Many of the principals we have come to love and adore, or have forgotten about have announced their retirements this year. This morning, Carla Korbes announced her retirement from PNB. Her stunning career has been plagued with injuries, but her collaborations with Peter Boal have definitely paid off, and have have been celebrated.
Other principals to retire are NYCB’s beloved Wendy Whelan, and ABT’s Paloma Herrera both set to retire in October. Julie Kent is going to be retiring in the Spring Season. There are plenty of others who should retire, haha, but that is neither here nor there. The point is that these three women have made huge contributions to the world of ballet, and as they leave, they are making room for a stunning new set of leading ladies to take center stage.
I appreciate all of the support I have gotten from you all. And now, I am here to ask a small favor of you. I am in the process of opening up a ballet company and school in the Inland Empire, where I live… And I need your help… We all know ballet is expensive, and that ballet companies have a huge turn over, but I believe I truly do know ballet, and understand the world of ballet today. I think a lot of you would agree with me since you are following my blog… Regardless, if you could please share the information below on your social media, e-mail blasting your contacts, and so forth, I would greatly and humbly appreciate it.
Redlands Dance Theatre is a ballet school and company that is going to be opened by David King. If you are interested in supporting this ballet company and school please check out our campaign and website!
Currently, we hold our non profit EIN, and in the process/waiting for our 501(c)(3)
(The list of 5 Reasons why the Nutcracker won’t ever go away can be found by clicking here.)
Sugared plums are probably one of the nastiest tasting confections known to mankind, but the reality is they are beautiful. They possess a kind of quality fit for a ballet. And just like the ballet, Nutcracker is probably one of the nastiest, politically incorrect ballets. But, we still take our kids year after year anyways… I don’t know if Balanchine purposefully tried to avoid the racism by renaming the variations, but somehow racism it still made made its way into the choreography of the ballet. As a strong believer that dance/ballet is a reflection of humanity, it scares me that we have not evolved passed racial stereotypes. So, in honor of all of the Nutcracker stuff that is going around… 5 Awful Realities of the Nutcracker.
Behold the glory of second act… Or the racism that is the second act. As progressive as dancers are, we still allow racist movements within the ballets. Chinese is ridiculous, and Arabian is hyper sexualized when in modern day reality, women are oppressed. Does anyone even know why Spanish is called hot chocolate? Hot chocolate was “invented” by the Aztecs and Mayans. Yup, there is a lot of racism. Not to mention the male glory of Russian, and the exuding of machismo testosterone.
The entirety of Nutcracker is basically based on a psychological complex: projecting fantasies on to doll, Drosselmeier is just creepy in general and her parents don’t play a role in her life.
Am I the only one who is concerned that flowers is not a confection? In the second act, a lot of versions have tried avoiding the race card by renaming the variations after confections, except waltz…
Nutcracker really does not make sense. Yeah, I said it. The two act ballet really could be summed up into one act, but the fantasy of act 2 gets the best of us. Sometimes I feel like we should actually just cut the entire first act except snow, and turn act 1 into a shorter abridged prologue… Dads would be happier if act 1 was shorter.
Finally, it always astounds me that the casting of Nutcracker. Nutcracker has to be the most politically incorrect ballet when it comes to casting. I guess for all white companies, it really doesn’t matter, but for those who are asian will probably always get cast as chinese, and for those who are ethnic, spanish… It is sad. I remember one time we were doing Balanchine’s version of Nutcracker and one of my best friends and I were in the same cast… (he is black) and the two of us were pointed out that we dance spanish corps the best and I quote, “They aren’t even European. He is oriental.” As she pointed at me. That day was the day I decided that I truly would have to dance ten times harder to even be noticed for my dancing.
As Nutcracker rehearsals are around the corner, I wonder what other racist things will be said to impressionable children?
There is a ballet, a ballet that replaced the dramatic downfalls of the heroines of Petipa. A ballet that stole Swan Lake’s lighting, and the romantic tutus from Giselle, set to the most perfect score,and created by the genius of Balanchine, he named it: SERENADE. The house lights fade into blackness, and the grandiose score of strings play. If the music wasn’t inspiring enough, the curtain fades away and reveals the iconic classic Balanchine women. As each generation has added to their own take like any good ballet leaves room for speed, extension, turns, musicality, one thing has not changed. Innovation.
I recognize that Serenade has now been replaced by Jewels and Symphony in C. Those ballets showcase the entire company, including the men. Serenade showcases the women, dazzling women. Seventeen women that are not restricted by corsets, that aren’t dictated by story lines and dramatic downfalls. As Serenade is enriched with stories of success, and myths behind the movements and is standard of the romantic Balanchine Ballets, no one ever discusses the power of innovation behind it that has inspired millions of dancers. As the famous quote goes: Ballet is woman; Serenade truly exudes the power and identity of women working together to achieve something.
