Tag Archives: Ballet

Casting Announced!

We are excited to announce main casting for Ballet Austin’s Golden Anniversary Production of The Nutcracker. More parts to be announced soon.

 

Herr Silberhaus
Frank Shott, Paul Michael Bloodgood

Frau Silberhaus
Aara Krumpe, Ashley Lynn Gilfix

Drosselmeyer
Edward Carr

Governess 
Anne Marie Melendez, Chelsea Marie Renner

Dresden Doll
Beth Terwilleger, Oren Porterfield

Pierrot Doll
Orlando Julius Canova, Ian J. Bethany

Nutcracker Prince
Kody Jauron, Andrew Mankin

Rat King
James Fuller, Christopher Swaim

Snow King 
Christopher Swaim, James Fuller, Preston Andrew Patterson

Snow Queen
Rebecca Johnson, Anne Marie Melendez, Jaime Lynn Witts

Sugar Plum Fairy  
Ashley Lynn Gilfix, Aara Krumpe

Cavalier
Paul Michael Bloodgood, Frank Shott

Spanish Male
Orlando Julius Canova, James Fuller

Spanish Female
Elise Pekarek, Brittany Strickland

Arabian Male
Edward Carr, Christopher Swaim

Arabian Female
Anne Marie Melendez, Rebecca Johnson

Chinese
Ian J. Bethany,    Michael Burfield

Russian Male lead
Preston Andrew Patterson, Ian J. Bethany

French male
Michael Burfield, Jordan Moser

French female
Beth Terwilliger, Oren Porterfield

Waltz lead
Jaime Lynn Witts, Michelle Thompson, Chelsea Marie Renner

 

Ballet Austin’s The Nutcracker runs Dec 8-23 at Long Center. Come celebrate the holidays with us. Tickets.

The Other Nutcracker Cast

Every year over 150 Ballet Austin Academy students are cast in Ballet Austin’s production of The Nutcracker.

This year is no exception, with the total clocking in at 174. See if you can spot our…

2 Claras, 2 Fritzs, 11 party girls and 6 party boys:

Ballet Austin's The Nutcracker

8 rats and 24 mice:

40 bon bons and 20 Chinese

Ballet Austin's The Nutcracker

… and 61 angels!

Ballet Austin's The Nutcracker

Ballet Austin’s The Nutcracker is celebrating its Golden Anniversary this year. Tickets available now.

 

My Nutcracker Moment

A few weeks ago, we premiered this video at Fete 2012 – our annual gala and biggest fundraiser of the year. Watch below to learn a little bit more about what The Nutcracker means to the Central Texas community.

For more information on how to make a difference with Ballet Austin, visit www.balletaustin.org/mygiftatwork.

Dancer Preview #2: Balancing Swirly Spins with Comedic Timing

Company Dancer Michelle Thompson reflects on the musicality and hilarity of The Taming of the Shrew. Let us know if you can hear her laughing from the audience.

Tonight we are going to the Long Center to prepare for Stephen Mills’ The Taming of the Shrew, and I am looking forward to putting this production on the stage again. I was in the original cast 10 years ago, toured the production to Washington D.C., performed it again 7 years ago, and now will be performing it this coming weekend – making this my fourth opportunity. There are so many things that make this production special. The story, the humor, the sets, the music, and the joyful movement are all lovely ingredients for an extremely entertaining evening.

The choreography is filled with quick jumps, swir­ly spins, humorous gestures, and intricate patterns. Mills’ choreography relates directly to the music, which swoops and swirls around you encouraging you to jump, spin, bend, and run with energy. I am one of the Commedia dancers, and there are very few times of stillness throughout the ballet. The Commedia dancers form intricate patterns and lovely movements, but they also shift the scenes and become part of the narrative that helps drive the story forward. It is important when dancing in a corps de ballet and when moving sets that your timing be precise. Musicality and awareness are essential as you move through the ballet, but all this must be done with a mask on that includes a large beak. So not only do your toes have to be in line, but so does your beak. Ha!

I am also excited to perform as one of the Street Women who starts off as a thief and then ends up happily ever after with one of the suitors. Playing alongside Beth Terwilleger, we get to take off our beaks and put on outrageous wigs creating a rush of excitement for Petruchio. Our Petruchio, Paul Michael Bloodgood, falls for our flirtatious moves and silly trickery and loses all his money. Our journey doesn’t end there, though. We come out later in the third act without the wig and dance happily at the Garden Wedding. The third act is extremely joyful and full of celebratory dances and my suitor, Jordan Moser, partners me in many twirls and jumps as we happily dance the evening away.

