Happy New Years!!

Happy New Years Eve everyone! New years is a great time to set goals, dance and other wise. What are you goals for 2010? We want to hear them!

Have a safe, happy, and healthy new year!

(just thought the picture was cool)

Gillian Murphy

Raised in Florence, South Carolina, Gillian Murphy began her ballet training at the age of three in Belgium and continued her ballet classes at the age of five in South Carolina.

After training in South Carolina as a member of the Columbia City Ballet, she continued her studies at the North Carolina School of the Arts. Under the tutelage of Melissa Hayden she danced principal roles in several of the school’s ballet productions including The Nutcracker and George Balanchine’s Concerto Barocco, Western Symphony, Tarantella and Theme and Variations.

In 1994, at the age of 15, Murphy was a finalist at the Jackson International Ballet Competition. In 1995, she was awarded the Prix de Lausanne Espoir after performing the final round at the Bolshoi Theatre in Moscow. In 1996, she was a National Foundation for Advancement in the Arts Level I awardee and a Presidential Scholar nominee. In 1998, she was honored with a Princess Grace Foundation-USA grant.

Murphy has appeared as a guest artist in Japan, Mexico, Germany, Italy, Canada and throughout the United States. She will make her debut with the Kirov Ballet in March 2008, dancing Odette-Odile in Swan Lake.

Murphy joined American Ballet Theatre as a member of the corps de ballet in August 1996, was promoted to Soloist in 1999 and Principal Dancer in 2002. Her repertoire with the Company includes Polyhymnia in Apollo, Nikiya and Gamzatti in La Bayadère, Cinderella in Cinderella, Swanilda in Coppélia, Medora and Gulnare in Le Corsaire, Kitri in Don Quixote,Titania in The Dream, the Accused in Fall River Legend, second girl in Fancy Free, Lise in La Fille mal gardée, the pas de deux Flames of Paris, Grand Pas Classique, Myrta in Giselle, His Memory and His Experiences in HereAfter, the Queen of Hearts in Jeu de Cartes, Lescaut’s Mistress in Manon, the Sugar Plum Fairy in The Nutcracker, Desdemona in Othello, Other Dances, Hagar in Pillar of Fire, Raymonda in Raymonda, Juliet in Romeo and Juliet, Juliet in Romeo and Juliet (Romeo’s Farewell to Juliet), Princess Aurora and the Lilac Fairy in The Sleeping Beauty, Odette-Odile in Swan Lake, Sylvia in Sylvia, the first and third movements in Symphony in C, the Tchaikovsky Pas de Deux, and the ballerina in Theme and Variations, and leading roles in Allegro Brillante, Ballet Imperial, Ballo della Regina, Baroque Game, Paul Taylor’s Black Tuesday, Clear, Désir, i>Diversion of Angels, Drink To Me Only With Thine Eyes, Études, From Here On Out, Gong, In The Upper Room, Meadow, Les Patineurs, Pretty Good Year, Push Comes to Shove, Sinfonietta, Les Sylphides, Symphonie Concertante and featured roles in Company B, The Elements, Overgrown Path and Without Words.

She created leading roles in Glow – Stop, Kaleidoscope, One of Three, Rabbit and Rogue and Within You Without You: A Tribute to George Harrison.

Murphy danced Odette-Odile in the ABT telecast of Swan Lake and also appeared in the ABT telecast of Le Corsaire. Other television appearances include the Washington Opera’s Die Fledermaus. During November 1999, she also participated in the Melissa Hayden Project, part of the Balanchine Foundation’s video series filming dancers, who worked with George Balanchine, teaching their roles to young performers. The Foundation filmed Hayden teaching Murphy the pas de deux from Stars and Stripes and Donizetti Variations. Murphy was seen in the feature film Center Stage and also appeared in the sequel, Center Stage 2.

In March 2008, Murphy made her debut with the Kirov Ballet dancing Odette-Odile in Swan Lake opposite Kirov Ballet principal Andrian Fadeyev.

Murphy is a charter member of Stiefel & Stars and directed a training program for young dancers, Dreamcatchers, on Martha’s Vineyard.

Ms. Murphy's performances with American Ballet Theatre are sponsored by Charlotte and MacDonald Mathey.

This is a video from the Gaynor Minden site

I wrote to her about a year ago (Dec. 31 2008)

And just got a response, I'll post it soon.

Christmas Eve

Sorry Guys....I haven't been doing the best job! I'm so busy. This is my Christmas Post


Looking for something fun to do on Christmas Eve?

Make some hot chocolate and gather your family together around the television for a performance of "The Nutcracker!"

But this isn't just any performance; it is the winner of Ovation TV's Battle of the Nutcrackers: World Games contest.

Earlier this month, host Susan Jaffe, former dancer with American Ballet Theatre, presented viewers with five different versions (from five different nations!) of the classic story: Mark Morris' "The Hard Nut" (USA), Bolshoi Ballet's "The Nutcracker" (Russia), Maurice Bejart's "Nutcracker" (France), Casse Noisette Circus: Ballet of Monte Carlo (Monaco), and Royal Ballet's "The Nutcracker" (UK).

Viewers then cast their vote!

Which version is YOUR favorite?

To get in the Nutcracker spirit, tune in to Ovation TV this Thursday, December 24 at 8 p.m. ET/PT and don't miss the Christmas Day marathon featuring all five Nutcrackers starting at 8 a.m. ET/PT.


Do you guys have a favorite Version of the Nutcracker?

I want to hear about it.

I love the Royal Ballet's
Boston Ballet's
Ballet of Monte Carlo's
And of course our local one, Albany Berkshire Ballet's



I don't often find things online about ABB but I found this one. Written about the 2007 performance;


I wonder what Pablo Picasso, that believer in the artistic brilliance of any child, would have thought of The Nutcracker. To learn a technique, he knew, is to bind the soul. Late in life, he described his career as a process of disentanglement. (What tangles!)

Similarly, classical ballet is sometimes made into a rigid sport. It can constrict enjoyment in favor of perfection, alienating many in the process.

By transcending those divisions, The Nutcracker became the world’s favorite ballet. It’s hard to find a version whose children don’t remind an audience of the joys found in haphazard beauty, and whose adults aren’t clearly in it for the children.

The execution of a Nutcracker’s core elements—antique togetherness, indoor snow, rousing and virtuous wonder—will vary, especially across the 115 years since its premiere by the Kirov Ballet in St. Petersburg, Russia. Across those decades, constancy has come from a production’s younger set, moving at their unscripted best, and from those who, like Picasso, have spent a lifetime learning how to move as if unscripted.

A few weeks ago, the Mahaiwe Performing Arts Center in Great Barrington hummed with such unscripted moments, at a dress rehearsal for the Albany Berkshire Ballet’s 33rd annual production of The Nutcracker.

From the orchestra section, a small blond girl watched a teenager rise up onto her new-looking pointe shoes, and said quietly, “That’s so cool! She just stays there.” A smaller girl asked the first, “Hopefully you didn’t forget your ballet shoes, right?” The first followed her optimistic reply with a very long pause, then, “I’m wearing them right now.”

Footwear confirmed, these girls and a dozen more were called onstage by Jane Yablonsky, a petite member of the Albany Berkshire Ballet and once a student, like many here, of its Pittsfield academy, the Cantarella School of Dance. “Miss Jane,” as the students called her, reminded them of their rows and called out orders while lanky Clayton Teal hammed up his part as Mother Ginger for all the moms watching.

Soon, raucous music apulse, Teal entered in his character’s enormous hoop skirt. What a quasi-mythological oddity: dozens of grown children are birthed by a man in drag only to be swallowed up whole again. The smuggled child-clowns veered around the stage, and jumped by launching their chests into the air. Miss Jane called out once and the action halted. How well children listen when the subject is one they enjoy, and when they are known by adults to enjoy it.

