Tag Archives: Ballet Austin

How I Mastered Pilates After Failed Attempts

By Vlada Sheber, Pilates Program Director

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In 2000 I took my first Pilates reformer class. As a professional dancer, and member of Ballet Austin’s professional company at the time, I thought I was in such great shape and could easily do this apparatus workout. Was I ever wrong! I did everything incorrectly. I could not do Pilates. I could not get it right!

But my Ukrainian never-give-up blood kept me coming back. I wanted to get it right. What I discovered was that with proper instruction, I could do Pilates. What I learned through this experience is that one of the most important things about Pilates is learning to do it correctly.

15 years later I can truly say it was the best investment I made in myself, my dancing, and in my life. Not only did I notice major changes in my body, but I also just felt better all over.

Ballet Austin In

Master Instructor Private Pilates sessions are available for clients.

In 2002, after many hours of grueling training, I received my diploma as a Certified Core Connections® Pilates Instructor from the Core Connections® Comprehensive Teacher Training Program at the Pilates Center of Austin. In 2007, when the Ballet Austin Pilates Center was designed and opened, I was appointed as Pilates Program Director. Since then we have grown from just one certified Pilates instructor to 8. We also recently had a Grand Re-opening of our newly renovated space—now offer 12 reformers in 2 studios totaling 1500 square feet.

I think Pilates is for everyone. Whatever your age and physical condition, the Pilates practice will improve your quality of life. The greatest challenge is that, despite the fact that Pilates has been around for about 100 years, people still don’t know what it is and where it came from. They don’t know it can be for them.

So whenever I have a chance, I share with everyone this six-minute video by InfobytesTV that provides a complete history of Pilates. I love it! It’s a fun and informative animated history of Joseph Pilates and the beginning of the Pilates Method.

Ballet Austin Company Dancer Shares What It’s Like Working With New Choreographers

By Oliver Greene-Cramer, Ballet Austin Company Dancer

Company dancers Christopher Swaim, Jaime Lynn Witts and Oliver Greene-Cramer in the studio learning a new piece by Pam Tanowitz (Photo by Anne Marie Bloodgood)

Company dancers Christopher Swaim, Jaime Lynn Witts and Oliver Greene-Cramer in the studio learning a new piece by Pam Tanowitz (Photo by Anne Marie Bloodgood)

Working with a new choreographer is often a very rewarding experience for a dancer. We get pushed and inspired in new ways while working in the familiarity of our own studio. As with many companies, at Ballet Austin we have the pleasure of working with multiple guest choreographers during the season. This season being no exception, Pam Tanowitz and Pontus Lidberg will be setting work on us for the Director’s Choice performance in February.

There are many different ways that choreographers choose to work with the company. From playing games to get to know us all the way, to just setting already choreographed steps. It’s always interesting to work in new ways. Even if you don’t end up being featured in the piece there are still opportunities to discover something new in the audition.

Working With Pam Tanowitz

Choreographer Pam Tanowitz in the Ballet Austin studios (Photo by Anne Marie Bloodgood)

Choreographer Pam Tanowitz in the Ballet Austin studios (Photo by Anne Marie Bloodgood)

One the most interesting processes came to us this week with Pam Tanowitz and her assistant Melissa Toogood. Based in New York, Pam is quite aesthetically similar to Merce Cunningham. Her almost pedestrian intention and love for chance echoes many of Cunningham’s methods. The piece that Pam set on us, Early that Summer, had already been created, but instead of merely giving us steps Pam wanted to work with us on changing and modifying the piece so it felt natural for our bodies. Both Pam and Melissa spoke to us about adhering to technical purity, while also fulfilling the steps in our own way. Any piece becomes far more interesting for the dancers with that kind of collaboration. Pam also spoke about how much she loves to discover new things in an old concept.

