Tag Archives: Marius Petipa

North Pointe Ballet Production Celebrates The ‘Why’ Of What They Do


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North Pointe Ballet in “What’s Your Why?”. Photo by Paul Lender, Left of Center photography.

By Steve Sucato

Why artists do what they do is a constant source of curiosity for many.  It is perhaps in trying to understand their motivations that we gain a better understanding of them and their art.  In North Pointe Ballet’s program What’s Your Why?, March 14 and 15 at the Lorain Palace Theater, the West Side ballet company seeks in part to answer those questions of understanding for themselves and audiences.

“The whole show is a reflection on what motivates us as artists and people,” says NPB’s founding director Janet Strukely-Dziak.

An encore performance of the 90-minute repertory program in 3-acts that the company premiered last October at Cleveland’s Near West Theatre, What’s Your Why? begins with Strukely-Dziak’s frenetically-paced group ballet “The Chase” (2009).

Performed to music from the soundtrack of the 2004 movie National Treasure by former YES guitarist Trevor Rabin, “The Chase” gets its inspiration from a young ballet dancer’s constant drive toward perfection,” says Strukely-Dziak.

Next, the company will perform excerpts from Arthur Saint-Leon’s 1870 comedic ballet “Coppelia”, adapted and staged for the company by NPB assistant director Melaina Kampf.

Rounding out the program’s first act will be “Quiet Chaos” (2003) choreographed by former Mercyhurst University Dance Department chair Tauna Hunter, a former mentor of Strukely-Dziak’s. Set to music by Philip Glass and Canadian singer-songwriter Jennifer Berezan, the ballet for 8-dancers is about escaping life’s day-to-day chaos and finding peace.

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North Pointe Ballet dancer in Tauna Hunter’s “Quiet Chaos”. Photo by Paul Lender, Left of Center photography.

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North Pointe Ballet in “Swan Lake”. Photo by Paul Lender, Left of Center photography.

Act 2 of the program coincidentally showcases Act II of Marius Petitpa and Lev Ivanov’s ballet “Swan Lake” (1895) to music by Peter Ilyich Tchaikovsky. It features NPB principal dancer Elizabeth Radachi as Odette, the White Swan and Matthew Robinson, formerly of Cleveland’s Dancing Wheels, as Prince Siegfried.  In a recent rehearsal of the ballet at Jillian Rian’s Dance School in North Ridgeville, the statuesque Radachi, partnered by Robinson, showed a quiet and steady confidence in her dancing while leading a young corps de ballet of dancers of varying skill as swans.

Act 3 contains the most personal of the ballets on the program in the form of Strukely-Dziak’s “Because of You,” which tells of the motivations behind her founding NPB in 2016 and of the company’s underlying mission to make classical ballet accessible to the community it serves by offering family-friendly, easy-to-understand, professional ballet productions in the western suburbs of Cleveland.

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Janet Strukely-Dziak and son Lucas in “Because of You”. Photo by Paul Lender, Left of Center photography.

Set to an eclectic mix of rock and dance music from Guns N’ Roses, The Doors, Michael Jackson, Justin Timberlake and others performed live by the NPB band, the emotional ballet stars Strukely-Dziak and her 9-year-old autistic son Lucas and looks back on their lives at the genesis of North Pointe Ballet. In addition to the pair, the cast will include NPB company and student ensemble dancers as well as performers from Lorain’s Spectrum Resource Center & School.

“The ballet and the program are a reflection of what North Pointe Ballet is all about” says Strukely-Dziak. “We are all in this together; let’s share our love of dance with everyone”.

North Pointe Ballet presents encore performances of What’s Your Why?, 7 p.m., Saturday, March 14 and 2 p.m., Sunday, March 15; Lorain Palace Theater, 617 Broadway Ave., Lorain, OH. Tickets are $15-20 and available at northpointeballet.org, lorainpalace.org or by calling (440) 245-2323.

Steve Sucato is a former dancer turned arts writer/critic. He is Chairman Emeritus of the Dance Critics Association and Associate Editor of ExploreDance.com.

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‘Wild Sweet Love’ to usher in Sofranko-Era at Grand Rapids Ballet


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(L-R) Grand Rapids Ballet dancers Matthew Wenckowski, Isaac Aoki, Gretchen Steimle and StevenHouser rehearsing Penny Saunders’ “Ghost Light”. Photo by Jade Butler.