Great Barrington native Charlotte Ernst, 6, took time out from destroying a few of the Mahaiwe’s preciously renovated seats to discuss her role as a reindeer in The Nutcracker. In her favorite sequence of the ballet, a sleigh pulled by Ernst and her fellow reindeer (and more effectively pushed by a Snow Prince) ferries Clara through a blizzard to the Kingdom of Sweets. (There, a series of sets by Carl Sprague culminates in a stunning, peachy homage to Western classicism—this backdrop is worth the ticket price alone.) Ernst was clear on her future as a ballerina, although she admitted world-wearily, “Yes, I’m going to be millions of things when I grow up!”

Later, with the casual gesture one uses to make others aware of a celebrity, Ernst drew attention to Lindsey Jacquer, who played Clara in her same cast. Wispy and eloquent, Jacquer immediately named her own favorite scene: that sleigh trip into the Kingdom of Sweets. To ward off some difficulty in keeping her smile for the ballet’s duration, she confessed to pretending occasionally that her sleigh’s journey is real. “It really feels like you’re in a dream.” The cast members climbed onstage. With a gaze somewhere between rehearsal and showtime, Jacquer slid along, marveling at imaginary snow, while Ernst tugged away.

The following week’s performance, at the Colonial Theater in Pittsfield, was thick with the excitement of a microculture in full swing. Just as the holidays aren’t complete until those families get their Nutcracker, many small dance studios—and quite a few larger companies—would have trouble financing the coming year without such a series of winter showings.
Three generations of one such family, led by Ralph Stroffolino, have attended the Albany Berkshire Ballet’s Nutcracker annually for twenty years. All six were excited to see Jane Yablonsky in many major roles that night; they’ve watched her grow as a dancer since she played a lamb alongside Stroffolino’s granddaughters in a Nutcracker long ago.

And how she has grown: delicate but not fragile, she bounded through difficult steps with the fresh eyes of discovery. Technique only gave shape to spontaneity. It’s a reasonable guess that Yablonsky, like most in the company and an equal percentage in North American ballet companies, learned how to dance in The Nutcracker, testing their bodies over decades with pantomime, comedy, and all levels of derring-do.

Young chaos kept the Colonial show just brilliant enough. Picasso would have loved it.


(http://walkaroundtime.wordpress.com/2008/09/27/a-delicious-chestnut/)

More to come

25 Days of Nutcracker- Day 12

Mice

Mice is one of the most fun roles in the Nutcracker. When I was a mouse I had to paint my face grey and wear a huge costume.

This is a funny version of the battle

Not to much about mice....I just wanted to point out how fun the role is!!

25 Days of Nutcracker- Day 11

Alexandra Heier

is a bright young Boston Ballet School student

She started dancing when she saw her sister and fell in love with it. She says ballet has taught her self-discipline and time management. She was also selected to dance in in the 2007 movie The Game Plan staring Dwayne"The Rock" Johnson and Madison Pettis.

(second from the left, then age 11)

Alexandra said [about the movie] "It was interesting to see how many people came. We didn’t expect it. I was surprised how nice everybody was to us. All the crew and actors were so kind."

Part of this clip shows the Boston Ballet scene in the movie

Alexandra is dancing as one of the Claras in this year's Nutcracker production. The clip below is an interview

Faces of Boston Ballet: Alexandra Heier

What do Critics have to say about Alexandra?

"Alexandra Heier as the young Clara more than made up for this with a sweet and amiable demeanor, and effortless movements that were the epitome of grace"

25 Days of Nutcracker- Day 10

Polichinelles

Sometimes the cutest characters in the Nutcracker are the polichinelles.

Polichinelle (poe LEE shee nell) is a French word that literally translated means “Punch,” the
Punch of the English puppet duo, Punch and Judy. They were the original comedy act, created
in the 1700s. These puppets’ loud arguments escalated into fights in which they hit and
punched each other. In some Nutcrackers the Polichinelles are tiny, active characters who disrupt the more dignified dances of the dolls in the Land of Sweets. Mother Ginger has to gather them up and take them away before they get into trouble.

25 Days of Nutcracker- Day 9

If you can't already tell I LOVE Boston Ballet and their Nutcracker.

Misa Kuranaga is a recently promoted principal with the company. In Boston Ballet's Nutcracker she has played the Snow Queen, Sugar Plum Fairy and Clara.

She is the recipient of numerous awards and honors including a gold medal in the Junior Division of the Ninth Moscow International Ballet Competition and the gold medal in the senior division of the 2006 USA International Ballet Competition.

What do the critics have to say about Misa?

"And was there ever a Dew Drop who lived up so greatly to her name as Misa Kuranaga? Backed by a corps de ballet of lanky, tall flowers, the slight Kuranaga seemed to float among them like a drop of mist."

"A first act highlight was Misa Kuranaga as the Columbine dancing doll."

(information from http://www.bostonballet.org/Company_Dancers/Dancers/Misa_Kuranaga.html, http://www.thecrimson.com/article/2009/1/22/a-classic-holiday-ballet-ballet-enthusasists/, http://www.tauntongazette.com/entertainment/x415861955/Theater-review-Boston-Ballets-Nutcracker-Whimsy-seduction-and-comedy)

25 Days of Nutcracker- Day 5,6,7,8

So I'm gonna be away till Wendsday so I'm gonna do a Massive post.

The Story (From Boston Ballet's Website)

Act I

It is Christmas Eve, 1835, in a small town in Germany. Herr Drosselmeier is in his workshop putting the finishing touches on a Nutcracker doll. Outside, the chilly streets are alive with bustling townspeople. At the Silberhaus home, the family is preparing to host a holiday party for friends and relatives. As the parents decorate the Christmas tree, the Governess attends to the Silberhaus children, Clara and Fritz.

The Silberhauses welcome their guests and light the beautifully decorated tree. As the festivities continue, Herr Silberhaus invites his guests to dance. Suddenly, a late arrival enters with a flourish, startling the assembled guests, especially the children. It is Clara’s godfather, an old family friend affectionately known as Uncle Drosselmeier. He entertains the guests with his handiwork, mechanical dancing dolls, which delight and amuse all in attendance. Clara is especially fond of the Ballerina as she has great ambitions to be one herself.

Drosselmeier presents Clara with her own special gift, a unique Nutcracker handsomely dressed as a soldier. Fritz becomes extremely jealous of his sister, and plots with some of his friends to steal the doll. With great stealth, he sneaks up on Clara and attempts to snatch the Nutcracker. They battle for possession, but Fritz takes control and smashes the doll to the floor. Clara is devastated and Herr Silberhaus reprimands his son. Drosselmeier examines the damage to the Nutcracker, and after employing several magic gestures, returns the doll to Clara.

Herr Silberhaus suggests a dance and everyone joins in. As the hour grows late, the guests take their leave. The lights dim, and the Silberhauses retire for a long winter’s night rest. As midnight approaches, Clara quietly tiptoes into the room in search of her beloved Nutcracker. Finding him safe and secure, Clara surrenders to sleep on the living room sofa.

No sooner do her eyes close than a mouse appears. At the same time, the old grandfather clock begins to strike the hour of twelve. Clara awakens at the sound and is startled to discover mice scampering around the room. She seeks protection on the sofa with her Nutcracker. Suddenly, Drosselmeier appears, calming Clara as the mice scatter. But there is more adventure in store. The walls of the house begin to change and the Christmas tree grows to enormous heights. And, adding to Clara’s amazement, the Nutcracker grows as well.