Another distinct aspect of this particular piece is that Pam didn’t choreograph to specific counts. Instead of adhering to a strict musicality, she instead encouraged the dancers to find the natural rhythm of the group, as well as our own individual movements. As a ballet company, this is a very foreign concept for many of us because so much of what we do is very defined with unison and formations. While being scary at points, it is very exciting and liberating to find such freedom, as well as making personal choices.

Limited Studio Time

Pam Tanowitz sets choreography for upcoming debut in Director's Choice. Company Dancers Christopher Swaim and Oliver Greene-Cramer pictured. (Photo by Anne Marie Bloodgood)

Pam Tanowitz sets choreography for upcoming debut in Director’s Choice. Company Dancers Christopher Swaim and Oliver Greene-Cramer pictured. (Photo by Anne Marie Bloodgood)

In the case of Pam we only had one week to put this piece together, and for most guest choreographers we only have a few weeks. Regardless of how brief the process is, it is really wonderful to connect with the new work.

Next up is Pontus Lidberg who we work with for three weeks in October before Ballet Austin travels to Florida to perform Light / The Holocaust & Humanity Project and before the fourteen performances of The Nutcracker.

We look forward to sharing all of these with you and hope you enjoy the works from Pam Tanowitz and Pontus Lidberg featured in Director’s Choice as much as we do.

The Inside Scoop On Fête and fête*ish 2015

By Christi Cuellar Lotz, Director of Development

Scene from Fête 2014

Fabulous table decor from Fête 2014

Fête and fête*ish 2015 are this Friday! Ballet Austin is excited to announce a new partnership with Fashion X Austin (otherwise known as Austin Fashion Week). They’re also one of our media partners for the event. They caught up with Laura Villagran Johnson of Austin Social Planner last week for some inside scoop on the event as it takes shape and prepares to be the best ever!

Read full article on Fashion X.

Tips For Ballet Austin Academy Parents

By Bill Piner, Academy Director 

About Page

Ballet Austin Academy students (Photo Credit Travis Tank)

It’s finally here. After a long hot summer—okay it’s still really hot, but go with me on this—the first day of fall Academy classes has finally arrived! Don’t get me wrong, taking a little break is nice, but it’s always exciting to see everyone return with fresh new leotards, enthusiastic smiles and lots of energy. Old friends are reunited, new ones are introduced, and parents and students alike are surging through the building anxious to find their new studio and meet their new teacher. It’s truly a sight to behold.

What to Expect

The main thing parents should prepare for these first couple of weeks is a little anxiety. Getting to know your child’s new teacher(s), and getting comfortable with a new schedule and class dynamic, can be a little stressful for parents as much as children. So breathe and know that Ballet Austin staff is here to help and support you. We want everyone to feel comfortable so that the focused, hard work ahead can be accomplished to your child’s fullest ability. It will take some time for things to settle down, but after the first few weeks, everyone should be acclimated to the new rhythm of the school year, and the apprehension will be replaced with eagerness for the year of learning ahead.

Separation Anxiety

In addition to the usual start-of-year jitters, sometimes our youngest students can experience some separation anxiety. I want to share some valuable insight from Joan Wolfe (Miss Joan☺), our Creative Ballet Curriculum Director…

“On occasion, in my 3-year-old classes, children will have trouble separating from their parents for the first time. It can be traumatic to be apart from a parent, but an experienced teacher will know what to do. I have seen situations where teachers carry the crying child into the classroom with the hope that they will acclimate. I’ve also seen parents get angry and force their child into class. Neither scenario is acceptable. While there is no one correct response in dealing with this situation, there are several things a teacher can do to ease the transition.
1) Have the child sit near the teacher.
2) Have a cute puppet to divert their attention and engage them.
3) Suggest they arrive early to help set up the classroom.
4) If nothing else will work, invite the parent to come into the classroom, and even dance with the child if necessary.
It is amazing how soon a child will be ready to have their parent transition out of the classroom once they’ve gained the teacher’s trust.”

