Friday Feels: Misa Kuranaga This One’s for you: A Ballet Playlist Inspired by the Pop Ballets We Love

The newest Prince album also drops today. So, we had to do more than just go crazy for Misa’s instagram. We officially have a Spotify for all your ballet inspired playlist needs starting with this one. Get your Friday morning off to a great start with A Ballet Education’s playlist inspired by everyone’s favorite Pop Ballets.

Enjoy all the ballets that inspired the playlist. Happy Friday!

Playlist (Ep) – Boston Ballet – William Forsthye – 2019

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Billboards – Joffrey Ballet – Choreography Laura Dean – 1993

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Rasta Thomas’ Rock the Ballet –  Bad Boys of Dance – Choreography Rast Thomas and Adrienne Canterna 2008 
BIG  –  Atlanta ballet – Choreography by Lauri Stallings – 2008 

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Blake Works 1  –  Paris Opera Ballet – Choreography by William Forsythe – 2016
I Felt it Too – Dutch National Ballet  –  Choreography by Sedrig Verwoert – 2021

Cover photo English National Ballet dancing William Forsythe’s Playlist, photo courtesy of English National Ballet
English National Ballet in Forsythe’s Playlist (Track 1, 2). © Dave Morgan.

In 2018, choreographer William Forsythe created Playlist (Track 1, 2) for English National Ballet. Juxtaposing ballet classicism and athleticism with the beats of neo-soul and house music, it left the crowd whooping and wanting to join in. The ballet was later expanded in 2019 for Boston Ballet and was titled Playlist (EP). Playlist (EP) returns to English National Ballet for the 2022 Season.

Getting to know Garrett Smith

The Choreographer Creating Not So Tiny Waves Worldwide

Accomplished dancer and freelance choreographer Garrett Smith shares everything from his choreographic journey, to culinary interests, and using Instagram as a business tool. His work is sought after by companies and dancers worldwide and recently crossed over into commercial television with Netflix’s Tiny Pretty Things. This is just the beginning for this creative genius! 


I first had the pleasure of working with Garrett Smith in 2015 when he created Facades at Ballet West. At that time, he was still dancing with The Norwegian National Ballet. Since then, Garrett has fully transitioned to a rapidly flourishing freelance choreographic career. To date, in addition to Facades with Ballet West, he has created works on The Bolshoi Ballet, The Mariinsky Ballet, Les Grands Ballet Canadiens de Montréal, Opéra National de Bordeaux, The Norwegian National Ballet, Houston Ballet, Milwaukee Ballet, Tulsa Ballet, and Pennsylvania Ballet.  His work appearing in the current Netflix series Tiny Pretty Things has now brought him to the forefront of the commercial choreographic scene. 

Ballet Choreographer Garrett Smith Tiny Pretty Things

It was lovely having the recent opportunity to reconnect and chat with Garrett while he visited his family in Utah. Garrett is charmingly handsome, with a delightful sense of humor and incredible eye for beauty. From a competition kid, to internationally recognized choreographer, this is sure to be just the beginning for this creative genius. 

Photo Jenny Dustman Nielson

How did choreographing for Tiny Pretty Things come about? 

Jennifer Nichols, who is the head choreographer, was in charge of scouting out choreographers and she just noticed me on Instagram. She’s located in Toronto, Canada, which is also where it was filmed, and I guess because I was working in Montreal at the time, the hashtags were close to her feed because of the algorithm. Or maybe she was following me? I don’t know, but she really liked what I was doing in Montreal and she contacted me through Instagram. For me, Instagram is a business tool. I’ve gotten a lot of offers through there. My work is in episodes 5 – “Split Sole,”  7 – “Catch and Release,” 8 – “Releve” and 10 – “Push Comes to Shove.”



What was that choreographic process like?

I was in Toronto in October of 2019 for ten days, so it was minimal time. I had to recycle choreography from other creations and kind of fuse some things together. There were some things I created on the spot there, but there was just limited time. 