The Mouse King appears and challenges the Nutcracker to a duel. Just as it seems the Mouse King is about to be victorious, Clara takes her shoe and casts it at his head. The Nutcracker takes advantage of the moment and slays the evil Mouse King. Drosselmeier reappears and performs one last magical act: he transforms the Nutcracker into a handsome Prince. The charming cavalier takes Clara through the Land of Snow on a fantastic journey to the Kingdom of Sweets.


Act II

Drosselmeier’s magic is still at work as Clara and the Prince find themselves in the Palace of Sweets, ruled by the exquisite Sugar Plum Fairy. The Prince reenacts his battle with the mice to show the Sugar Plum Fairy how Clara successfully fended off the Mouse King. A series of charming dances is performed to honor Clara’s courage, culminating in a very special pas de deux performed by the Sugar Plum Fairy and her handsome Cavalier. As their dance ends, so does Clara’s adventure. But her dreams continue.







This is a great slide show

(http://www.yankeemagazine.com/issues/2008-11/interact/exclusives/slides-nutcracker)


Articals on some people who dance with Boston Ballet


Yarmouth - When Victoria Egan began dancing at age four, she never dreamed that ballet would take her to the stage of the Boston Opera House.
Born with a mind of her own, Tori recalls saying “funny things” about dance studios she didn’t like. “She was only four when she told me there was a monster in a bush at one of the studios,” says Tori’s mother Cheryl Egan. “Tori has always had a sense of what’s best for her.”
In 2004, that instinct led the talented ballerina to audition at the Boston Ballet School, where she studies dance five afternoons a week. This year she auditioned for the Boston Ballet Company’s production of “The Nutcracker,” landing roles as a party girl in Act 1 and a polichinelle — a little clown — in Act 2. Rehearsals began in early October and Tori debuted Nov. 24.
“Everyone in my ballet class had performed in ‘The Nutcracker’ before, and they told me what a wonderful experience it is,” Tori says. “They all live in or around Boston, so it’s much easier for them.”
Cheryl Egan drives her daughter to the daily afternoon rehearsals and weekend performances, a challenging schedule for this Mattacheese Middle School eighth grader. “She does her homework in the car with the light on,” Egan says of her high-honor-student daughter who lives to dance.
The final performance of the popular ballet, based on French author Alexander Dumas’s revision of E.T.A. Hoffman’s story “The Nutcracker and the King of Mice,” is Saturday, Dec. 30. “I’ll miss seeing my friends from the show who aren’t in my dance classes and being on stage three or four times a week,” Tori says. “I’ll also miss talking and socializing with members of the permanent ballet company. I definitely plan to audition for next year’s production.”
During her free time, Tori enjoys writing her own choreography. “I dance it to see how it feels, or I teach it to one of my friends before a class so I can see what it looks like. Right now, I’m struggling to decide if I want to set my sights on being a professional dancer.” Even the decision on where to attend high school is a difficult one for this young dancer, since being closer to Boston has definite advantages.
For now, the Egans are looking forward to spending some down time over the New Year’s weekend at their home in Maine. Tori anticipates her first full-speed ski run of the winter with her friends on the Shawnee Peak Race Team.
“Then we come home to more decisions and daily drives to Boston,” Cheryl says. Tori just smiles, humming the sweet strains of Tchaikovsky’s “Dance of the Sugarplums.”

(http://images.google.com/imgres?imgurl=http://www.wickedlocal.com/barnstable/archive/x1720038542/g25825808470a99d8dec6ede77ef46b03997ba1ef25d4b7.jpg&imgrefurl=http://www.wickedlocal.com/barnstable/archive/x454601156&usg=__rdKWpKCXEYSnNhuK0djpCxPt0qQ=&h=599&w=450&sz=40&hl=en&start=4&sig2=wTHwYHmv97x5_0zXr8O7GQ&um=1&itbs=1&tbnid=Rcp_DeMULsf2FM:&tbnh=135&tbnw=101&prev=/images%3Fq%3Dboston%2Bballet%2Bnutcracker%26hl%3Den%26rls%3Dcom.microsoft:*:IE-SearchBox%26rlz%3D1I7GPEA_en-GB%26sa%3DN%26um%3D1%26pwst%3D1&ei=LiMbS5HTBsi1lAfH2sHyCQ)








Melrose - Lia Kaynor, a 12-year-old Melrose Veterans Memorial Middle School student, could be called a veteran of the Boston Ballet stage. This is the sixth straight year she has performed in the group’s annual production of The Nutcracker, as she has steadily worked her way up to the role of Party Girl, putting her in the middle of one of the biggest scenes in the ballet.
We spoke with Kaynor about how she first started dancing, why she wanted to get the Party Girl role, the sometimes nerve-wracking ballet classes, and the problems with maintaining a full head of curls in the middle of a snowstorm …

Lia, how long have you been dancing?
This is my 10th year dancing, six of which have been at the Boston Ballet.

Where have you danced in the past?
I did dance in a place in Winchester — not that I know the name of it [laughs]. The reason I started dancing was because I was very clumsy baby. So I started ballet and I liked it so I kept doing it.

You were a clumsy baby?
I was a very clumsy baby. I was born premature, almost three months, so I hadn’t quite caught my balance.

Have you worked your way up the ‘role ladder,’ so to speak?
Yes I have. My first year in The Nutcracker, I was the Spanish Girl Doll, which was very fun. It’s just 20 seconds on stage, but it was very exciting. The second year I was an Arabian Doll and after that I was a Polly … that was definitely very, very fun. Because we’re clowns. This year I’m a Party Girl. I was very excited when I got the role because I wanted the role since I was 7.

Why did you want the Party Girl role for so long?
I’m not really sure why, it’s just the one role that my caught my attention. It’s maybe the idea of we’re going to a big party and there’s lots of dancing … everybody wants to be a Party Girl. It’s one of the biggest roles that a kid can have, and it’s definitely met my expectations.

Did you have to audition again for the role?
Every year you have to audition, and the first thing they do to narrow down the people that you have for the roles, is you have to be in the Boston Ballet School. Weeks and weeks before the audition, you have to fill out some paperwork saying your height and all that. They give a book … its says things like how tall you have to be for certain parts. Then they split up the auditions by height and age. Every year you audition for something different.

What other roles could you have played?
I’m quite lucky I got this role because the other roles that I am eligible for were Reindeer or Soldier. Both of those, they’re still great parts, but Soldiers … well, I don’t like the hats [laughs]. The Soldiers have to wear these big, long hats. All the soldiers I know said they’re very uncomfortable. The Reindeer, they have very cute costumes, with antlers and everything, but they don’t have very much stage time. They’re the furniture movers — they move the sleigh across the set … and I’m a performer.

What do you like about performing in front of an audience?
I love being on the stage and seeing the audience and knowing there’s little kids out there doing the same I did when I was a kid … they’re telling their parents, “Mommy, I want to be Clara!” Something that’s amusing about this role is not only does the dancer have to get the stage, but the hair has to get to the stage.

What’s so important about the hair of a Party Girl?
We have to have ringlets — lots and lots of springy, bouncy curls. So before every show, the night before, I have to put my hair in curlers. They never cancel a show, so the last big storm I was on the Orange Line with a shower cap over my curls, because, like I said, the curls have to come in safe.

It sounds like they’re very particular about having your curls look the right way.
Yes. The ringlets are a big deal. This year, they’re not so strict. They want more of a natural look, so if you can do your own hair instead of wearing a hairpiece, you do your own hair and make it unique, instead of having everybody looking exactly the same with the same size curls. They tried to make it different this year, which I think is a good thing; I think it makes it a bit easier.