Throughout this ballet the steps and patterns must be precise, but the acting and comedic timing are vital. Our bodies and faces must communicate the frustration, the joy, the disgust, the flirtation, and the joke so that the audience can fully appreciate the story unfolding. It is important to be aware of your fellow Commedia dancers, your partner, the music, and the audience to communicate the story and to capture the greatest laugh. I always find myself cackling loudly during Petruchio’s house. I hope you will join my cackle this weekend at the Long Center.

The Taming of the Shrew opens FRIDAY, for one weekend only. Tickets available here.

Dancer Preview: The Shrew and her Suitor…

Company dancers Frank Shott and Jaime Lynn Witts discuss comedy, chemistry and what it’s like to dance together as Kate and Petruchio (when they’re already married!)

ballet austin the taming of the shrew

There is always a sense of anticipation just before casting is posted for any show. Story ballets, like The Taming of the Shrew, hold a particular excitement, and the chance to develop and portray a character on stage can be incredibly rewarding. There are so many different things to think about besides just the dance steps. The story needs to be clear and in the case of Taming, so do the jokes – everything from slapstick to sarcasm needs to read all the way to the back of the audience. It is no easy feat to be believable, funny and dance well all at the same time.

So much of comedy is onstage chemistry between the two leads. The chance to do this with someone that you already share so much with is an indescribable joy. While Jaime and I have had a couple of other opportunities to dance together before, this is the first time that we have gotten to do so in a story ballet. I have always wanted to play a part opposite her in a character-driven piece. She has a sense of comedic timing and theatricality which lights up the stage. Jaime also has a strong personality (just ask around) that when coupled with my own particular “charms” makes The Taming of the Shrew seem like a natural choice.

When casting was posted for The Taming of the Shrew, I was stunned. Not only was I going to get the opportunity to play Kate, but I was going to get to dance with my husband, Frank, as Petruchio. I could already hear the jokes from our friends and co-workers. I guess I have a strong personality and am the oldest of three girls, so Kate and I have a couple of things in common. It has been so much fun getting to work on this with Frank. Comedy is challenging, but we have been able to take advantage of the chemistry we have while working on our characters in the studio. Frank and I have a particular way we banter back and forth, a little like Kate and Petruchio toned down, and it’s so fun to look over and see him making a face I know I would see at home. Sometimes there’s just not that much acting involved – it’s just like us!

ballet austin the taming of the shrew

We do go home and discuss the scenes we rehearsed that day when we get a second after school, teaching Academy class and putting our daughter to sleep. We talk about what is working, what isn’t working, and where we would like to go with our characters. Jaime’s insights and impressions always give me new ideas of where I could go. Frank sees things from a very different place than I do, so it’s great to have his opinion. It has been such a fun and unique experience so far. We do both have to laugh at the situation sometimes, particularly when I keep telling him I won’t marry him. We can’t wait to see where exactly our characters end up when we get to the shows!

(Oh, and by the way, thankfully Jaime didn’t laugh in my face when I asked her to marry me!)

Don’t miss The Taming of the Shrew Oct 5-7 at the Long Center. Jaime and Frank perform Saturday at 8pm. Tickets here.

 

First Loves

With Romeo & Juliet opening in just a few days, we asked our company dancers about THEIR first loves. Hopefully the stories aren’t as tragic…


Paul Michael Bloodgood

My first love was a girl named Celeste that I dated for two years. Then she dated my best friend and I at the same time before breaking up with us on the same day. I was 8. [Ed note: Paul will be tweeting during this weekend’s performances. Follow him at www.twitter.com/balletaustin. Look for tweets signed ^PB.]

Orlando Julius Canova

My first love was the childlike empress from the Never Ending Story… Turns out I just wanted to be her.

Aara Krumpe

My first love is my husband of 9 wonderful years, Ambrose Krumpe.  We met when I was 18.  I knew he was ‘the one for me’ when he used a coupon on our first date!

Jordan Moser

Jessica Rabbit.