How did it feel to work on a more commercial mainstream project coming from such a classical ballet background?

I actually have that background growing up in Utah. I was a competition kid before I was a classical artist, so I am well versed with that world. There’s just a different type of mentality and work ethic from the commercial world versus ballet company world. I think that background made me more versatile. I like to have versatility when I create. I love working with big ballet companies on pointe, but I also love working with small contemporary companies in socks. I don’t want to get stuck in one thing, or labeled as “he’s just this.” 

Photo: Maude Sabourin in “Complete” for Les Grands Ballets Canadiens by Sasha Onyshchenko

Would you say opportunities like Tiny Pretty Things are rare for choreographers?

Yeah, it came out of nowhere and I’m really lucky that I got to do it. It was number one worldwide for a week, and now it’s still in the top ten worldwide (at the time of the interview) and doing really well. It’s so cool to be like let’s go watch Netflix, I choreographed that. 

Photo: “Imitation” for Norwegian National Ballet by Jörn Wiesner

The choreographer on Tiny Pretty Things is a bit, hmm lets say, intense? Are there any aspects of that character you relate to in any way? 

Laughs* No. 

Did you have mentors that helped you develop as a choreographer? How do you feel about the importance of access to opportunities for potential choreographers?

I’ve had mentors all throughout my life and I would always ask choreographers and dancers questions. I was always trying to find out information. 

The way I had access was through choreographic workshops. I think every company should have choreographic workshops for their dancers and provide some way for dancers to have time to work and play around in the studio. I got to choreograph in Houston’s summer program, which is where I got to work and be noticed in the beginning, and then it just sort of grew. I got opportunities in the second company based upon pieces I had done in the summer program and then I got into the school, then Houston Ballet II, and they kept letting me choreograph. I applied for the New York Choreographic Institute and I got that as an apprentice. I got to choreograph a piece on Houston Ballet as an apprentice and that got put in the gala. I would just seek out any opportunity. I was always the first person to sign up. 

Photos: Anne Sylvie Bonnet

How has quarantine made you reflect on your life path and career?

There are so many things I’m interested in: architecture, building my own show in Barcelona, and getting a culinary education… opening up a cafe and creating my own menu and having a cute coffee/bakery shop. I would love that. I feel like cooking is still creative. Creating a menu is just like being a choreographer because you create something that the audience gets to digest and experience, just like dance. 

But I love choreographing so much I don’t know if I could actually stop. I’ve had many moments of being worried about how I am going to pay my bills. Sometimes it’s hard as a freelance choreographer because you never know when work is going to come your way. I feel like I’ve really had to push and hunt for work. I have moments of feeling very confident about it and then not. I would love to choreograph for NDT and for more companies in Europe.

What have been some of your most memorable moments as a choreographer? 

Choreographing for The Mariinsky and The Bolshoi was like wow, I cannot believe I’m here at The Bolshoi! That was amazing just because of what it is; just the immensity of that world and how many people are in The Bolshoi, Russia. My piece closed the festival at Bolshoi; it was all these men in tutus, it was really cool. Also at Houston Ballet when I created Reveal in 2015, that was a very special time. I loved that time, and I loved that piece. And creating Forbidden Paths for Bruce Wood Dance, because of the message of what it was: dedicating that to Iranian people. That was really special. I received probably 25,000 followers after that in two weeks, all from Iran. My big following, you could see on my (Instagram) statistics, was from Iran (Tehran) because of all the people who were so happy that I was supporting their struggles in their country. 

Photo 1: Arian Molina Soca Photo 2: Yohan Terraza Photo 3: Alexander Iziliaev

Can you tell us more about that?