Group of Creative Ballet students ready for the new school year. (Photo Credit Jessica Pino)

Group of Creative Ballet students ready for the new school year. (Photo Credit Jessica Pino)

This is just one example of the level of experience and professionalism that continues to make the Ballet Austin Academy a very special place for your child to grow and learn. I am so proud to work with this dedicated and talented group!

Traffic, Access, and Parking… Oh My!

The elephant in the room, the EVIL WORDS around town, the things we’d love to ignore… but can’t. As much as I, and everyone else connected with Ballet Austin, would like, we simply can’t make the construction on Mopac—or 3rd Street, or any other artery leading to Ballet Austin—go away. It’s just a part of living and working in one of the most vibrant, dynamic, and creative cities in Texas.

An important item I want to stress is to please try make every effort to be here on time. But if you are stuck in traffic, do not stress, or stress your child out about it. We are very aware of this challenge and we’ve instructed all our teachers to allow for late arrival and incorporate late attendees into class in the timeliest and safest way possible. My most sincere hope is that these inconveniences will not keep you from providing your child the quality instruction and professional environment that can only be found at Ballet Austin Academy.

The drop-off route for parents. All routes in red are open for through traffic ONLY.

The drop-off route for parents. All routes in red are open for through traffic ONLY.

Auditions

For parents of students enrolled in Levels 2-8 of the Lower and Upper Schools, being able to audition for Ballet Austin’s professional production of The Nutcracker is a benefit that is available exclusively to you and your child(ren). It’s an exciting opportunity and prepares students to see first hand what it takes to perform on stage. As a parent, it’s important for you to not only be supportive as physically—by accompanying students to rehearsals—but also mentally as this should be a fun learning experience! Click here for more information about the audition process.

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Ballet Austin Academy students can audition to play the role of angels in Ballet Austin’s production of the Nutcracker. (Photo Credit Tony Spielberg)

A Special Thank You to Parents

Our students are our most valuable resource and the dedication you as parents show on a daily basis allows us to continue on our mission to inspire the next generation to develop strong bodies, a sound sense of purpose and a passion to excel. Thank you for supporting your child in her or his training, and for supporting Ballet Austin in our effort to supply the best experience possible. Together, we will continue to get stronger, grow and improve. Here’s to another great year at Ballet Austin Academy!

10 Things You Should Know About Hamlet

By Pei-San Brown, Community Education Director

1. William Shakespeare’s The Tragical History of Hamlet, Prince of Denmark is over 400 years old, more than 4,000 words long, and takes over 4 hours to deliver.

William Shakespeare’s The Tragical History of Hamlet, Prince of Denmark, 1604

William Shakespeare’s The Tragical History of Hamlet, Prince of Denmark, 1604

2. The first ballet version of Hamlet was choreographed by Francesco Clerico in Venice in 1788.

2.Francesco Clerico, 1795

Francesco Clerico, 1795

3. The most famous ballet version of the play in the 1900s was choreographed by Bronislava Nijinska, who also danced the title role in her Hamlet in 1934 at the Paris Opera Ballet.

3.Costume designs by Georges A. de Pogedaieff for the queen, Hamlet, and king in Nijinska’s ballet, 1934. From the Harvard Theatre Collection.

Costume designs by Georges A. de Pogedaieff for the queen, Hamlet, and king in Nijinska’s ballet, 1934. From the Harvard Theatre Collection.

4. Stephen Mills was inspired to choreograph a contemporary ballet version of Hamlet by Franco Zeffirelli’s 1990 movie version of the play.

5. In his version of the ballet, Stephen originated the role of the Ghost in 2000, reprised it in 2009, and will once again dance it in 2015.

The Ghost played by Stephen Mills and Hamlet played by Paul Michael Bloodgood (Photo credit Tony Spielberg)

The Ghost played by Stephen Mills and Hamlet played by Paul Michael Bloodgood (Photo credit Tony Spielberg)

6. Company dancer Frank Shott originated the role of Laertes in Mills’ Hamlet, and is responsible for coaching fellow dancers in the fencing sequences each time the ballet is staged.