Serenade is basically the feminist of ballet. As men don’t play a major role, and there is no need for saving, Serenade embraces the power of women who can move to music. As Serenade has uplifted women since the NYCB revival, it is ironic that there aren’t that many Artistic Directors who are women… #justsaying
Anytime Serenade is on a playbill near me, I have to go see it. Every time I discover something new. Recently, I saw Los Angeles Ballet do it, and even though there wasn’t a live symphony, the power in the first note took me back through a million memories, and a dozen performances, and a handful of personal performances. Watching the women of Los Angeles Ballet was captivating, and truthfully… It made me fall back in love with ballet. Shortly after that performance, I started this blog.
Finally, I believe it is ballets job, well the job of any art form to reflect society, humanity, and rise above life itself… claiming an immortality that will last forever… Serenade has done that over the past 10 years. Serenade has truly has made a place next to Giselle, the Nutcracker, and the Sleeping Beauty.
Tchaikovsky has the big three: the Nutcracker, Swan Lake, and the Sleeping Beauty. Three epic ballets that tell the tale of fantasy, tragedy and happily ever afters. Every little girl and some little boys, dream of dancing one, if not all of these roles: the Sugar Plum Fairy, Odette/Odile, and Aurora. The Sugar Plum fairy, isn’t a hard role, it is more the test of performance quality. Odette/Odile requires the mastery of emotions, having multiple personalities and the stamina of a horse. And then there is the princess role, the helpless, effervescent and charming Aurora.
In the prologue Aurora doesn’t dance, but skillful fairies do. Masterfully gliding through each variation with delicacy and poise. In the first act, Aurora is sixteen and full of life entering after the epic Sleeping Beauty waltz. It is probably why so many girls relate to this role. With charm and sass a sixteen year old, she then hesitantly gives her hand to four suitors in the leg tiring Rose Adagio. She then pricks her finger, and dies. JK. In the second act Aurora is faced with the challenge of being dreamy as the pas de deux and variations set the tone for the prince. Finally, when she awakens, she is still that sixteen year old girl who fell asleep at her birthday. So with an element of surprise, and awakening with a kiss…. Please hold as I rant:
Am I the only one who is quite disturbed that no one has bothered looking at the psyche. We are all trying to develop the character, but the reality is that she was asleep for 100 years, and so when she awakens, she is still sixteen. What sixteen year old would wake up gracefully from a stranger kissing them? So, as everyone who talks about how in the third act they are more womanly, mature, etc…. The reality is, that clashes with the story line.
In addition, may I point out… Why is every fairytale invited? Don’t they have anything better to do? If you look at the original score there is extra music for Cinderella and her Prince, etc. I am just sayin… Third act really has nothing to do with Aurora. It is basically like the third act of Paquita; a chance to show off the company. Enough ranting…
5 Things Aurora Didn’t Know…
Aurora is secondary to the dancing. Prologue sets the story up and demonstrates the skill of the soloists in the company. In the first act, all she has is her variation, which most audience viewers don’t know the music to. So, they relate more to Garland Waltz… Yes, she has Rose Adagio, and that is probably one of the hardest things any ballerina will face. But, the reality is, it has nothing to do with Aurora but the actual skill of the ballerina. In the second act, it is really more about the prince, and setting up his quest to find the love of his life. In the Paris Opera Nureyev version this is an adagio variation for the male, which is ridiculously technical, dreamy but technical. Finally, in act three, you really only have a pas de deux to get through, which is basically the lesser version of Sugar Plum Pas De Duex. The music itself is kind of anticlimactic and the only thing exciting in the Pas is the en dedan turns into a one handed fish.
Aurora didn’t know she was going to prick her finger… So, instead of telling the poor girl about the curse, her parents tried to hide the truth from her. This ignorance is her downfall. Ignorance and innocence should not be taken as the same thing.
Aurora’s character is the anti feminist. As a helpless woman, who is set up or failure from the get go. The idea and concept of the fairytale is cute for the time being, but translated to modern day times, the story relates to young girls more than young adults. This I think causes the gap between the ballet and the audience goer.
Aurora’s variations are boring. I feel like compared to the variations of Odette/Odile, and Sugar Plum, and while we are at it… Every other classical ballet, her variations are kind of lackluster. If you are dancing with a live orchestra, then I guess you can arrange the music in first act to do more pirouettes to make it exciting, but other than that… Your one moment to shine is basically dull. (Ironically, Aurora 3rd Act Wedding Variation performed by Precious Adams won the Prixde Lausanne.)