What’s the hardest part about performing?
I’d say one of the hardest parts about my particular role is the dancing. There is a lot of dancing, more than other parts, and there’s so much going on in the party scene that you have to make sure you stay exactly focused. There’s countless things … and it’s impossible to think of all of them at once. That’s the point of the rehearsal, to get your body memorizing the steps. Once you’re out there on stage, then there’s no going back and it’s just giving out to the audience. I’m very thankful for my teachers at the Boston Ballet School, Ms. Lantz and Mr. Hird, who have both studied at the Royal Ballet School. I’ve had them for many years. Last year I had a Cuban teacher, Ms. Lemus … she was different.

How was she different?
She was a choreographer … she had different techniques, shall we say. She was very funny, she could get away with saying things that no one else could. If it came from anyone else we’d burst in tears, but from her, we’d buck up and do better. One day she got a long pole, a stick, and we asked, “Where’d you get that?” She said, “Oh, upstairs,” and we asked, “What are you going to do with it?” She said, “Straighten you out!” [laughs] She literally did straighten us out. She made our stances perfectly straight and changed the spacing between our arms and legs. If she was upset, she would start banging the stick on the ground … it’s incredibly nerve-wracking to be standing, looking away from her, and have this lady with a pole behind you. She was a wonderful teacher. I learned so much from her … she was certainly an experience.

What’s it like working with professional dancers who do it for a living?
See, I’m very glad you asked that. The teachers and the directors want us to be professional even though we are kids, so watching them and learning from them is amazing. In the party scene when there’s all sorts of professionals on stage, it’s amazing to watch them. There are seven casts in the company, so certain people don’t get to rehearse, they just have to learn it while the other cast is learning the dance. Watching their focus and how much they work to get exactly right, it teaches you a lot. Backstage, we all have our “party parents,” and they don’t know who we are, so they’re going, “Are you my kid?” “Yeah, I’m your kid.” “There’s my dad over there.” Particularly in the party scene, there’s a lot of professionals. In other scenes its mainly kids, because that’s who The Nutcracker is supposed to be for — the kids.

How long do you want to dance?
Ballet is something I’ve been doing since I was two and three, so it’s become a part of my life. I can’t really imagine what I would do with my time if I didn’t have ballet filling it up [laughs]. I’m not sure what I’m going to do as a profession; ballet is just something I can’t imagine living without.

(http://images.google.com/imgres?imgurl=http://www.wickedlocal.com/melrose/archive/x1059341267/g258258e6fe31aeaa7ceb1ff399fd62519624c6f0494559.jpg&imgrefurl=http://www.wickedlocal.com/melrose/archive/x360513062&usg=__iu11nX5SIuhgdohETTn73-NtrNM=&h=599&w=454&sz=27&hl=en&start=12&sig2=-OwS8gTKgdd4Ngs8LwSw1Q&um=1&itbs=1&tbnid=eRTrxEdEXm2K-M:&tbnh=135&tbnw=102&prev=/images%3Fq%3Dboston%2Bballet%2Bnutcracker%26hl%3Den%26rls%3Dcom.microsoft:*:IE-SearchBox%26rlz%3D1I7GPEA_en-GB%26sa%3DN%26um%3D1%26pwst%3D1&ei=2SQbS5KDJ5jglQeo7MXyCQ)

By Lauren Baltrus Boston Ballet School dancer

Since last December....Nutcracker 2007 was one of most amazing experiences of my life because I landed the dream role of Clara and it was pure magic. It seemed like the second that Nutcracker ended, it was time to audition for summer ballet intensive programs. I set my sights on ABT (American Ballet Theatre) in NYC. The audition was nerve wracking, and about a week later I found out that I had been accepted into the 6-week program.

A few months later, in mid-June, I was on my way to the Big Apple, sewing the ribbons on my pointe shoes during the bus ride. I couldn’t wait for my first day of ballet classes at ABT. The apartment we rented for 6 weeks was a modern city apartment within walking distance to the ABT studios, totally different from my regular house. I felt like a real New Yorker, living in the city, and navigating the streets of Manhattan while dragging my ballet bag on wheels behind me.The summer intensive program at ABT was very demanding. We danced for 6 to 8 hours every day. The teachers were amazing -- almost as amazing as my teachers at Boston Ballet! My ballet technique improved a lot during the 6 weeks I was there, and I met lots of dancers my age from all over the country. Some of the best things about living in NYC were the theatre, shopping, and restaurants. I saw several ballets by New York City Ballet and by the American Ballet Theatre. I saw many of the famous dancers that I had read about in magazines. And I also saw many musicals on Broadway. My favorite was Legally Blonde. Living in NYC and attending ABT was a great experience for me. I hope I can go back again next summer! But first, I have another year at Boston Ballet to look forward to

Year Six: New Roles, Old FriendsIt’s great to be back in Boston at my home studio, even though I loved New York. The first week of ballet class is exciting because I meet my teachers for the year. My schedule involves ballet class 6 days a week, with 5 great teachers. I love them all! It is going to be a fun year!Nutcracker auditions are in late September. We never know what role we’ll get in advance. This would be my 6th year performing in Nutcracker. I was 8 years old in my first Nutcracker and had the role of Marzipan doll, which meant I stood on the stage for about 1 minute during the battle scene in a beautiful costume and didn’t dance, but it was fun to be part of it all. One of my happiest memories from that year was becoming friends with another doll in my cast, Gillian. We are close friends today and this year she is in my ballet class!I was a baby mouse in my second Nutcracker and a Polichinelles (or “poli”) in my third and fourth years. Poli’s are the children who run out from underneath Mother Ginger’s skirt. With 8 of us squeezed under that big skirt, it feels pretty crowded, but then the music starts to play, the skirt pulls open, and we come running out one by one. We have a blast dancing on stage and then return to the skirt. In my fifth year, last year, I alternated between the roles of Clara and party girl.A few days after the audition, THE LETTER arrived in the mail. I opened it and read that I would be Clara and a party girl again this year. YAY!!! I am really looking forward to my second year

Claras and Polis and Company Members, oh my! We rehearse from mid-October up until Thanksgiving weekend, when The Nutcracker opens. I have been working really hard in rehearsals, even though I remember most of the choreography from last year. There are lots of little details to incorporate into every scene and we can always use more practice to get it exactly right and to make our movements more beautiful. Because Clara dances in most of the Nutcracker scenes, there are many rehearsals to attend each week. Sometimes I attend 2 or 3 different rehearsals on the same day, in addition to my regular ballet class!All together, there will be more than 250 Boston Ballet School students in this year’s Nutcracker. It’s fun getting to know some of them at rehearsals. I especially love the polis, the mice, and the dolls in my cast. They are so adorable, with their smiling little faces as they learn their steps. I loved being a poli two years ago, so poli rehearsals bring back happy memories. This past week, a poli rehearsal included 3 Boston Ballet company dancers who will be performing as Clara’s uncle Drosselmyer in The Nutcracker. Rehearsing with Sabi Varga, Jared Redick, and Lorin Mathis made poli rehearsal even more fun! I was a little nervous to be dancing with company dancers because they are professional dancers who have accomplished so much, but once we got started my butterflies went away. I love the moment in this scene when Drosselmyer lifts Clara up onto his shoulder. It’s quite a thrill being up so high -- it seems like I can see everything from up there!