Preston Andrew Patterson

I met my first love at a music store. Upon first sight, I knew immediately she was to be my first love… She was an Everett Upright Piano. We’ve been together for 3 months.

Beth Terwilleger

Todd, my best friend. He is my first and only love. We met two years ago, fell in love a year after that, and four weeks ago he proposed. [Ed note: Congrats, Beth!]

Michelle Thompson

Most people would say that “ballet” was my first love, but in all seriousness I would have to say my husband Rhys Ulerich. [Ed note: Michelle will be tweeting during Sunday’s performance. Follow her at www.twitter.com/balletaustin. Look for tweets signed ^MT.]

Kirby Wallis

I thought my first love was JTT (Jonathan Taylor Thomas). Little did I know, I would finally find true love years later in my husband… also named Jonathan!

Don’t miss Romeo & Juliet this weekend, May 11-13, at the Long Center! Get tickets here.


Dancer Preview #2: Romeo & Juliet

In the past 10 years, Ashley Lynn Gilfix has danced in her fair share of pieces – both contemporary and classical. Find out what still challenges her, and why she’s incredibly excited to be Juliet.

Performing Romeo & Juliet is a great cap to the season and a truly memorable way to celebrate 10 years with Ballet Austin. I feel so fortunate to call Ballet Austin home, and it has been an amazing journey so far – filled with challenges that have inspired me to grow as an artist and as a person. Each role has demanded something different technically as well as dramatically, and I have discovered a lot of things about myself along the way. Whether it is the creation of a new contemporary ballet or the restaging of an old classic, each experience informs the next. I’m going to be pulling from everything I have learned so far as I take on this incredible opportunity to dance the role of Juliet.

Rehearsing Romeo & Juliet has definitely been a big shift after Light. The choreography is much more classical, which places a different set of demands on my body – being in “contemporary shape” is very different from “classical shape”. Contemporary movement tends to be very expansive, often involving deep lunges, full articulation of the spine and torso, and floor-work, which takes a lot of core and upper body strength. Needless to say, I am usually extremely sore when we begin a new contemporary piece and I spend a lot of time in the tub recovering with ice baths and Epsom salt.

Despite all of this, I actually think it might be harder to shift back into classical mode, like we’ve done with Romeo & Juliet. Everything has to be upright and placed and there are a lot of repetitive motions, which can be hard on the joints and tendons of the lower legs. There is also really nothing that prepares you for being back in pointe shoes all day long – it definitely took my feet and legs a couple weeks to adjust and regain the stamina required for Juliet’s more intricate pointe work. We frequently alternate between classical and contemporary works during the season, and while it can initially be a bit tough on the body, I love dancing both styles and wouldn’t have it any other way.

On an emotional level, working on Light was very draining because of the nature of the subject matter. While Romeo & Juliet is a tragic ballet, it is a fictional story, so the mood in the studio has been much lighter. It is actually a lot of fun to rehearse the darker scenes, like the potion scene and the crypt, because they are very challenging dramatically. One of my favorite things about full-length ballet is the acting, and I really enjoy the challenge of developing a character and showing their evolution from beginning to end. I typically do a lot of research when I’m working on a character in order to gather ideas that may help infuse my own interpretation. For this production I have been reading the play, and watching films and other versions of the ballet.

My Romeo, Paul Michael Bloodgood is also in his 10th season with the company, so it is very special to be performing together. I fondly refer to Paul as my “stage husband”, and in our 10 seasons with the company, we have been paired together in over 15 different roles. Dancing together so frequently has allowed us to cultivate a wonderful onstage partnership and also a great friendship, which allows us to be very relaxed around each other. As a result, it has been easy to explore some of the more vulnerable moments that our characters share as their love story unfolds.

Romeo & Juliet is my favorite ballet. I love Shakespeare. I love the drama. And the grand and sweetly haunting Prokofiev score is incredibly moving. Also, Mills’ choreography is wonderful to dance. For as long as I can remember, I have hoped to someday have the opportunity to dance Juliet, and I am absolutely thrilled to be performing this role next weekend.

 

Catch Ashley onstage as Juliet on Saturday, May 12. Tickets.

Did you miss Dancer Preview #1? Read it here.

Ashley, Paul Michael and Michelle Thompson will be live-tweeting backstage during performance weekend. Follow us (and them) at twitter.com/balletaustin.