By Steve Sucato

For Grand Rapids Ballet’s season opening program, the first under new artistic director James Sofranko, the company will present Wild Sweet Love, October 19-21 at GRB’s ’ Peter Martin Wege Theatre. The diverse program including ballets by George Balanchine, Trey McIntyre, GRB resident choreographer Penny Saunders and a world premiere by Sofranko has audience-pleaser written all over it.

The production will also be the first opportunity for area audiences to see several new dancers Sofranko added to the company. They are former Nashville Ballet dancers Alexandra Meister-Upleger (Aurora, Ohio) and Nathan Young (Little Rock, Arkansas), Emily Reed (Monee, Illinois) formerly with Minnesota Ballet, Israel Garcia Chenge (Mexico), Nicholas Gray (Milwaukee, WI), William Shearstone (Atlanta, Georgia) and Cuban Josue Justiz a former dancer with National Ballet of Cuba.

Just a few months into the job, Sofranko says moving from being soloist with San Francisco Ballet for 18 seasons to now running a fulltime ballet company has been a bit of a shock to the system.  “There are a lot more demands on my time. You are needed in the studio, in meetings, in marketing discussions, dancers need to talk to you, choreographers need to talk to you, it’s a constant information overload,” says Sofranko. “You are the guy everyone wants to talk to so you have to be ‘on’ all the time.”

While balancing his time has been big challenge, Sofranko says he was surprised by the dancer in him still wanting to be in the studio to take class. “I wasn’t sure if I was going to be able to just let that part of me go,” he says. “Being in the studio are the moments I cherish. The more I can be in there the better.”

Another hurdle Sofranko is facing that other former dancers turned artistic directors have also faced is coming to grips with not being one of the gang anymore. “You are the boss now and that is a different dynamic than being colleagues. That will definitely take some getting used to,” says Sofranko.

Also, like many new directors, Sofranko has had little time to do anything but prep for Wild Sweet Love since the dancers returned in September from their summer layoff. That includes creating his debut ballet for the company, “Ballade,” a 9-minute lighthearted classical piece to excerpts of Antonín Dvořák’s four “Romantic Pieces, Op. 75” for violin and piano (1887). In keeping with the love theme of the program, it features new dancers Meister-Upleger and Young along with Ednis Gomez and Gretchen Steimle as couples in more mature love relationships; one couple is awash in romance while the other has a more contentious relationship.

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Grand Rapids Ballet dancers Josue Justiz and Yuka Oba rehearsing George Balanchine’s “Allegro Brillante”. Photo by Jade Butler.

Prior to “Ballade,” the company premiere of Balanchine’s “Allegro Brillante” (1956) will open the program. The choreographer said of his vibrant and expressive ballet for 10 dancers, “It contains everything I know about the classical ballet in 13 minutes.” Danced to Peter Ilyich Tchaikovsky’s Piano Concerto No. 3, Op. 75, Sofranko sees the ballet as good test for the company and a great way for him to better get to know the dancers.

After a short intermission, the program will continue with Saunders’ “Ghost Light” (2014). Originally created on Kansas City’s Owen/Cox Dance Group, the work for 4 dancers (1 woman, 3 men) costumed in formalwear follows the mischievous antics of a group of theater ghosts inspired by famous figures Maria Callas, Harry Houdini, Fred Astaire and Duke Ellington at play after the living have gone home.

Saunders is familiar to GRB audiences having choreographed several of the company’s more popular ballets during Patricia Barker’s tenure as director including last season’s The Happy Prince & Other Wilde Tales. “Ghost Light” taps into the theatrical superstition that every theater is haunted and that the light or lights left lit onstage meant to keep stage hands and performers from falling into the orchestra pit when the theater is dark, also provides theater ghosts a spotlight to perform in once again.

Danced to an eclectic music mix from composer Alexandre Desplat, Devo’s Mark Mothersbaugh, David Hirschfelder, J. S. Bach and Traffic Quintet, the 18-minute work is a comedic romp tinged with a bit of melancholy.

Bravura classical dancing then follows in the bold, high flying pas de deux from the ballet Le Corsaire. Danced to music by Riccardo Drigo, the pas de deux made famous by Rudolf Nureyev will showcase company members Justiz and Meister-Upleger.