Down to the wire...“Are you really afraid of mice?” (Yes) “Is your real name Clara?” (No) “Were you ever a doll?” (Yes) “How old are you?” (13) These are the questions that the adorable 8 year old “dolls” asked me at rehearsals this week. Most of them are dancing in their first Nutcracker this year and are really excited. We are all in final rehearsals now, fine tuning and polishing everything for the stage. Tony Randazzo, one of the Ballet Masters for Boston Ballet, attended several of my rehearsals this week. As the Ballet Master, one of his jobs is to “coach” company dancers. I felt honored to get some one-on-one coaching from Mr. Randazzo. He was extremely helpful. He provided very specific advice to help me get the choreography just right in a couple of the scenes. I feel like my dancing will be better than it was last year when I first played the role of Clara. I can’t wait to dance on the stage! I’m just a few days away from

The BIG day!!! The second that I woke up on Sunday morning, it hit me that TODAY was the big day, my first Nutcracker performance of 2008. My mom curled my hair and I arrived at the Opera House at 11:30, an hour and a half before the 1:00 performance. That gave me plenty of time to wish my cast mates good luck, hear a few reminders from our teacher, warm up, get my makeup applied, and get into my party girl costume. And then it was time to go upstairs to the stage area and stand in the wings and wait for the music to begin. The overture played . . . and my heart started beating fast. The curtain opened. . . . And my heart beat even faster. Party children crossed the stage for the prologue . . . and my heart nearly leapt out of my body. Finally the party music began to play, and I ran onto stage into the party scene. At that moment, my nerves disappeared, replaced by a feeling of excitement.

Dancing in the party scene almost feels like being at a real party, except that it's filled with lots of intricate dancing. I have to act the whole time, which requires as much concentration as the dancing. I've spent so much time rehearsing this scene, but when I’m on stage, it seems to go by so quickly. Time flies when you're having fun!!!! After the party scene is over, it’s time to quickly prepare for the night scene. I have to change out of Clara's bulky party dress into her nightgown. I have about 30 seconds to do this. Immediately after walking off stage, I rip off my pearl necklace and blue headband while the costume lady unhooks my dress. When the dress is off, I change my ballet slippers from black to pink and turn on the "candle". The costume dresser helps me into my nightgown. Now I'm ready for the night scene. At the end of the night, when the curtain closes, the balloon is lowered, and I quickly hop out and run into the wings to get ready for the bows. I hadn’t practiced the bows in rehearsals this year, and I didn't know if they would be different than last year's bows. But fortunately my Drosselmyer, Jared Redick, knew exactly what to do, and guided me through it. Next, I glanced over at the two company dancers closest to me, Kathleen Breen Combes and Erica Cornejo, and followed their lead for the second bow. It was exciting to be on the stage with 2 dancers that I look up to, and to be copying their moves! My first performance had ended. One of the favorite moments of the day was overhearing a couple of company dancers saying, “That girl can jump!” It was quite a compliment, coming from them.

A few thoughts from Clara...Every performance, The Nutcracker audience is different. Sometimes they clap so much, at every little detail. And sometimes, it seems they rarely clap at all. Sometimes I hear little children crying and people coughing. When I'm on stage, I can’t see any faces in the audience, except for the first few rows. For the most part, I see a sea of blackness. The only time I can see the audience completely is when I’m up in the balloon. When I’m up that high, the lighting seems to shine on the audience, and I can see each face vividly. It’s like being on a ride at Disney World.It’s so much fun being on stage, but it’s also fun being in the audience and watching other people perform. I have several friends who are also performing in The Nutcracker this year and it’s fun to watch them perform. I love seeing The Nutcracker over and over again, either from the audience or from the stage, so I can watch different Boston Ballet company members in different roles. It’s a new performance every time. I love all of the Boston Ballet company members but Larissa is one of my favorites because she is an amazing dancer. I am always so impressed by her precise movements and range of dynamics. Yury Yanowsky is another one of my favorites. In one performance, when he danced in the role of my Uncle Drosselmyer, we chatted quietly from the special chair that we sit on during the second act while we watch the performances of various company members. He asked me what Nutcracker role I would like to play if I were a company dancer with Boston Ballet. I said Sugar Plum Fairy. I also like Kimberly Uphoff because she is always really nice to me when she dances in the role of the Governess in the party scene. In one performance, she handed the Russian doll to me and told me it was her favorite and she thought that Clara deserved the best doll. Sabi Varga is also really sweet and funny. He gave the four Claras each a Hershey kiss during one rehearsal. One of the best parts about being Clara is being able to talk with the company dancers, although I’m usually so shy that I can’t say more than a word or two! Two uncles, two matinees, and a public appearance all in ONE weekend!

This weekend I had two Nutcracker performances: the Saturday matinee and the Sunday evening performance. Before my performance on Saturday, I made a public appearance at the Ritz Carlton Sugar Plum Tea. The Ritz ballroom was filled with young children all dressed up in beautiful party dresses and handsome suits. There were two special guests in the room: my cousin Lilly, who came from Illinois to see The Nutcracker, and my sister Jillian. My job was to visit each table, greet the children, and have my photo taken with them. Most of the girls wore crowns that were given out by the Ritz. Some kids asked for my autograph. I got lots of questions as I visited the tables, like “How old are you?” (13), “How many days a week do you dance?” (6), “How many years have you performed in Nutcracker?” (6), and “Do you want to be a professional dancer when you grow up?” (Yes).After the tea at the Ritz, I returned to the Opera House for the matinee. It was a great performance because Uncle Drosselmyer was played by Sabi Varga, and he was so animated that the kid-filled audience squealed with delight. Everything about this performance was magical, from the Russian dancers, to the Arabian dancers, to Mother Ginger and her Polichinelles. It was a great cast and I felt lucky to be a part of it!On Sunday I returned to the Opera House for the evening performance. Yury Y. played Drosselmyer for this performance, so it was extra special for me because I love performing with Yury! I had about 30 friends and family in the audience, including middle school teachers, friends, and my whole family. It was thrilling to dance, knowing that they were in the audience. My friends and family gave me a standing ovation when I came out for my curtain call.

A Real Boston Snow Scene!I am so happy that we had a huge snowstorm this week because it gives me hope that we will have a white Christmas! The snow fell in big, beautiful flakes, not unlike the falling snow in the Nutcracker's snow scene. Boston is covered with a thick white blanket of snow. On my way to the Opera House this weekend, I saw skaters on Frog Pond, children building snowmen, and sleds zooming down a big hill in the Boston Common. Boston is a winter wonderland. The first act of the Nutcracker ends with the dramatic snow scene. The flakes drift to the stage as the reindeer pull Clara's sleigh. During this scene, Clara runs across the stage with the Nutcracker prince through the falling snow, and it's so much fun. The fake snow looks like it would be slippery but it's not.'Til next time...

The Perfect Ending Nutcracker 2008 has been an AMAZING experience. I didn't want it to end! While my mom was curling my hair before my last Nutcracker performance of the year, I thought about how much fun the whole Nutcracker season has been and how I had to make my last Clara performance the BEST one yet! My final performance was a blast. I enjoyed every minute of it, from the second I ran on stage all the way to my final bow. At the end of the performance, I got the biggest surprise ever. Just after I took my bow with the Boston Ballet company dancers, two friends from my ballet class (Bayley and Gillian) walked onto stage and handed the Sugar Plum Fairy and me each a HUGE and stunningly beautiful bouquet of flowers! I was flabbergasted! And I was frozen! I had never been presented with flowers on stage so I wasn’t sure how to react. Was I supposed to take the bouquet? Were the flowers really for me? My friend Bayley tried to force the flowers into my hands and I was in shock. OMIGOD!!!! The flowers are for me! I was overjoyed! The bouquet was almost as tall as me! And to have my friend present them to me on stage made it 1,000 times more special. My final performance as Clara was my best performance EVER! Now, a couple days later, I’m kind of sad that it has ended. It was an incredible season. I have so many people to thank, from the teachers who helped me, to the friends and family who supported me and came to see The Nutcracker, to my wonderful cast-mates who were so much fun. It’s the people who make the Nutcracker experience unforgettable. And thanks to YOU for reading my diary! Now it’s time to start thinking about auditions for summer ballet programs. . .

