success is as much a reflection of her energy and sense of humor as it is of her choreographic talent. Nelly’s curiosity provides her with a limitless pool of inspiration, and she draws on her background in street theater, and modern dance technique to express her discoveries.
I came to know Nelly through Ballet Austin’s biennial choreographic competition, New American Talent/Dance. She was one of the three finalists in 2010 and I spent two weeks in the studio with her as she created a new work, Fanfarneta, for our main company. As she worked, I was fascinated by her interest in human interaction and her eye for nuance, particularly within interpersonal encounters. I thought her highly theatrical aesthetic would be a wonderful match for a narrative work, and her collaborative approach would provide a rich experience for the dancers in Ballet Austin II. I was thrilled when she accepted our invitation to create Hansel and Gretel.
Nelly’s work on Hansel and Gretel began with a series of facilitated games for the dancers. Some were based on movement and others involved vocalization. Through this process she began to know the dancers as individuals, in terms of both physicality and personality; and from this foundation, she matched each dancer with her ideas of the characters from Hansel and Gretel. Using the movement from her games, she crafted the dance portions of the piece first. Set to a series of traditional German folk songs, they’re high energy and playful, establishing her whimsical perspective on the story and its characters. The narrative scenes, particularly with the Witch, Hansel and Gretel, and their parents, were made in a very collaborative way – the dancers contributed to the development of the characters and the progression of the story. Nelly’s unique perspective is interspersed throughout the ballet with quirky interjections of props that are brilliantly out of context and absolutely hilarious – a wildly retro vacuum cleaner, baskets of apples and mountains of marshmallows .
Kody Jauron, “Hansel”, lets us in on why Hansel and Gretel isn’t your mother’s fairy tale.
I’ve thoroughly enjoyed being a part of the creation of Hansel and Gretel! Working with choreographer Nelly van Bommel has been an enjoyable and memorable experience. Nelly is whimsical, playful, theatrical, and innovative. Her sprightly personality is reflected in the choreography of this production, the theatricality she built into each individual character, and the fantasy world that she invented.
This is not your mother’s Hansel and Gretel. For starters, the story takes place in the 1950s. Hansel and Gretel are not expelled from their house because their parents cannot afford to feed them; instead, the two run away from home after accidentally breaking their mother’s most prized possession; her vacuum. Children can also look forward to a newcomer to the story, the forest fairy!
Perfect for the entire family, Hansel and Gretel has something for everyone. Kids will enjoy the fun-loving characters and seeing a familiar fairy tale translated on stage. Adults will appreciate the cutting edge choreography and unique movement quality.
This is definitely a Hansel and Gretel you won’t forget.
For our third dancer preview, we asked Orlando Julius Canova to discuss what it’s like to perform in an all-male piece.
The rumor the day Bradley Shelver arrived to cast the dancers was that Bradley was going to do a ballet only using men. Since the inception of New American Talent/Dance, no choreographer has chosen to only use men. The rumors were finally put to rest when he excused all the ladies and auditioned the ten men of Ballet Austin. In the audition that ensued we were asked to yell, tumble, and push our bodies to their physical limit. I knew that when Bradley returned to choreograph on his cast of men, it would mean one thing… PAIN.
The first day Bradley returned to choreograph, he began like a racehorse out of the starting gate. His stride was swift, and his steps were confident. From day one, Bradley was incredibly organized and sure of what he wanted. Some choreographers begin to piece work together after getting to know their dancers, but Bradley had no time for that – his brain was bursting at the seams with the ballet that danced in his mind. Bradley began to set his work immediately, and within the first day, four minutes and twenty two seconds of the ballet were choreographed.
Bradley’s entire residency continued in this pace. Bradley had a schedule and no matter how grueling and difficult, he stuck to it. Every day, I went home battered and bruised both mentally and physically. After a week of floor burn, swollen knees, and bruised thighs the ballet was finished. Let me reiterate: Bradley Shelver finished his ballet in only a WEEK.
Though done in only a week, with six sections, two solos, and even a pas de deux, the ballet does not lack for anything. I believe that the bonds of camaraderie between the men of Ballet Austin have grown stronger. The work that took place in AustinVentures StudioTheater was focused and dedicated, and because of this Bradley’s piece is filled with anxiety, tension, beauty, athleticism, grace, and strength. This piece makes me proud to be a man of Ballet Austin.
Today is the last day of Bradley Shelver’s residency. As I write this blog I am well aware of the crick in my neck, the scabs on my feet, and the pain in my muscles. I am also well aware of the satisfaction that all these ailments give me. Bradley pushed and coached the men of Ballet Austin to the brink of insanity. When we had nothing left to give, he wanted more. When the curtain goes up on Feb, the men of Ballet Austin will give the audience more than they ever knew they could.
Tickets on sale now for New American Talent/Dance.
Get a glimpse of Ballet Austin behind the scenes and read more about our upcoming performances, as well as get an inside look into the lives of company dancers and Artistic Director and Choreographer Stephen Mills.