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Grand Rapids Ballet dancers Ednis Gomez and Yuka Oba rehearsing Trey McIntyre’s “Wild Sweet Love”. Photo by Jade Butler.

After another brief intermission the program will close with its title work, McIntyre’s “Wild Sweet Love” (2007). Originally created for Sacramento Ballet, “Wild Sweet Love” is a delightfully quirky and athletic work set to disparate music by Queen, Lou Reed, Roberta Flack, Felix Mendelssohn, The Zombies and others.  It explores the range of emotions being in love and lacking love in your life can bring. Played out in a series of dance vignettes that follow a central female character, the ballet is full of humor, heartache, and songs like The Partridge Family’s 1974 hit “I Think I Love You” that will leave you smiling.

Eager to begin this next chapter in his career and the next in GRB’s 46-year history, Sofranko says of Wild Sweet Love: “I am feeling good about the show. I am happy where we are at and how the dancers and the pieces look.”

Grand Rapids Ballet performs Wild Sweet Love, 7:30 p.m., Friday, October 19 & Saturday, October 20 and 2:00 p.m., Sunday, October 21. Peter Martin Wege Theatre, 341 Ellsworth SW, Grand Rapids. Tickets are $52 each. For tickets or more information visit grballet.com or call (616) 454-4771 x10.

Steve Sucato is a former dancer turned arts writer/critic. He is Chairman Emeritus of the Dance Critics Association and Associate Editor of ExploreDance.com.

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BalletMet’s New ‘Giselle,’ a Fresh Restaging of a Story Ballet Classic


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(Center) BalletMet’s Jessica Brown in “Giselle.” Photo by Jennifer Zmuda.


By Steve Sucato

With the kind of success artistic director Edwaard Liang has had in raising BalletMet’s stature in the dance world, there can be little doubt that other ballet organizations that have been in search of new leadership have come courting him. Luckily for Columbus-area audiences, Liang feels he’s found a home at BalletMet and in Columbus and recently signed a 5-year contract extension.

“Honestly, I got some phone calls, but I feel I have turned a corner personally here,” says Liang.  “I have a great quality of life in Columbus with my partner and I get to balance my career as an artistic director with my career as a choreographer.”

Liang also says while the company has made great strides towards achieving his vision for it, there is still more work to be done.  One area of that vision he has been systematically working on in the past 4-years, is replacing the company’s existing repertory of story ballet classics with brand new productions. Those have included a new production of Cinderella in 2015, Sleeping Beauty in 2016, and in 2017, bringing in his production of Romeo and Juliet originally created for Tulsa Ballet in 2012.  Now joining that list is the world-premiere of Liang’s new production of Giselle, February 9-17 at the Jo Ann Davidson Theatre in downtown Columbus’ Vern Riffe Center.

As with the other story ballet classics Liang has redone, for the most part this new Giselle will maintain its traditional roots. The romantic ballet in two acts set to music by Adolphe Adam, was first performed in Paris in 1841 and tells the story of young peasant girl Giselle who dies of a broken heart after discovering her lover Albrecht is betrothed to another. Afterwards she is summoned from her grave by a group of supernatural women known as “Wilis,” who all have also died of broken hearts and who take revenge on men by dancing them to death. They intend to do the same with Albrecht but Giselle’s eternal love for him eventually frees him from their grasp.

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BalletMet’s Karen Wing in “Giselle.” Photo by Jennifer Zmuda.

Perhaps the most famous ballet whose libretto came courtesy of a dance citric, Frenchman Théophile Gautier, the popular ballet is a staple in the repertoire of most every ballet company in the world. It was originally choreographed by Jean Coralli and Jules Perrot, although most present day versions of the ballet derive their choreography from the 19th and early 20th century revivals by Marius Petipa.

While Liang as choreographer is best known for his contemporary ballets, he says he chose not to bring that movement style into his new productions of classic story ballets. Instead, he has gone the path of reusing traditional choreography while adding new choreography and other elements to them to fit his vision for them.

“What I like about BalletMet is we run the gambit. Everything like [Ohad Naharin’s contemporary dance work] Minus 16 to something classical [like Sleeping Beauty],” says Liang. “I feel it is part of my job to have a stable of classic story ballet war horses to go along with our contemporary ballet works.”