Fencing rehearsal (Photo by Anne Marie Bloodgood)

Fencing rehearsal (Photo by Anne Marie Bloodgood)

7. After dancing the role of Laertes in Mills’ Hamlet in 2000 and 2004, Frank was cast in the title role of Hamlet in 2009 and will dance that role again in 2015.

Frank Shott as Hamlet and Johnstuart Winchell as Laertes in Ballet Austin’s Hamlet, 2009. (Photo credit Tony Spielberg)

Frank Shott as Hamlet and Johnstuart Winchell as Laertes in Ballet Austin’s Hamlet, 2009. (Photo credit Tony Spielberg)

8. Frank’s wife, company dancer Jaime Lynn Witts, is dancing the role of Ophelia for the first time in 2015; however, her Hamlet will be fellow company member Paul Michael Bloodgood.

8.Ballet Austin Hamlet rehearsal with Paul Michael Bloodgood as Hamlet and Jaime Lynn Witts as Ophelia, 2015.

Ballet Austin Hamlet rehearsal with Paul Michael Bloodgood as Hamlet and Jaime Lynn Witts as Ophelia, 2015. (Photo by Anne Marie Bloodgood)

9. The first time Paul was cast as Ballet Austin’s Hamlet in 2009, his onstage love, Ophelia, was danced by his wife, Anne Marie Melendez.

9.Real life husband and wife duo Paul Michael Bloodgood and Anne Marie Melendez as the lovers, Hamlet and Ophelia in Ballet Austin’s Hamlet, 2009. (Photo credit Tony Spielberg)

Real life husband and wife duo Paul Michael Bloodgood and Anne Marie Melendez as the lovers, Hamlet and Ophelia in Ballet Austin’s Hamlet, 2009. (Photo credit Tony Spielberg)

10. Ballet Austin’s Hamlet will feature live musical accompaniment by the Austin Symphony Orchestra for the very first time in 2015.

Join us for Hamlet September 4-6!

Meet the Mad Men and Women of Hamlet

By Molly Morrow, HR & Accounting Associate

Famous for the skull, the bloodshed and those six little words “to be or not to be,” Shakespeare’s Hamlet has been revamped and re-imagined by countless artists over the centuries in a hundred different mediums, including dance.

Ballet Austin’s production is a gorgeous modern interpretation that uses the body to soliloquize and prefers the sound of water to the sound of words. We thought we’d give you a little background on the characters of Hamlet to help you translate Shakespeare into ballet this Labor Day weekend.

The Ghost

The Ghost played by Stephen Mills and Hamlet played by Paul Michael Bloodgood (Photo credit Tony Spielberg)

The Ghost played by Stephen Mills and Hamlet played by Paul Michael Bloodgood (Photo credit Tony Spielberg)

The Ghost sets the story in motion. As soon as the Ghost is alone with Hamlet, he drops a pretty heavy bomb on our leading man: he was murdered by his own brother, Claudius, who is now married to Hamlet’s mother, Gertrude. Logically, the Ghost charges Hamlet with avenging his death.

Fun fact: It is frequently written that Shakespeare himself played the Ghost in the Globe’s productions of the play. Stephen Mills carries on that tradition and will play the Ghost in Ballet Austin’s production.

Hamlet

The poster child for Prozac in the Elizabethan age, the Prince is also a comedian: playful, clever and full of wit. In the text, Hamlet’s first line even contains a pun – “A little more than kin, and less than kind.” Less than kind is right: Hamlet proves Claudius’ guilt by reenacting the murder with a troupe of traveling actors, accidentally kills Ophelia’s father (maybe check behind the curtain next time,) eventually returns home to confess his undying love for the now-conveniently-dead Ophelia and murders Claudius.