25 Days of Nutcracker- Day 4

Nutcracker Ringlets

(Part 2)

The Curling Process

The more common way of getting ringlets is by using curlers. The blog "Fluff-n-Stuff" has a great artical from a few years ago (http://fluff-n-stuff.blogspot.com/2007/11/public-service-announcement-how-to-do.html). I'm going to pick out some highlights.

Eco-friendly method: Use an old lint-free rag torn into strips. Condition hair with a teaspoon or two of warm olive oil. Wet hair lightly with water.Twine a bunch of wet hair strands around each strip. Knot the strip ends together in an easily removable bow/ simple knot. Wear a shower cap around all the twined strands and sleep in it. This generates beautiful curls, but takes several hours to set.

(http://london.ucdavis.edu/ballet/cloth.jpg)

Foam rollers method: Similar to above, but uses a foam wrap lotion and foam rollers( again, easily found in most dollar and drugstores). This requires overnight setting and sleeping in rollers. I used a product by (available in most beauty supply shops) called an Extra Firm Hold Foam wrapping lotion to prep the hair by applying it to each lock before rolling it around the rollers

Dos and Don'ts

Do use a product to such as gel to help the curls hold

Don't put curlers in wet hair

Do use as many curlers as possible

Don't put curlers in clean hair

Do try out the style several times before the actual show

Don't brush out the curls after you take them out of the rollers

Do hair spray each curl as you take it out of the roller

Don't put to much hair on one roller

This is what will happen if you Do follow these steps;

If you Don't;

What do party girls have to say about ringlets?

What’s so important about the hair of a Party Girl?
We have to have ringlets — lots and lots of springy, bouncy curls. So before every show, the night before, I have to put my hair in curlers. They never cancel a show, so the last big storm I was on the Orange Line with a shower cap over my curls, because, like I said, the curls have to come in safe.

Lia Kaynor, a 12-year-old Melrose Veterans Memorial Middle School student
Thu Dec 20, 2007 (www.wickedlocal.com/melrose/archive/x360513062)

25 Days of Nutcracker- Day 3

Nutcracker Ringlets

(Part 1)

Many party children and "Clara's" have their hair in ringlets. The process, however, can be daunting. This post is designed to help you and make the "curling" process fun.

There are several ways to go about curling hair;

The fastest, easiest way is to buy a wig.

Wigs come in several styles;

Bun Wig

Full Head Wig

Banana Clip Wig

How to put on a wig?

Make a bun fasten with a hairnet, and put in the bow above it.

Tie on the hairpiece over the bun

Use hairpins around the edge of the hair piece

Hairspray down loose hairs.

Final Product

**Don't mind the Irish dance headbands, many Irish dancers wear the wigs so I couldn't find any Nutcracker pictures

Since this is so long I'm going to post the second 1/2 tomorrow with the traditional "curling method

25 Days of Nutcracker- Day 2

Theater Check List

It's a good idea to always have the following on hand

• Band aids


• Adhesive tape


• Safety pins


• Bobby pins


• Hair nets


• Needle & thread


• Scissors (Try attaching them to a bag with ribbon so no one walks away with them)


• Extra tights


• Make-up


• Comb & brush


• Rubber bands


• Hair spray


• Aspirin/Tylenol


• Appropriate shoes


• Clear Nail Polish (To stop runs)


• Camera


• Warm-ups


• Water


• Coloring Pages (For little kids)

Did I Miss anything? Let me Know!

25 Days of Nutcracker-A Countdown to Christmas Day 1

Intro/History of the Nutcracker

**This post is short, but the rest are going to be much longer**

The Nutcracker is a fairy-tale ballet in two acts, three scenes, by Pyotr Ilyich Tchaikovsky, composed in 1891–92. Alexandre Dumas Pere's adaptation of the story "The Nutcracker and the Mouse King" by E. T. A. Hoffmann was set to music by Tchaikovsky (staged by Marius Petipa and commissioned by the director of the Imperial Theatres Ivan Vsevolozhsky in 1891). The plot of Hoffmann's story is much more elaborate than that of the ballet; in the tale, the heroine Marie's adventures with the toys and with the Nutcracker are not a dream, and at the end she marries the Nutcracker/Prince.
St. Petersburg Premiere
The first performance of the ballet was held as a double premiere together with Tchaikovsky's last opera "Iolata" on 18 December 1892, at the Imperial Mariinsky Theatre in St. Petersburg, Russia. Who exactly choreographed the first production has been debated. Although Lev Ivanov is often credited, contemporary accounts credit Marius Petipa. The ballet was conducted by Riccardo Dirigo, with Antoinetta Dell-Era as the Sugar Plum Fairy, Pavel Gerdt as Prince Coqueluche, Stanislava Belinskaya as Clara, Sergei Legat as the Nutcracker-Prince, and Timofei Stukolkin as Drosselmeyer

Tomorrow we start Nutcracker!!!!!!

Our 25 days of Nutcracker starts tomorrow.

Have anything you want to see?

Want to do a review of a Nutcracker you have seen?

Any funny stories?

Email me at;

dancingteenblog@gmail.com

Enjoy this video from Anaheim Ballet

ABT News

POINTE, CLICK & BID for BALLETABT LAUNCHES SECOND ANNUAL HOLIDAY AUCTION SITE
abt.cmarket.com to offer One-of-a-Kind ABT Experiences

11/19/2009 - American Ballet Theatre will launch its second holiday gift auction site enabling the public to bid on one-of-a-kind ABT experiences and unique gifts. Items offered for auction include exclusive dinners with ABT dancers in New York City, limited-edition photographs of ABT, and backstage opportunities ranging from a guest stage managing position to a curtain cavalier presenting flowers to the prima ballerina of the evening. Other items include signed pointe shoes from ABT Principal Dancers and studio rehearsal visits in New York. Offered this year is a Box Evening Celebration, which includes the exclusive use of a center parterre box for the winner and seven guests, a backstage tour and a post-performance champagne reception with dancers.

The auction, opening at 8:00A.M, Tuesday, December 1, 2009 and closing at 8:00P.M, Tuesday, December 15, 2009, offers users the option to bid on items (minimums apply) or to “buy now” at a posted price. Opening bids begin at $100.

Proceeds from POINTE, CLICK & BID for BALLET will benefit American Ballet Theatre. For bidding, please visit ABT’s auction website at abt.cmarket.com. For more information, please contact Wendy Fisher at 212-477-3030, ext. 3245.

ABT CELEBRATES 70TH ANNIVERSARY SEASON,MAY 17-JULY10, 2010 AT METROPOLITAN OPERA HOUSE, SEASON TO FEATURE COMPANY PREMIERE OF JOHN NEUMEIER’S LADY OF THE CAMELLIAS AND REPERTORY FESTIVAL INCLUDING ALL-ASHTON AND ALL-AMERICAN PROGRAMS

Special Tribute to Alicia Alonso’s 90th Birthday Planned

10/19/2009 - American Ballet Theatre’s 2010 Spring Season at the Metropolitan Opera House, May 17-July 10, will celebrate the Company’s 70th Anniversary and pay tribute to legendary ballerina, Alicia Alonso. The season was announced today by Artistic Director Kevin McKenzie. The Company Premiere of John Neumeier’s Lady of the Camellias and a repertory festival will highlight the season.

Principal Dancers for the 2010 Metropolitan Opera season will include Maxim Beloserkovsky, Roberto Bolle, Jose Manuel Carreño, Angel Corella, Herman Cornejo, Irina Dvorovenko, Marcelo Gomes, David Hallberg, Paloma Herrera, Julie Kent, Gillian Murphy, Veronika Part, Xiomara Reyes, Ethan Stiefel, Diana Vishneva and Michele Wiles. Natalia Osipova, a leading soloist with the Bolshoi Ballet, will return for the Spring season as a guest artist.

