Today, Ballet Austin heads to Miami to perform Light / The Holocaust & Humanity Project. See what’s going through Company Dancer Anne Marie Melendez‘s head as she prepares.
There has been a buzz of excitement around the Ballet Austin studios over the past couple of weeks. There is something about touring that charges us dancers up like few other things. The idea of traveling somewhere, all expenses paid, sounds glamorous at first glance. But going on tour can definitely bring its own set of challenges, obstacles, and concerns especially when it involves a ballet such as Light / The Holocaust & Humanity Project.
Having performed Light as recently as March certainly aided in putting the ballet back together rather swiftly. Still, we took it section by section, reviewing the mechanics of the movement as well as the musicality. These elements are so important when presenting a ballet like Light because those pieces have to be so clear and must lay the foundation for the narrative and the emotional element that comes with performing the ballet.
In addition to rehearsing Light, we have also been busy revisiting The Nutcracker, as it will be fast on our heels once we return from Miami. The two ballets couldn’t be more different from each other as I literally spent a few days going from being the Snow Queen in a tutu, to running around barefoot and being dragged across the floor by my arms. It was quite confusing for my body – my calves and ankles would be tight and sore from the classical work, and my back and neck would be stiff from the more modern movement. Let’s just say there were quite a few hot baths, ice buckets, yoga sessions, etc…
As we prepare to leave for Miami on Thursday, I have a list of logistical concerns. What do I pack? In addition to what I would normally pack for any other trip like clothing and toiletries, I also need to bring an entire list of things that are dance and performance related. Outside of the obvious leotards and tights, I need my performance shoes, extra shoes for my understudy duties (which of course I won’t need – *knock on wood* – but they must be packed!), stage makeup, dance bag and all associated peripheral devices like my calf roller. And yes, yoga mat, you WILL fit in my suitcase. I have a list, and I’m checking it twice!
My other concern is food. Yes, clearly there is food in Miami, great food no doubt, but this is not a vacation. Just as most sports athletes have their eating, sleeping, and training routines leading up to events, dancers are quite similar. I normally take into consideration what I eat, but I am never pickier than I am during performance week. It’s not so much of a superstition as it is a need to efficiently fuel my body so that it can function as best it can when the time comes. Performance week is not the time to try something new, so my concern, being out of my element and out of my own kitchen, is how to maintain my routine. So far I’ve decided to bring Clif Bars, instant oatmeal, and head to the market once we get to Miami to stock up on some bananas and other easy to grab snacks.
All of these logistics are not unlike the mechanics of the choreography – they are the foundation of what we are ultimately trying to present. Overall, I am both nervous and excited. I think a certain amount of nerves is healthy, it means you care about the outcome of something. I’m excited to share Light and Ballet Austin with a new community, and I’m curious how both the company and the work will be received.
This evening, Paul, Ashley, and I just finished watching the documentary “The Last Days.” I think continuing our education is an important way to prepare before we leave on Thursday, as it continually informs the work we are doing in the studio and on stage, and most importantly, it reminds us of how vital it is to keep telling this story.
In Miami? You can see Anne perform Light / The Holocaust & Humanity Project on stage this Saturday and Sunday. Tickets here.
The past few weeks, our Company Dancers have alternated between rehearsing the siren-filled Light and joyous Nutcracker. If you, friends or family are in Miami, you will not want to miss this:
“Art can only start a conversation; people solve problems. But hopefully art can be a catalyst to get people thinking about things in a way they don’t ordinarily.” – Stephen Mills in this Associated Press article.
Below, watch our two :30 video promos, “From the Darkness” and “Into the Light”:
For tickets and information, please visit the Arsht Center‘s website.
In addition to our annual run of The Nutcracker at the Long Center, our dancers also perform in “school shows” for elementary school students.
As part of Ballet Austin’s educational programming, volunteer Docents visit 100 schools throughout central Texas each season to provide students with an educational presentation about dance and The Nutcracker as a precursor to attending the shows. The Docent Program is an invaluable educational tool for our community.
Below is a note from Deb Haas on the joys of being a Nutcracker docent AND an Academy parent:
Perhaps you’d like an opportunity to do more than simply drive to and from rehearsals for the next couple of months. If so, I hope you will consider being a volunteer Nutcracker docent, and help the Ballet Austin Guild bring the joy of The Nutcracker to school children throughout the Central Texas area.
My daughter, Miriam, loved The Nutcracker from the first time she saw it (she was 4) and told me then that dancing in The Nutcracker was “her dream”. Well, all her dreams have come true – she will be making her ninth appearance in the production this season, as a rat, which means she has danced virtually every Academy role from angel on up. For all those years, my role has been driver and docent.
As much as Miriam loves dancing, being a docent is hands down my favorite part of The Nutcracker. There is something so special and fulfilling about the opportunity to bring an art form I love to students, who often, have never seen a live ballet performance. For my presentations, I rely on the wonderful materials provided by Ballet Austin’s Community Education Director, Pei-San Brown. In addition to the presentation itself, each docent receives a bag chock full of props including, of course, a Nutcracker.
Docent training and presentations take place in November and early December before students attend the school shows at the Long Center. Soup to nuts, being a docent won’t take more than 8 hours out of your busy holiday schedule – and it means so much to our community. I hope you can join us.
Nutcracker Docent Co-Chair
Training for Nutcracker docents begins Nov 1. Want to get involved? Find our more or sign up here.
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.
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.