In Ballet Austin’s production, Hamlet’s conflicting desires and descent into madness are expressed through three alternate Hamlets that appear to him as visions. Hamlet will be played by company dancers Frank Shott and Paul Michael Bloodgood, and Hamlet II-IV will be played by James Fuller, Oliver Greene-Cramer and Orlando Canova.

Both Hamlet and Ophelia casts in rehearsals. (Photo Credit Anne Marie Bloodgood)

Both Hamlet and Ophelia casts in rehearsals. (Photo Credit Anne Marie Bloodgood)

Claudius

Claudius is a man of pure and unspeakable evil. He murders Hamlet’s father, marries Hamlet’s mother, and then, like any good sociopath, convinces everyone that Hamlet himself is to blame for all the dying and suffering. Lucky for us, Shakespeare’s sense of justice and blood-lust is dead on, and Claudius ultimately gets what’s coming to him. Claudius is played by Ballet Austin company dancer Edward Carr.

Gertrude

Gerturde and Hamlet dance by Aara Krumpe and Paul Michael Bloodgood. (Photo credit Tony Spielberg)

Gerturde and Hamlet danced by Aara Krumpe and Paul Michael Bloodgood. (Photo credit Tony Spielberg)

The woman who brought Hamlet into this world is of course complex, heartbreaking and infuriating. Once married to Hamlet’s noble father, she chooses with inexplicable and breathtaking speed to marry her dead husband’s brother, who is also her dead husband’s murderer. Her failed attempt to explain herself and her actions to Hamlet inadvertently leads to Polonius’s murder. Gertrude dies, as does most everyone in this play, from being poisoned. She is played in this production by Aara Krumpe and Rebecca Johnson.

Ophelia

Ophelia is a doomed woman if ever there was one. In love with a man who is existentially preoccupied at best, and suicidal at worst, she is driven mad with grief from the news of her father’s death and drowns herself. Ophelia’s drowning is a scene of surprising beauty in Ballet Austin’s production, as Ophelia dances in a track of real water on stage. This fall she is played by Ashley Lynn Sherman and Jaime Lynn Witts.

Polonius

Brian Heil as Polonius and Frank Shott as Hamlet during rehearsals. (Photo credit Anne Marie Bloodgood)

Brian Heil as Polonius and Frank Shott as Hamlet during Hamlet rehearsals. (Photo credit Anne Marie Bloodgood)

Polonius is the pompous, long-winded armchair poet of this tragedy (there’s at least one in every Shakespeare play). Ironically, for all his advice on being true to one’s self and having a method to one’s madness, Polonius is a coward: he hides behind a curtain when Hamlet confronts his mother Gertrude about her marriage to Claudius, thus sealing his own fate. Polonius is played by Ballet Austin II dancer Brian Heil.

Laertes

Fencing rehearsal (Photo by Anne Marie Bloodgood)

Fencing rehearsal (Photo by Anne Marie Bloodgood)

Laertes is vengeance personified. His whole reason for being is to rain on Hamlet’s parade, just because Hamlet may or may not have killed his sister and his dad. Laertes also happens to be quite handy with a sword. Claudius poisons the sword, of course, and then – just for good measure – poisons a goblet of wine as a kind of Shakespearean Plan B, because you can never have enough poison. Ballet Austin brings the magnificent swordfight to life with a fencing match that dances across the stage, an unusual and distinctly inspired element of this ballet. Laertes is played by Christopher Swaim and Jordan Moser.

Purchase tickets today to see Stephen Mills’ modern interpretation of Hamlet, guaranteed to leave you thankful for your seemingly undramatic family drama.

Why Do YOU Dance?

By Vicki Parsons, Butler Center for Dance & Fitness Director

I knew at a very young age that I loved to move my body. Whether it was playing tag with the neighborhood kiddos, hiking, swimming, or one of many sports, I loved it! And while dance lessons were not on the list, I can tell you that when the music played, I could not be still.