Saks Fifth Avenue is the Leading Corporate Sponsor of the Costume Fund. J.P. Morgan is the Leading Corporate Sponsor of Make a Ballet. American Airlines is ABT’s Official Airline. Northern Trust is the Official Sponsor of the Jacqueline Kennedy Onassis School at American Ballet Theatre. LVMH Moët Hennessy Louis Vuitton is the Official Sponsor of ABT II. The 2010 Metropolitan Opera House season is also made possible with funds from the National Endowment for the Arts and the Recovery Act, the New York State Council on the Arts, a state agency and the New York City Department of Cultural Affairs, in partnership with the City Council.

American Ballet Theatre’s 70th Anniversary season celebration will open with a Gala performance featuring ABT’s Principal Dancers on Monday, May 17 at 6:30 P.M. For information on ABT’s Spring Gala, please call the Special Events Office at 212-477-3030, ext. 3239. ABT’s Spring Gala in sponsored by NBC Universal and GRAFF.

Company Premiere

John Neumeier’s Lady of the Camellias will be given its Company Premiere by American Ballet Theatre on Tuesday evening, May 25 with Julie Kent as Marguerite and Roberto Bolle as Armand. Set to music by Frederic Chopin, Lady of the Camellias was choreographed by Neumeier after the novel of Alexandre Dumas. The ballet features scenery and costumes by Jürgen Rose with original lighting design by Neumeier, reconstructed by Rolf Merkel. Lady of the Camellias was given its World Premiere by the Stuttgart Ballet at the Weurttemberg Staatstheatre, Stuttgart, Germany on November 4, 1978, with Marcia Haydée and Egon Madsen. The ballet received its United States premiere by the Stuttgart Ballet at the Kennedy Center for the Performing Arts, Washington, D.C. on May 15, 1979, with the same cast. American Ballet Theatre will present eight performances of the full-length ballet, May 25 through May 27 and June 4 through June 7.

Repertory Festival

American Ballet Theatre will offer two weeks of repertory programs June 8 through June 12 and continuing on June 28 through July 3. The programs include an All-Ashton program featuring Sir Frederick Ashton’s Birthday Offering, The Dream and the Company Premieres of the Awakening pas de deux from Ashton’s The Sleeping Beauty and Thaïs pas de deux. The repertory festival also includes an All-American Program featuring the Revival Premiere of Twyla Tharp’s The Brahms-Haydn Variations, Paul Taylor’s Company B and Jerome Robbins’ Fancy Free. An All-Classic Masters Program presented on June 29, June 30 matinee and July 2 will include George Balanchine’s Allegro Brillante, pas de deux from Sir Kenneth MacMillan’s Manon and Antony Tudor’s Romeo and Juliet, as well as ballets from the All-Ashton and All-American programs.

An All-ABT Premieres program on the evenings of June 9, June 11, June 28 and July 1 will feature Tharp’s The Brahms-Haydn Variations, along with Alexei Ratmansky’s On the Dneiper and Jerome Robbins’ Fancy Free.

A Celebration for Alicia Alonso

As part of American Ballet Theatre 70th Anniversary season, the Company will celebrate the life and career of legendary dancer and ballet director Alicia Alonso. Alonso joined Ballet Theatre in 1940 and was promoted to Principal Dancer in 1946. Famed for her interpretation of the title role in Giselle, Alonso also starred in the World Premieres of ABT’s most critically hailed works, including George Balanchine’s Theme and Variations, Antony Tudor’s Undertow and as The Accused in Agnes de Mille’s Fall River Legend; all roles that were created on her. Alonso’s 90th birthday will be marked by a special performance of Don Quixote on Thursday evening, June 3 featuring three Principal casts, each dancing the lead in one act of the three act classic.

Full-Length Ballets

In addition to the Company Premiere of Lady of the Camellias, American Ballet Theatre will perform five full-length ballets during the 2010 Spring season beginning with La Bayadère on Tuesday evening, May 18. Diana Vishneva (Nikiya), Marcelo Gomes (Solor), and Gillian Murphy (Gamzatti) will lead the season’s first performance of the three-act classic. The season’s eight performances of La Bayadère, May 18 through May 22, mark the 30th anniversary of the ballet. Natalia Makarova first staged The Kingdom of the Shades scene for ABT in 1974 and subsequently produced and choreographed the complete version (in three acts) for ABT in 1980. The World Premiere of Makarova’s production was given on May 21 of that year, danced by Makarova (Nikiya), Anthony Dowell (Solor), and Cynthia Harvey (Gamzatti). Set to music by Ludwig Minkus, arranged by John Lanchbery, La Bayadère was conceived and directed by Makarova. The ballet features scenery by PierLuigi Samaritani, costumes by Theoni V. Aldredge and lighting by Toshiro Ogawa. Dina Makarova serves as production coordinator for the current

production.

The season’s first performance of Don Quixote will be led by Paloma Herrera and Angel Corella on Friday evening, May 28. Staged by Kevin McKenzie and Susan Jones, with choreography after Marius Petipa and Alexander Gorsky, Don Quixote is set to music by Ludwig Minkus and features scenery and costumes by Santo Loquasto and lighting by Natasha Katz. The McKenzie/Jones staging of the current production was first performed by ABT in June 1995.

The Sleeping Beauty returns to the repertory for eight performances, June 14 through June 19. Set to a score by Peter Ilyitch Tchaikovsky, The Sleeping Beauty, choreographed after Marius Petipa, has additional choreography and staging by Kevin McKenzie, Gelsey Kirkland and Michael Chernov. The production features scenery by Tony Walton, costumes by Willa Kim with additional costume designs by Holly Hynes, and lighting by Richard Pilbrow and Dawn Chiang. Gillian Murphy and Jose Manuel Carreño will lead the season’s first performance of The Sleeping Beauty on Monday evening, June 14. This production of The Sleeping Beauty received its World

Premiere at the Metropolitan Opera House in New York on June 1, 2007.

Eight performances of Swan Lake, choreographed by Kevin McKenzie after Marius Petipa, will be given beginning Monday, June 21 with Veronika Part and Roberto Bolle leading the opening night cast. Swan Lake is set to the score by Peter Ilyitch Tchaikovsky and features scenery and costumes by Zack Brown and lighting by Duane Schuler. This production of Swan Lake premiered on March 24, 2000 at the Kennedy Center for the Performing Arts in Washington, D.C.

The final week of American Ballet Theatre’s eight week season at the Metropolitan Opera House will feature eight performances of Kenneth MacMillan’s Romeo and Juliet beginning Monday evening, July 5 with Julie Kent and Marcelo Gomes in the title roles. Set to the music of Sergei Prokofiev, Romeo and Juliet features scenery and costumes by Nicholas Georgiadis and lighting by Thomas Skelton. The ballet received its World Premiere by The Royal Ballet in London on February 9, 1965 and was given its ABT Company Premiere at the Metropolitan Opera House on April 22, 1985.

ABTKids

ABTKids, American Ballet Theatre’s annual one-hour introduction to ballet, is scheduled for Saturday morning, June 5 at 11:30am. All tickets for ABTKids are $25. The ABTKids performance is generously supported through an endowed gift from Thomas and Lydia West, in loving memory of Vivian B. West.

ABTKids Workshop Series

ABTKids Workshop Series, activity-based programs led by ABT Teaching Artists, are available to ABTKids ticket holders only on Saturday, June 5 (9:30 am). On Saturday, June 19, ABT will hold a Sleeping Beauty Workshop at 11:00am. Saturday workshops will be held in the rehearsal studios of the Metropolitan Opera House. Tickets to the workshops are $20 per person. For tickets and more information on ABTKids Workshop series, please call 212-419-4321.

Subscriptions for American Ballet Theatre’s 2010 Spring Season at the Metropolitan Opera House are on sale now by phone at 212-362-6000, or online at ABT’s website www.abt.org.

