I was mildly amused at the extreme opinions expressed in articles by Sarah Kaufmann, who expressed dismay over the Nutcracker in The Washington Post, and Daniel J. Wakin, who reported that there will be a “Nutcracker” smackdown in New York City beginning next year with the addition of American Ballet Theatre’s new rival production in The New York Times. Judge for yourself.
Dance Notes: To Nut or Not
December 5, 2009
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Off Stage: A Weight-y Responsibility for Point Park
October 30, 2009Point Park University made front page news at the Pittsburgh Post-Gazette Thursday over a so-called “fat list” of dancers that was posted on the dance students’ call board. Of course, weight is always an issue for dancers and young women between the ages of 16 to 19 are particularly susceptible, with would-be ballerinas taking the brunt of the diet crunch.
It turns out that the fall-out from the “fat list,” which actually appeared in the spring of 2008, is two-fold.
First is the all-consuming idea of weight. I did an interview for the Pittsburgh Post-Gazette in 1998 with three young women, all passionate about ballet, who talked openly and frankly about this very issue. I can still recall one who said that she was always told that she was a beautiful dancer until she reached 16. Then, all of a sudden, there was talk of Weight Watchers. But she didn’t understand why she was gaining weight. “I was eating the same, but I was getting heavier,” she asserted.
Ah, the growing body sometimes wreaks havoc on the ego!
Sometimes it just requires patience. There are photos of a relatively plump Natlaia Makarova at age 13, hardly the svelte figure that we came to know in her ’20′s when she became an international star. Of course, that was then and this is now. Although there is still the danger of anorexia and other eating disorders, dancers are becoming increasingly smart about their bodies. And nutritional support is becoming increasingly sophisticated, particularly in Pittsburgh with the presence of UPMC and the Sports Medicine Clinic on the South Side. In fact, Point Park offers both a detailed nutrition class that is part of the academic curriculum and periodic talks by UPMC professionals to supplement their dance education.
Each of the young women mentioned above arrived at a different conclusion as a result of their weight problems. One became a stewardess — and lost her excess weight. Another became an arts administrator with a passion for physical fitness. The third one realized she wasn’t a Balanchine ballerina, but nonetheless had a successful career with a company in the Mid West. She’s now back in Pittsburgh teaching…and still moves beautifully.
Point Park has a heavyweight responsibility on its hands. One solution might be to help young dancers find that niche that suits their body type, something that I’m sure the university presents to its students, if only in the diverse nature of choreography that is showcased in its performance company. After all, many choreographers look for something different, from the Ruben-esque proportions of a Mark Morris dancer to the distinct variety of body types favored by Bill T. Jones (which once included the 200-pound plus Larry Goldhuber) to, of course, the thin, leggy bunheads of Balanchinean proportions.
Back in 1998 I recommended Dr. Linda Hamilton’s “Advice for Dancers,” which is still available in paperback. Now Hamilton has come out with “The Dancer’s Way,” which details New York City Ballet’s wellness program. The statistics are impressive — workman’s compensation for being completely “out” is down 26 percent. She also lists five keys to peak performance through mind, body and nutrition and has a list of resources for the reader that wants to go into more detail. Some of the examples are composites of both ballet and Broadway dancers. Personal stories from NYCB’s stable of successful dancers reinforce her findings. I think that every dance student and professional should read it.
Secondly, there’s the issue of the “fat list” itself. Of course, it was embarrassing once the subject was revealed. But, as far as I know, there are scads of lists at Point Park. Dance, music and theater and theater students are instructed to check the boards twice a day. Yes, even in this technological day and age of texting and Twittering, this is still the fastest way for PPU to disseminate information.
So there are casting lists or advisors ask a list of assigned students to see them. Administrators might need a list of student bios for a program. All contain lists of people, but the reasons are not revealed — the students are only requested to “see” someone. The only way people found out about the “fat list,” was for someone on that list to spread the word, which ultimately added to hurt feelings.
It comes down to this. Point Park University staff members are responsible for dealing with the body images of young dancers at an exceptionally vulnerable age. But ultimately the students must learn to recognize their own physical signs and see what might be contributing to a problem. I’m sure that “The Dancer’s Way,” the closest thing I’ve seen to a Bible of self-help solutions, can help to fill in the blanks. Dancers have to learn to listen to their bodies, to know about physical problems.
But it will ultimately be worth it…and so are they.
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On Stage: PBT — Ten from Forty
October 16, 2009
There aren’t many who have stuck around for the long haul at Pittsburgh Ballet Theatre. The nature of the ballet company beast would have it so, with the relatively short careers of dancers, the gypsy nature of this artistic business and the small salaries that push staff onto a different lifepath.
As the 4oth anniversary season opens this weekend at the Benedum Center with “Sleeping Beauty,” I’ve seen just about all the PBT had to offer, yes, from those gangly early performances at the Pittsburgh Playhouse to the professional expertise that the company now displays at the Benedum. While the company has released good news in this economic climate — three years in the black and the hiring of Charles Barker to conduct and administer the orchestra are reason enough to celebrate — it might be fun to look back at a list of dancers.