I fondly remember the dance craze of the 60’s: The Twist, the Mashed Potato, the Loco-motion. And if you grew up in the 70’s you probably grooved to the Funky Chicken and YMCA. Every generation has their dance – dance has always been, and will always be.

America’s Dance Craze

America’s fascination with dance exploded with the popularity of So You Think You Can Dance and Dancing with the Stars. Last summer, ballerina Misty Copeland’s breathtaking Under Armour ad brought ballet into our living rooms.

Dance can be seen on billboards, in TV commercials, and sells everything from Mountain Dew to cell phone service. The rising interest in dance as an alternative form of exercise has positively impacted the fitness industry.

Why Do YOU Dance?

butler-center-dance

People love to dance. But why? I decided to play roving reporter at Ballet Austin’s Butler Dance Education Center this past week and investigate. I didn’t have to rove far since  we bring dance to adults of all ages and ability levels 7 days a week. I walked from studio to studio asking people, “Why do you dance?” I asked professional company dancers, dance instructors, people sitting in the lobby, children in our kid’s camp… I even asked the barista at Starbucks and took to Twitter to hear what people had to say! 

“Dance is one of the things that brings me the most joy!”

 Tara Alperin, Butler Center Instructor

“Dance has always moved me.”  – Company dancer Orlando Canova

A photo posted by Ballet Austin (@balletaustin) on

 

“I dance to chase the crazies away.”

– John, Starbucks Barista

“I dance to work out. It’s a fun and positive way to exercise. I have lost 18 lbs. dancing!”

– Laura, Butler Center Member

“Nadanam, manidhanaaga pirandha ovvoruvanum alli alli paruga vendiya amurdhamada adhu!”

Prakash Mohandas, Butler Center Bollywood Instructor

“I dance because it’s like physical journaling; a way to speak when I don’t have the words. Sometimes it’s happy, sometimes it’s sad, but I always get that amazing feeling of release once I’ve done it.”

– Boo Ruis, Butler Center Instructor

“Yo bailo, porque el baile es vida, es una expresión de creatividad, es arte en movimiento, es mi libertad”

– Janet Alvarado, Butler Center Customer Relations

“We celebrate Dance, revel in the universality of this art form. Dance crosses all political, cultural and ethnic barriers and brings people together with a common language – Dance.

World Organization for the Performing Arts

“I dance because I don’t really have a choice…when I hear good music, my body just reacts to it with movement. It’s the best feeling.”

– Hannah Brightwell, Butler Center Instructor 

Now tell us why you dance at @BalletAustinCTR !

The Third Day Theory

By Anne Marie Melendez, Ballet Austin Company Dancer

The third day is always the worst. Your alarm goes off in the morning and the simple action of rolling over to shut it off is painful. Your neck is stiff,  your arms are aching, your back spasms, and your abdominal muscles feel torn. And then, you try to stand up.

First day back in the studios (Photo by Anne Marie Bloodgood)

First day back in the studios (Photo by Anne Marie Bloodgood)

First Day Back

Coming back to work as a professional dancer after a three month layoff (sometimes longer!) can be similar to your “First Day of School.” It’s both exciting and slightly scary. The whole crew is back together, there are lots of hugs and “How was your summer?” inquiries, as well as welcoming the few new faces. You’re a little bit worried about how out of shape you might be and wonder how well your legs are going to hold you up as the day goes on. But on Day 1, there is always a buzz of energy that comes with the beginning of a new season. The excitement of new repertoire to work on, new opportunities, and the new goals we have set for ourselves. And we’re not tired yet.

Company class starts promptly at 9 am and is always taught by Artistic Director Stephen Mills. Day 1 feels familiar, regardless of how much dancing you did over the summer, Day 1 is the time to ease back into the daily grind. This season was no different.

Frank Shott during company class on the first day. (Photo by Anne Marie Bloodgood)

Frank Shott during company class on the first day. (Photo by Anne Marie Bloodgood)

What Do You Do All Summer?