I was in Norway creating a piece and I posted a teaser – a very fun, light, comical moment from this piece – and a guy reposted it who was following me from Iran. I didn’t understand what the language was saying in his post, but he was saying, “dance brings joy to people, as you can clearly see in this teaser.” I was like, well, why are you saying that? And he said it’s not legal for men and women, or people, to even touch each other and perform in public in this way. Dance schools don’t really exist there. People are dancing in basements, in secret, in hiding. There were people (in Iran) who made a music video dancing to Will Pharrell’s “Happy” and they all got detained and arrested. It’s just so crazy that that is not even legal. People there are prohibited from performing freely in a way that we take for granted. 

People complain, myself included, that coronavirus has taken away all these things from performing artists. But even when coronavirus is over, people in Iran still won’t have the ability to dance like we do. And because of social media, they see that. I have so many people messaging me asking for help. 

So I decided to dedicate the piece I made for Bruce Wood Dance to them and I used all Persian music. It received a lot of attention from people in Iran. I was supposed to host a workshop for Iranian people in Turkey, because they don’t need a visa to travel to Turkey, but because of coronavirus we couldn’t. 

David King Reflects:

Perhaps the key to Garrett’s creativity is, in fact, derived not only from the versatility of his dance career, but the disciplines and cultural textures of his outside creative interests, as well. I personally easily identify with his desire to cultivate design and culinary arts as a part of his artistic path. It has been the ability to draw on those expressions that has kept me somewhat refreshed and pushing forward throughout quarantine, the pandemic and the subsequent erosions and contortions of ballet and the performing arts. I am anxious to see how he draws on those disciplines and his personal aspirations in his future work to expand his choreographic vocabulary throughout his career. It’s sure to be anything but tiny.

David King on Garrett Smith

The Masters…

Ballet San Jose (click the image)
Ballet San Jose (click the image)

So yesterday was Balanchine’s Birthday, and as the internet was flooded with beautiful images of everyone dancing their favorite work it made me realize how connected ballet is. In addition, the NYT featured the give girls from Serenade on the front cover, above the fold. BIG DEAL. Now, from reading these most intimate stories, and tweets, haha, I was inspired by the idea of mastering ballet. As we celebrate the women of ballet, and the men of ballet, we forget that none of this would be possible without great choreographers. Balanchine reshaped the way ballet was perceived, and since then there hasn’t been anyone else really. Though, celebrating the fusion of jazz and ballet: Robbins. And celebrating the combination of modern and ballet: Tharp. Between the three, they have shaped the world of contemporary dance in general, and how audiences perceive music.

While Robbins reinvented the story ballet, and Tharp created a space that equalized Graham, Horton, and ballet, the world fell in love with the three. Now speaking of love, and the idea of these masterpieces, it is hard to find a program that would feature all three in one night. BUUUUT for those of us in California don’t fret!!!

Ballet San Jose is about to do all three…. Conveniently next month after Valentine’s Day… BOOM. So if you are in the LA area, drive up or fly up, a round trip ticket is only 160. In one night you will be able to see three of the greatest ballets ever…. First there is the incredibly technical difficult piece from Balanchine: THEME AND VARIATIONS. Theme is just flat out hard… For the principal girl… between the numerous entrances, those crazy gargouillades, and just a really difficult pas. The male variation is exhausting as well… So basically, it is going to make or break a company’s reputation for technique.

Then they are doing Jerome Robbins’ Fancy Free, which is basically inspired by a gay painter, Paul Cadmus, who conveniently also was sleeping with/ sponsored by Lincoln Kirstein. But because of that twisted connection we are given one of the greatest works. Set in a bar, with sailors on leave, and two feisty women, and beautiful music by Bernstein.

They will also be doing in the Upper Room by Tharp. The Upper Room is this crazy beautiful music, enhanced with ridiculously strong choreography showcasing a company’s diversity. It isn’t everyday you get to see a Tharp piece, especially one for a ballet company. So this is a treat.

So basically, if you are a young dancer, or a mom, or just an admirer of ballet… IT IS TIME TO TREK TO SAN JOSE… do you know the way to San Jose?