The dancers all shared one thing — a clean technique and attention to detail. In a ballet world where more (extension, turns, speed) is the norm, sometimes at the expense of clarity, Patricia Wilde and Terrence Orr in particular maintained a traditional discipline in their stylistic approach. The funny thing is, to my eyes, other companies sometimes can look unbridled as a result.
As I combed through my stash of programs, I recalled many wonderful memories produced by hundreds of dancers who bourreed, jeted or simply passed through the company doors. These Top Ten dancers have all made major contributions to the legacy of Pittsburgh Ballet Theatre over the years and are listed in order of their PBT careers. If you have any other favorites, tell me why at jvranish1@comcast.net.
1. New York City Ballet’s Violette Verdy, who with Edward Villella, helped jump start the fledgling Pittsburgh company with several seasons of guest appearances during the early years. It’s hard to decipher which one had the bigger impact. But their combined undeniable star power in works like “Swan Lake” gave Pittsburgh audiences a sense of what to expect from ballet. After a stellar career at NYCB, Verdy is now a Distinguished Professor of Music (Ballet) at Indiana University and was awarded the French Legion of Honor (Chevalier) in June for her contributions to the field of dance. Villella, of course, is the artistic director of Miami City Ballet.
2. Alexander Filipov (1971-76). The Russian dancer was a natural for “Romeo and Juliet” and was PBTs first bona fide heartthrob. Dancers whispered how he did 10 pirouettes in the studio and held a balance at the end, but it was his flamboyant presence on stage that brought him accolades from fans. Filipov shared his time at Pittsburgh Ballet Theatre as a soloist at American Ballet Theatre and principal dancer at San Francisco Ballet and currently teaches in New York City.
3. Tamar Rachelle (1978-95). The first of PBT’s long-term ballerinas, Rachelle was a first-rate dramatic actress who was transformative on the stage, easily bridging such diverse roles as Giselle and the Cowgirl in “Rodeo.” In one of the most dramatic finishes to a PBT career, Rachelle took a leave of absence in 1995 due to a knee injury. Working on her own for virtually two years, she came back to perform one final time in Bruce Wells’ “Romeo and Juliet.” Married to former PBT soloist Ernest Tolentino, she continues to teach ballet and Pilates at several Pittsburgh locations, including PBT.
4. Laura Desiree (1982-1998). Another dancer who consistently made her way up the company ladder. Like Rachelle, whose PBT path ran virtually parallel to hers, Desiree will be remembered for her versatility — and a quiet intensity. Favorite roles for which she will be remembered include”Swan Lake,” Lizzie Borden in de Mille’s “Fall River Legend.” Desiree also played a leading role in developing major roles in “American Dream,” a 1995 triple bill of women choreographers, where romped in overalls to Pete Seeger’s feminist-inspired “Engineer.” She and her husband, former PBT principal character dancer Brian Bloomquist currently live in the Washington D.C. area.
5. Maria Teresa del Real (1984-86). This spitfire of a dancer added a real confidence boost to the women’s roster. Her technique was such that she had scored a bronze medal at the International Ballet Competition in Varna (the first American in ten years) before coming here, where she performed in such diverse roles as “Swan Lake” (a particularly spectacular Odile) and Ohad Naharin’s “Tabula Rasa,” which is my all-time favorite PBT commission (but that’s another list). She left with fellow principal dancer Pablo Savoye to dance in Europe, and notably wound up her career at the English National Ballet. Del Real currently teaches at Central Ballet School in London, which is a feeder school for Northern Ballet Theatre.
6. Nanci Crowley (1987-97). Able to create wondrous arcs with her uncommonly long legs and beautifully arched feet, Crowley made her mark in the Balanchine repertoire before taking on “Swan Lake,” where she was particularly well-suited for Odette. She went on to join The Joffrey Ballet and then Les Grands Ballets Canadiens and LaLaLa Human Steps in Montreal. Seemingly indestructable, she moved south to Ballet Arizona for two seasons under Ib Andersen, former PBT ballet master, ending her career, rightfully so, with a performance in Balanchine’s “Agon.” She currently runs the company school.
7. Stephen Annegarn (1993 – 2002). Annegarn brought with him a very British, proper approach to line and stage deportment that was much admired by company men. On stage he was the perfect prince, but could also handle character studies like the title role of “Dracula” and was regarded by the women as a terrific partner. Annegarn had a year’s break in service when he went to Pacific Northwest Ballet, but returned to marry company member Erin Halloran. He continues to influence the company in his role as ballet master.
8. Willy Shives (1993-97). Shives arrived with an American can-do attitude and quickly progressed
from soloist to principal dancer. While more athletically inclined, he broadened his artistic focus with princely roles in all the ballet classics. Even though he officially retired, The Joffrey Ballet’s Gerald Arpino convinced Shives to return to the stage with his company. Following his retirement there, he continues with the Joffrey as ballet master, but still has a considerable fan base here in Pittsburgh.