Every one of us approaches our summer layoff differently, while always trying to stay in shape in some form or another. A handful of the dancers teach at the Ballet Austin Summer Intensive, including Orlando Julius Canova and Christopher Swaim. Some dancers take on other dance projects or opportunities, whether local, or off to some other parts of the world. For instance, this summer Oren Porterfield, Jordan Moser, Jaime Lynn Witts and Ed Carr performed in Asheville, North Carolina with Nick Kepley’s Motion Dance Theatre. Ashley Lynn Sherman just returned from an intense three weeks at the National Choreographers Initiative in Irvine, California, while Preston Patterson co-directed and choreographed for the Southern Illinois Music Festival.

Some of us take on other projects outside of the dance field, such as my husband Paul Michael Bloodgood, who continued finishing up his first feature length documentary film, Trenches of Rock, which is currently undergoing sound editing/mixing as well as color correction. And others, while still trying to stay in shape, incorporate huge life events into our summers, such as Grace Morton and Ian Bethany who were married in a beautiful Seattle ceremony this past July.

The 2015/16 Season

(Photo by Anne Marie Bloodgood)

Season Opener, Hamlet, includes several fencing scenes as part of the ballet. (Photo by Anne Marie Bloodgood)

The 2015/16 season starts us off with Stephen Mills’ Hamlet, one of my personal favorites. For most of the company, rehearsals start off with a bang. Associate Artistic Director, Michelle Martin, usually starts rehearsing the larger group sections right away. For a production like Hamlet, this meant starting with scenes like Ophelia’s Funeral and the opening Wedding scene. We need time with these scenes to get the material out to the dancers, but also to have time to clarify and clean steps. Sometimes Stephen takes the opportunity in these early rehearsals to make small adjustments and changes to choreography. The nuts and bolts of the ballet remain the same, but the nuances evolve and grow with each restaging.

From Day 1, the men cast as Hamlet (Frank Shott & Paul Michael Bloodgood) and Laertes (Christopher Swaim & Jordan Moser) start fencing rehearsals. Since not all of the ballets in our repertoire involve fencing, and since it involves swinging sharp objects, it’s a good idea to start these rehearsals early… And slowly.

Week one is generally about getting a good bulk of the material laid out and to slowly work through it before we start layering our characters on top of the movement. Week one often times also includes our first costume fittings. Though the costumes for Hamlet are already built, wardrobe has a limited amount of time to make repairs and adjustments for specific dancers.

A photo posted by Ballet Austin (@balletaustin) on

The Third Day

My Third Day Theory is basically that the third day of new movement or choreography is the day you are the most sore. This seems to remain true whenever we start a new rep or have a new visiting choreographer. With new material you inevitably are using new muscle groups that you may not have been using the same way a week ago. Or the high probability that there is lots of repetition as we learn a new phrase of choreography. Nothing prepares you for dancing all day, like dancing all day. And this isn’t the type of gym where you might have a “leg day,” and then focus on a different muscle group the next. Everyday is “leg day” in ballet.

The tools are still all there, but what we lack most is stamina. I think general stamina problems like jumping for long periods of time, and calf endurance are pretty common across the studio. For the men, it’s also often lifting/partnering stamina. Lifting weights at the gym isn’t quite the same as lifting a woman all day long. A human body’s weight distribution isn’t as evenly balanced as free weights, and free weights don’t change shape and position when you lift them. 

And for the ladies, it’s the pointe shoes. “Little Pink Coffins,” as I like to call them (thank you Allisyn Paino for that one,) are really brutal that first week back. By Friday afternoon you can usually find the ladies lying on the floor with their swollen feet up in the air and looking forward to their evening ice bucket.