Get Ready for Nutcracker!!!!!

Starting December 1st I will be posting a Nutcracker themed post for "25 days of Nutcracker-A Countdown to Christmas". Have a specific topic you want to see? Let me know.

Thanksgiving

Happy Thanksgiving Everyone!!!!!

Clara

Who is Clara?

Clara is the heroine of Tchaikovsky's famous ballet "The Nutcracker". She is called Marie in George Balanchine's version of the ballet, and Masha in some Russian versions of it. The entire story of the ballet is seen through her eyes, and a grown-up Clara is even the offscreen narrator of the film "Nutcracker: The Motion Picture". Clara receives the Nutcracker from her Uncle Drosselmeyer at a Christmas party. In most versions, she dreams that at midnight it comes to life and fights a duel with the Mouse King. With Clara's help, the Nutcracker kills the Mouse King and is then transformed into a handsome prince, with whom she falls in love. The Prince then takes Clara to the Kingdom of Sweets in gratitude. They celebrate in her honor, but at the end of the celebration she wakes up to find that it was all a dream and that the Nutcracker is still a nutcracker. In other versions, the magical events in the story are not a dream, and Clara lives happily ever after with the Prince.In Peter Wright's version for the Royal Ballet, the Nutcracker is not only really a prince, but also Drosselmeyer's nephew, as in E.T.A. Hoffmann's original story on which the ballet is based.

(http://www.imdb.com/character/ch0012247/bio)

Why do girls want to be Clara?

Besides the fact that they could be dancing her role in a few years she is relatable. The audiance can imagine how they would react to the things she is going through. Clara is also a role model in ruffles. She is a sweet optimistic little girl, yet determined and talented. Girls can aspire to be like her, onstage and off.

(from Dance Spitit "Meet Clara" December 2009)

How can I be Clara?

TAKING CLASS: Probably the most important step is that you must be taking ballet lessons! 1-2 classes a week will probably not earn you the role anytime soon, 3 classes a week might, and if you take 4-6 classes a week, you will have a much better opportunity.

LEVEL: You must be at an intermediate-advanced level, depending on the ballet studio you are with. Some studios are looking for a girl to play Clara that is 11-13 years old, while others want a more advanced dancer with pointe shoes to play Clara. Check with your ballet instructor to see what she is looking for in Clara/Marie.

AGE: I don't know of any ballet teachers that want someone younger than 10 to play Clara. Most girls younger than that are not at the level to play Clara and aren't mature enough yet to handle such a large role. But just because you aren't 10 yet doesn't mean you should audition; there are lots of other fun roles, such as Clara's Friend, Baby Mouse, Angel, and more!

EXPERIENCE: Most ballet instructors look for a girl to play Clara that has been dancing for many years and has been in other recitals/performances with the studio. You are more likely to have the role of Clara if you've been dancing for a long time and have been doing The Nutcracker or other performances for awhile. This is why it's not a good idea to not audition until you are old enough to play Clara/Marie.

MATURITY: Are you mature enough to play Clara/Marie? You should 1) pay attention in class, 2) follow your teacher's instructions, 3) be polite and respectful to your teacher and fellow students, 4) not socialize during class instead of dancing.
If you follow all of these steps, you will have a good opportunity of playing the role of Clara! But don't be discouraged if you never receive the role; that doesn't mean you aren't a good dancer. There are plenty of other roles that are just as fun!

****Some studios perfer a younger Clara so just because your 9 doesn't mean you wont get the part. Ask the studio owner/artistic director****

(http://www.wikihow.com/Get-the-Role-of-Clara-in-the-Nutcracker)

Stories of girls who have been Clara:

Haley and Rachel



Lindsey Frilot




Thanks For Reading!

Look For More Nutcracker Coming Soon!

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Youtube collection

I found a two ballet-related videos I think you will like. Let me know if you do!!!

Sorry!

Sorry I haven't been posing....I'll try to post soon!

Ballet as a Supplement-Response

I got some great responses.

Name- Chris
Parent or Student? Parent

What is your activity? Gymnastics, basketball, softball
How long have you been dancing? 1 year
Do you do ballet or another form of dance (pls. specify) ballet and hip hop, but now she is doing the dance team;hip hop, jazz, tap, ballet
Do you do pointe? NO
How has ballet helped you? Ballet teaches her the balance and posture she needs to be a better gymnast
How has your activity helped you with ballet? I think, as do many parents I talk to, that ballet definitely makes a difference.
Do you participate in end of the year shows or Nutcracker? She will compete 5 or 6 times throughout the season
How do you balance a busy schedule? There is no balance….but my kids enjoy being active!
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Name- Hilda
Parent or Student? Student

What is your activity? figure skating
How long have you been dancing? 1 year
Do you do ballet or another form of dance? ballet
Do you do pointe? no
How has ballet helped you? the flexibility and strength required in ballet has helped me progress faster in skating. As for grace, I don't lack it, so it doesn't quite help me. My posture is good in ballet, but not in skating.
How has your activity helped you with ballet? As skating requires strength and flexibility too, I can practice those two for both ballet and skating at the same time, which is really convenient.
Do you participate in end of the year shows or Nutcracker? my studio doesn't have shows regularly, but when they have, I do participate
How do you balance a busy schedule? My schedule is not busy. I attend school only half a day, others is dedicated to dance or skating.
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Name- Dani (she is my dd)
Parent or Student? - I am the parent

What is your activity? Gymnastics (sometimes cheer, she is a flyer)
How long have you been dancing? This is her 2nd year
Do you do ballet or another form of dance (pls. specify) Ballet
Do you do pointe? No, but she is interested in pointe
How has ballet helped you? It has helped her grace, posture, leg strength and flexibility.
How has your activity helped you with ballet? The gymnastics has helped with the strength, flexibility and balance.
Do you participate in end of the year shows or Nutcracker? Yes
How do you balance a busy schedule? Time management and planning things out really helps. Plus, I make sure she has "off days" where she can just chill and do nothing.
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Name-Lolly
Parent or Student? Student
What is your activity? Gymnastics
How long have you been dancing? 6 years (since I was 9 and my coach suggested it)
Do you do ballet or another form of dance (pls. specify) I do ballet and tap
Do you do pointe? Yes
How has ballet helped you? I gained grace, elegance,better leg and back strangth for things like arabesques, much better general movement e.g. in my floor routine
How has your activity helped you with ballet? Strength from gymnastics definitely helps and also the work ethic and discipline I gained from it
Do you participate in end of the year shows or Nutcracker? No because the dancing is at my gymnastics centre so its mainly to supplement gym
How do you balance a busy schedule? My coaches value my ballet time as much as my training in the gym so they were happy to sit down and work out a schedule with me
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Parent or Student? student (used to be anyways)
What is your activity? gymnastics and cheerleading
How long have you been dancing? i took ballet for two years
Do you do ballet or another form of dance (pls. specify) ballet and jazz
Do you do pointe? for about 6 months, but quit because it hurt my feet too much. i had bloody toes and it was hard for me to preform in the gym.
How has ballet helped you? game me a lot more grace and agility...judges always commented on my fluid movements.
How has your activity helped you with ballet? i was already very deadicated and a perfectionist
Do you participate in end of the year shows or Nutcracker? yepppp. i was the sugar plum fairy my final year
How do you balance a busy schedule? lotsss of hw and eating and changing in the car.
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Many Skating and Gymnastic teams offer dance as part of training. Some girls are full time dancers and competitive dancers. I recommend dancers to try gymnastics or go to an open gym. It's amazing what you learn and how much it helps. I go to free skate a lot to.

This is one of my favorite montages on youtube

It shows how much dance is in gymnastics.






This is a tribute to a great skater and ballerina