9. Ying Li and Jiabin Pan (1994-2004). Okay, it’s cheating. But rarely did you hear a sentence containing one without the other. It was always “Ying and Jiabin” and likewise they were often paired together. Pan learned to embrace contemporary dance, American-style, in premieres like “Ballad of You and Me” and “Indigo in Motion,” where he used his panther-like quality to good effect. Li made her Pittsburgh debut as one of the four little swans in “Swan Lake,” but it was apparent from the start that she was queen material. After a gala good-bye in one more “Swan Lake,” the couple returned to their native China, where they head the country’s newest ballet company, one of only seven, in the city of Suzhou at a new facility, Suzhou Science and Cultural Arts Center, near Shanghai. The pair continue to choreograph, with Pan showing an interest in the techniques he learned under Dwight Rhoden and Kevin O’Day.
10. Maribel Modrono (1997-09). Trained in the Balanchine tradition, she came with her twin sister, Mabel, to do the classics. But when Mabel left due to injury, Modrono ramped up her personality to twice the size. Reinventing herself over the years, she used her buoyant personality and fearlessness to infuse both classical (“Carmen,” “Swan Lake”) and contemporary (“Rubies,” “Carmina Burana”) works. Offstage she was an extra arm for the publicity department, extending her goodwill to patrons and students alike.
There were other favorites. From the early days: Dinko Bogdanic (Stuttgart Ballet) and PBT’s version of the baby ballerinas, Jordeen Ivanov and JoAnn McCarthy. And the virtuosic Peter Schaufuss, who went on to head companies like English National Ballet and Danish Ballet. From the Wilde years, the elegant Pablo Savoye and Scott Jovovich plus Janet Popeleski, a dancers’ dancer and mighty soloists Alexander Nagiba and Ernest Tolentino. And the recently retired and already much-missed Christopher Rendall-Jackson and Kaori Ogasawara.
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Off Stage: Billy Elliot Comes Home
July 7, 2009It turns out that I’ve known Billy Elliot since he was thirteen years old. Only this guy isn’t British — he’s hometown star Stephen Hanna, who plays Billy’s older self in the current Broadway hit.
Back then he was a tiny blond phenom with a snazzy haircut and a can-do attitude towards ballet’s more difficult technical twists and turns. I first saw him in a private class run by Roberto Munoz at Point Park College with Simon and April Ball, the brother and sister duo who went on to become principal dancers with Boston Ballet. Simon now performs with Houston Ballet and April flew to Europe, the culmination of a long-time attraction to the Old World, and Les Ballets de Monte-Carlo.
As for Hanna, he became a principal as well. Shortly after I saw him, the School of American Ballet, New York City Ballet’s educational wing, snapped him up for its program. While at SAB, he received the Mae L. Wein Award for outstanding promise.
It was a signal of things to come. The Pittsburgh native was appointed an apprentice in 1997 and was taken into the company the following year. By 2005 he had risen to the top and named principal dancer, just like the Balls.
I caught up with him recently at Ballet Academy of Pittsburgh, where he was teaching a class for the owners, Steven and Lindsay Piper. Nineteen of the schools 150 students (excluding the Pipers’ own three children, Kyra, Ava and Stella) came for an up-close-and-personal look at one of Broadway’s newest stars.
Now Stephen is a handsome six-foot-two muscular dancer, with a head of curly brown hair and an out-going and generous air about him.
It all started when “Billy Elliot’s” staff called Hanna and asked him “if he was looking to do something different.” They had three men in mind and brought them to an audition, where he had to do a scene from the show and “laughed my way through ‘Happy Birthday.’”
They also wanted a video of him dancing with New York City Ballet, plus he talked with an acting coach and the director.
Hanna must have impressed them all, because he was hired.
At the time, Hanna was at the top of one of the top companies in the world. He had performed favorites like the “Elegy” from George Balanchine’s “Tchaikovsky Suite No. 3,” where he has been called “impassioned and fleeting,” and was often cast opposite veteran dancer Damion Woetzel in works like “Stars and Stripes,” where he performed with “a magnificently unruly glee.”
Hanna had doubts about making the transition from the fast-paced world of NYCB, where dancers sometimes had days or even hours to learn a role. How could he harness that glee in the repetitive world on Broadway?
But he ultimately decided to try that so-called “slower train.” Hanna found himself waiting around during rehearsals — his part includes some ensemble dancing at the start and features an eight-minute duet with his boyhood image.
He began in July and by August the director was running the show with his Broadway cast. After the premiere November 13, Hanna settled into a “maintenance” schedule, keeping the show in tip-top shape and rehearsing with anywhere from three to five young Billies in a number that involves fog, bright spots, spinning chairs and flying.
Surprisingly he’s still there. “I never thought I would be able to do the same thing over and over,” Hanna says. “But it’s given me a new perspective.”
He concedes that it’s been “a great year” and is content to continue as the older Billy. But, come this fall, Hanna might head back to Lincoln Center and have another talk with Peter Martins to see just what the future holds.
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