SAN JOSE 1

after i see the show, I will review the company… and I will watch the school to give you all a full update.

The Race for Balanchine’s Spot in History… replacing Mr. B

replacing balanchine

The 20th Century had George Balanchine, among other great choreographers (You may start reaming me now for using Balanchine as my choreographer of the 20th Century…) But since Balanchine, Massine, and the Diaghilev/ Ballets Russes eras… Who has filled their shoes? Who will be the next choreographer to go down in history and have a repertory that will survive generations. In retrospect, as NYCB has no dancer currently dancing who ever danced for Balanchine, officially closing an era, and hoping that the repertory lives on… I move on to my point… Who, in 50 years will we be able to see their ballets/works that were created for this generation of dancers. John Cranko has Onegin, which will probably live forever. Sir Kenneth Macmillan has his set of ballets, all stemming from restaged versions… which still prove to be box office hits, as Queensland Ballet banked 1.1 Million in box office sales this week off of his dreamy version of Romeo and Juliet. (Literally, this week) Antony Tudor has his ballets… but more specifically La Dame aux camélias The Jerome Robins ballets will live forever, I hope. Jiří Kylián has a works, but his legacy of Petite Mort seems to be the survivor. The Forsythe ballets, in the Middle, Somewhat Elevated is a ballet that a million dancers dream about performing… A more recent choreographer John Neumeier has a plethora of works, but I think his stand out is the Little Mermaid. (honorable mention to Robert Joffrey, and Peter Martins’ ballets will live on through NYCB, though I really haven’t found one I am lovin… especially after that Romeo+Juliet disaster…) There are probably a few more that fit into that category of choreographers… But, what I am more excited about is the slew of choreographers right now who are building a very extensive repertory around the world. 🙂

There are the front runners…

Former director of the Bolshoi (good starting point if you ask me), Alexei Ratmansky.

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Benjamin Millepied, mentored by Jerome Robbins, former principal at NYCB, and now director of dance for Paris Opera Ballet… not bad…. (Natalie Portman’s baby daddy…okay, husband)

Then there is the ever popular Christopher Wheeldon, who won a gold medal at the Prix de Lausanne, was a soloist for NYCB. His ever popular works are growing and growing, his full length ballets are always so beautiful and so thoughtful.

The Movement Explorers

lines ballet repertory

Power duo Dwight Rhoden and Desmond Richardson have made a cozy little spot for themselves in the contemporary world, but I also think have very strong ballets. Alonzo King would fit into this category too… but I don’t really see any other companies performing his repertory, granted most of them can only be performed with asian warriors, african tribal drummers, and beautifully mastered props/sets. (By the way, most of my favorite works are contemporary works.)

And two very unexpected, very young talents….

Justin Peck has created gorgeous ballets for NYCB, and he is definitely on the rise for becoming a stand out choreographer, and he is still a soloist at NYCB, so young and just named resident choreographer… The only other person who has held that title at NYCB is Christopher Wheeldon.

On the west coast, Myles Thatcher at San Francisco Ballet, a corps member seems to be making a splash in the ballet world as well with his choreography for SFB’s student showcases. Again another very young, very talented man. Liam Scott for ABT is about to do another world premier for their new season.

There is also the rise of the choreographers coming from PNB.

I am sure I left off a million other names both current and past, and future…. but these are who I am excited for. It is exciting and scary at the same time to think that the direction of ballet is changing so fast, and so rapidly. What category of a ballet once was the Sleeping Beauty and Swan Lake, joined by Rodeo, Serenade and Afternoon of the Faun, has now been joined by in the Middle, Somewhat Elevated, Petit Mort, and Bolero. See I added De Mille and Roland Petit, Nureyev and others… Now the question is, whose repertory will be so vast and diverse, as well as survive generations?

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Mauro Bigonzetti’s Reflections Project for Bolshoi