(Photo by Anne Marie Bloodgood

Ballet Austin dancers recovering after their first week in their “Little Pink Coffins” (Photo by Anne Marie Bloodgood)

TGIF

As the week rounds up, we’re still sore, but usually not as bad as Day 3. But I find it a welcome fatigue. A reminder of the muscles I still have and the years of experience and training behind me. There is something gratifying about working your body that hard and feeling like you really earned your weekend rest, or your Friday night pizza, or your glass of wine, or whatever it is you personally look forward to on Friday. The first week back always reminds me that what I do for a living is quite a special and remarkable thing.

So, cheers to surviving Week 1! Get some rest, ice your feet and we’ll see you back at the barre bright and early Monday morning!

Behind the Scenes of Gala Giving: Pick Your Poison

By Christi Cuellar Lotz, Director of Development

“Though this be madness, yet there is method in’t.” – Hamlet

Ah, Fête season. Any who knows me would not argue for one moment that event fundraising is just that… madness! But what better way to highlight the mission and purpose of an incredible non-profit than to bring folks together who share a passion for the organization, show off what we do, and ask for their support? Truly, the Fête and fête*ish have become Ballet Austin brands in their very own right. But through the glitz and rock-and-roll glamour, there is, indeed, purpose.

fete*ish

A Midsummer Night’s Dream themed fête*ish

A Gala Unlike Any Other

The Fête doesn’t have a structure like other galas. We pride ourselves in telling our story – with one heck of a back-drop. This year, the Hamlet-themed evening provides all kinds of fun and creepy ways to celebrate. And as Stephen Mills says, “Creepy is only ever good.”

There are many ways to give at just about every level possible. My job is to make sure you find one you love.

The fun part for Fête-goers is that their friends can see them do it. I think Michael Barnes once called gala-giving “philanthropy in front of other people.” The “Paddles-Up” portion of the evening, as I call it, happens just after the live auction where folks have hopefully purchased incredible, once-in-a-lifetime packages for killer deals. There is then the opportunity to give outright to some of our community and education programs. Many who come to the Fête don’t realize all that Ballet Austin does, outside of producing first-class professional ballet productions. But wait. There’s more.

Live Auction during 2014 Fete

Live Auction during 2014 Fête

Did You Know?

  • Over $250,000 in scholarships are given to students who want to learn ballet but don’t have the means
  • The Pilates Pink Ribbon program is offered free of charge to nearly 100 breast cancer survivors regardless of means
  • School-based Dance In The Classroom is offered free of charge (leotard and shoes included) to two Title I schools
  • Thousands of tickets to the final dress rehearsal for every major performance are offered free of charge to clients of local social-service non-profits

And I could go on.

Five to six programs are highlighted each Fête and each is introduced by our wonderful auctioneer followed by a 1-minute video about the program. Our goal? To make you cry. And to also help you realize how lucky you are and what a difference you can make. Of course I’m just standing in the corner a nervous wreck hoping someone – anyone – will raise their paddles for the highest level. And someone does… And then often, someone else. And then I love everyone the rest of the night because it just goes downhill (and up in funds raised for Ballet Austin) from there. But that’s just me.

fete

fête*ish Highlights

fête*ish offers another level of giving opportunity – this year’s is called a “Skull Pull” in celebration of the event theme Hamlet. (Again, creepy = fun. Who doesn’t want to pull a skull?) You pay a certain amount for your chance to win a prize worth that amount or more! Instant gratification is the name of the game here, and I’m not gonna lie, it can get addictive. Last year’s “Key Pull” was sold out as fête*ish barely got going.

By the time you read this, we’ll be a few weeks away from what’s been dubbed as “Austin’s Best Black Tie.” Each year, we challenge ourselves to live up to this! The amazing team working on the event (shouts out to Mandarin Design Lab, Ruby Rogers Events, TWIN Liquors, Ilios Lighting, the JW Marriott and many others) makes sure that each year tops the one before. Many of these vendors have been working on Fête/fête*ish for a number of years and their creativity never ceases to amaze me.

So what are some of YOUR favorite memories of past Fête/fête*ish events? I’d love to know!