Aurora didn’t know that this entire ballet really has nothing to do with her in the title role. Instead it is about the company’s strength. The amount of soloists you have to use is insane. Don’t get me wrong, it gives the company a chance to really dance, but no one really understands the entire ballet, unless you know ballet. I think when most people hear the Sleeping Beauty, they connect it to the Disney version and don’t realize they have signed up for a 3 hour ballet. I am not saying we should replicate Disney… But in a recent production, that I took a date to… He fell asleep. He fell asleep after Rose Adagio… So an hour into the ballet of drawn out miming and endless fairy variations, he was gone. But, when we went to see Serenade, and Les Sylphide he thoroughly enjoyed it…
Again… as ballet is dying and companies insist on doing the same ballets over and over again… They are killing their audiences. If you look at the Diaghilev and Ballets Russes era… even the Balanchine era, new ballets were being produced by the month. Again, just my opinion of why companies are dying…
In the repertory of classical ballets, there is one ballet that trumps them all. It isn’t number one because of the physical demands, and it is definitely not number one because of artistic merit. In fact, this ballet probably is the most unartistic for any artist. It is probably the most recognized of score of any ballet music, from variations, to even the prologue, everyone knows it. It is the beast: THE NUTCRACKER.
It is no secret that most ballet companies make money twice a year. The first is by offering summer programs from June-August. The second comes in December and seats are sold out for their annual productions of the Nutcracker. For the majority of companies, the Nutcracker runs seamless. Everyone already knows all the parts, they are just waiting for the casting. Lighting, and costuming is already done for the most part, and just rely on tweaking things here and there. For marketing and PR, it is the best time to host fundraisers since everyone is in that holiday spirit of donating money. And for the audiences, it is that timeless, almost boring tradition, that doesn’t go away.
For most young aspiring dancers, the Nutcracker was the first ballet parents ever took us to. Whether it was on VHS, directly talking about the Baryshnikov and Kirkland version, or PNB’s collaboration with Maurice Sendak. Or, the NYCB version featuring Macauly Culkin and Darci Kistler. So, for the majority of our young lives we prayed that one day we would get to dance in the Nutcracker. And then it happens… You get cast in your school’s version of the Nutcracker. You start as a child in Mother Ginger and party scene. You pray that you get picked to be Clara/Marie, and maybe you do. Then, you start to get smaller supporting roles, and finally you are in the corps of flowers and snow. By 13, you are dancing Marzipan/Mirlitons, and by 15 you are maybe Dew Drop. Next thing you know you are at a professional ballet school, and you never get to dance in Nutcracker again. Until, one day you are lucky enough to land yourself a company contract.
Five years later, after dancing professionally, you hear the music at department stores and cringe. Now you dread Nutcracker. It is the most boring of the ballets, and you dance it time and time again. If you are still a corps member you already know that you will be a party parent and in the same show you will have to dance in both snow and flowers. You hear the same corrections in flowers, “Bend more!” or “Watch your spacing.” In snow you already know that you need to move a little quicker than the music, and you watch the new apprentices and corps members struggle to keep up. Yup, it is that holiday tradition of being in a ballet company that brings dancers together.
So, what is it about this ballet that is so charismatic and is performed every season?
5 reasons why the Nutcracker will never go away…
Curse you Tchaikovsky! The score of Nutcracker is close to flawless in terms of musical genius. All of the music is relatable, catchy, and keeps the audience entertained.
It is magical, and is every little girl’s dream. Because it is the first ballet we ever see, it becomes engrained in us. It sparks the hope of millions of little girls to become ballet dancers.
It is short and sweet. The shortest of the classical ballets, where the story is compressed into the first act and the second act is purely about the dancing. It is probably the only ballet your dad can sit through. Most little girls can’t sit through all of Swan Lake, or even get through act I without having to use the bathroom, get bored, or fall asleep.
The test of a dancer. Dancers I think are tested a lot in the Nutcracker. Because you have so many performances, there are a lot more casting opportunities. If in a run of a regular program there may be only two or three casts. During Nutcracker, there are at least five casts, if not more. This gives the Artistic Director a chance to play around with their dancers. For an artistic director who wants to see something more dark and mysterious from a dancer, he will cast her in Arabian/Coffee. If they want to test a dancer’s stamina they put her Dew Drop. And if they want to see maturity, and ability they cast in her Sugar Plum.
It makes money! If it wasn’t for the Nutcracker, dancers wouldn’t have jobs for an entire season. So, we suck it up so we can dance all year round.
There will always be ballet feuds… Going back to the Original Ballets Russes and The Ballet Russe de Monte Carlo. Here are some of the current match ups….
Royal Ballet vs. English National Ballet… The Tea and Crumpets War
New York City Ballet vs. American Ballet Theatre (old rivalry but a goodie)
The Australian Ballet vs. Queensland Ballet… the fight down under
Houston Ballet vs. Ballet Austin vs. Texas Ballet Theatre… The Texas Threesome
Miami City Ballet vs. Orlando Ballet, younger ballet companies hashing it out.
Stuttgart vs. Hamburg, the German showdown
Bolshoi vs Mariinsky (old rivalry but a goodie)
National Ballet of Canada vs Royal Winnipeg… Canadian Syrup Fight
In bold I have decided who I like more… haha (insert your comments below)
There are many more but these are some that I enjoy watching as they promote people, change up their repertory, and start the social media wars. What is great is that we have all these options, that each company brings something new, and has created numerous jobs for their areas.
Sorry for the delays. We are getting a makeover. Please feel free to use the site, but know there might be some links and pages that aren’t working!