So what is different about this Giselle production?

“Where we have gone differently is not so much in the storytelling, but I wanted to have more dancing for the men because the ballet traditionally is so female dominated and so hard for them,” says Liang.

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BalletMet’s Kristie Latham in “Giselle.” Photo by Jenifer Zmuda.

What will be noticeably different will be the ballet’s look.  While it takes place during the same time period of the story, the production’s new deconstructed and minimalist sets “give it a painterly look that is not at all traditional,” says Liang.  Add to that the ballet’s new puritan-like costumes, and you have a production that while is in many ways traditional, has a more modern feel to it.

Another more subtle change comes in the way Liang and BalletMet’s artistic staff are approaching coaching the dancers. “The fine tuning I’m doing is trying to have it so the dancers do less ‘ballet acting’ and more of what you would consider ‘theater acting’,” he says.

That will manifest itself most noticeably in the portrayals of the ballet’s lead characters such as Giselle.

“I want the staging to be clear and the same for each of the Giselle’s but there has to be some flexibility or else the dancers are not going to feel free enough to find themselves in the role,” says Liang. “That’s where I see a lot of Giselle [portrayals] become ‘shticky’; the choreography and the staging is so old world that, while beautiful, may not be for everyone.”

One of three dancers in three different casts to dance the leading role of Giselle along with Caitlin Valentine-Ellis (Feb. 9 & 17) and Grace-Anne Powers (Feb. 10 & 16), will be San Francisco-native and third-year company member, Carly Wheaton (Feb. 11 & 15). Performing her first leading role in a story ballet classic, Wheaton says of the character and her approach to playing her: “in act one Giselle is pure and innocent and has never really felt [romantic] love which devastates her when she gets her heartbroken by Albrecht.  In act two, that heartache is carried over but she becomes a solemn, ethereal being.”

The 24-year-old also says while the choreography for her character’s movements in say the ballet’s famous “Mad scene” is highly structured, she has the freedom in some ways to personalize her portrayal of Giselle.

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BalletMet’s Lisset Santander in “Giselle.” Photo by Jennifer Zmuda.

Dancing the role of Myrtha, Queen of the Wilis along with Lisset Santander (Feb. 10 & 16) and Jessica Brown (Feb. 11 & 15), will be BalletMet newcomer Madeline Skelly (Feb. 9 & 17). It’s a role she danced as a member of Houston Ballet.

“A lot of people see Myrtha as a man-hater and I get that because she does kill them,” says Skelly. “Revenge is a part of it, but she does see Giselle’s love for Albrecht and how she is standing up for him and trying to protect him.” That leads, she says, to a moment in the ballet where those feelings of love and forgiveness almost crack her tough façade, but she quickly suppresses those feelings.

Skelly says dancing the role of Myrtha is also physically challenging for her but not in the way most would think. While the rigor and pace of the role’s full-on dancing in the ballet’s second act is hard, Skelly says even more challenging is standing still in a ballet position known as B+ for long periods of time after she has been dancing. “It’s excruciatingly painful.”

The 25-year old Orlando-native in her first year with BalletMet joined the company in August with her husband and Columbus-native William Newton who trained at New Albany Ballet Company.  Newton is one of three dancers performing the lead role of Albrecht, February 10 & 16. Miguel Anaya (Feb. 9 & 17) and Romel Frometa (Feb. 11 & 15) will also perform the role in other casts.

While perhaps not scenically lavish compared to other Giselle productions because of budget constraints, having seen the company in rehearsals of it, the 2-hour ballet has got it where it counts — Great storytelling, world-class dancing and an updated look that make it worth reserving a ticket for.

BalletMet performs Giselle:

Friday, 2/9 8:00 pm
Saturday, 2/10 8:00 pm
Sunday, 2/11 2:00 pm
Thursday, 2/15 7:30 pm
Friday, 2/16 8:00 pm
Saturday, 2/17 8:00 pm

At the Jo Ann Davidson Theatre in the Vern Riffe Center, 77 S. High Street, Columbus. Tickets are $29-74 and are available at balletmet.org, ticketmaster.com or by calling 614.469.0939

Steve Sucato is a former dancer turned arts writer/critic. He is Chairman Emeritus of the Dance Critics Association and Associate Editor of ExploreDance.com.

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