dancers Archives | Page 24 of 26

Inside The Nutcracker with Patricia Delgado

Post by Principal Dancer Patricia Delgado

It’s Nutcracker time again! This year marks the 20th Season that Miami City Ballet is performing George Balanchine’s The Nutcracker™.

Every year we kick-start our Nutcracker run in Naples, Florida. We pack up our cars and drive across Alligator Alley and hope that our Thanksgiving meals won’t weigh us down! I brought the “Flip cam” with me and tried to capture the spirit of Miami City Ballet’s first Nutcracker weekend of the 09-10 Season.

There is something very special about performing The Nutcracker. It is one of the only ballets in which the Company collaborates with children. Their enthusiasm is infectious. Even though some of us have been performing in The Nutcracker for years, for some of the kids, it is their first time out on stage. Watching their smiles light up as they dance reminds me what performing is all about and takes me back to when I was a kid, dancing the “hoops” and dreaming of one day being the Sugar Plum Fairy!

Being on the dancer’s side of things, I know how much time and effort it takes us to focus on our goal of performing as perfectly as possible. However, after running around the theater with the “Flip cam”, it truly made me realize what a huge team effort it takes to put on this show! I gained a whole new perspective. I hope you enjoy all of the different aspects of the theater…from the dancers to the stage manager, the lighting director, the crew and the makeup and wardrobe ladies.

The holidays are such a magical time of year and being a part of The Nutcracker magic just enhances the joy!

A Retiring Reverie

Post by Principal Dancer Deanna Seay

As a ballet student, you never think that the day will actually come when your career as a dancer might become a thing of the past. Caught up with the rigorous challenges of training, you are more anxiously conscious of wanting your career to begin. Then, you find yourself in a company, dancing every night, waking early to take class and rehearse, and time goes by. In the middle of it all, another ten years seem to be so much time to enjoy what you love to do, and with all the work to accomplish- the ballets to learn, the performances to prepare for, the endless strings of Nutcrackers, it doesn’t seem possible as you dance through your twenties and into your thirties that a career could ever end. Suddenly, though, the day comes when you realize it is time to move on, and you are left with years of memories, and the realization that time and careers do pass.

This is where I find myself at this moment, part way through my twenty-first season here with Miami City Ballet. I decided, a few months ago, that I would retire from the stage at the end of this season. I have spent the dancer’s equivalent of a lifetime here; indeed, I feel that, here, as an artist, I was “born,” grew up, matured, and am now facing what feels like the death of my life as a ballet dancer. Somewhere I read that dancers experience two deaths: the “death” of their careers and then their true death – and now I understand. Maybe death is a strong word, but for me, it acknowledges the completion of a journey and the chance to move on.

What can I say after two decades of dance? I have had an amazing time. I have been lucky to enjoy the career I have had- I am not sure it would have been this way anywhere else. I have been allowed to dance to the divine strains of Tchaikovsky more than my fair share, I think, as well as those of Stravinsky, Mozart, Delibes, Prokofiev, Ravel, Faure, Chopin and countless others. The music that moves our souls- I was granted the chance to dance to that- to live- to exist.

All of the ballets I will dance this year hold special meaning for me, and to be able to visit them again before I leave the stage is a special gift. And so I am looking forward to a season of little private moments of goodbye. Dancing my last performances of Company B and Allegro Brillante during the Kravis weekend, words such as,”…and this is the last time…” would float through my head, and the lump in my throat would start to swell. Each moment became a private goodbye to that part of my on-stage world. Bittersweet though it is, I wouldn’t want it any other way.

Deanna Seay in “Diamonds”. Photo by Steven Caras

Miami City Ballet Trivia Corner

Company dancers Ezra Hurwitz and Michael Breeden bring you this new MCB blog feature! Michael seems to know everything about ballet, so they set out to see who could match his skills.

See In the Night, Black Swan Pas de Deux and The Four Temperaments at Open Barre this weekend.

Performances:
Friday, November 13, 2009 – Reception 6:30 p.m. Performance 7:00 p.m.
Saturday, November 14, 2009 – Reception 2:00 p.m. Performance 2:30 p.m.
Saturday, November 14, 2009 – Reception 6:30 p.m. Performance 7:00 p.m. with after party at Aero Bar.

Tricia’s take on Open Barre

Post by Tricia Albertson

The ballet dancers you see on stage have spent most of their lives training to make the barely possible seem effortless. Because there’s such a big gap between appearance and reality, it comforts me in our regular theater performances to imagine that because I can’t see the audience, the audience can’t see me. Of course I know this is not true, but when I look out into the darkness, I can imagine dancing for anyone. Definitely, I imagine dancing for my (less critical) friends. It’s a nice illusion, and it helps me to be calm.

In our studio theater, this is an illusion I can’t rely on. Every time we do a series in our studio theater, I get a bad case of nerves. It’s easy to feel vulnerable. The audience is so close. I imagine being put under a microscope. Every step, every effort, every expression is visible; it feels like there is no room for error. So, I start out a little anxious. Then, the first show comes to an end and I hear the audience applaud, and I realize that I’m not under a microscope. I’m at home!

The studio is where I spend at least 35 hours each week. These studio theater shows may be our most appreciative audience; certainly, in the studio, I feel that our closest friends and family have come over for a special showing, a showing at which I’ll have the chance to share a piece of myself. Here, in person, is the audience I have so often imagined watching in our regular season. In the end, I value our studio theater shows as an opportunity to perform in an intimate setting that allows me to more directly connect to the audience.

See Tricia perform this weekend at Open Barre.

Kristin D’Addario: Back in the Theater

Post by Kristin D’Addario

There is something special about being in the theater for a dancer. The energy changes throughout the company when we’re there. The moment you set up your spot in the dressing room, there’s almost a sigh of relief…”We’re finally here.” I feel like I’ve just arrived at home. Well, that’s probably because I bring my whole life to the theater! I pack up like I’m going away for the weekend bringing snacks, tea, a coffee mug, a towel, a good book or two, a candle (I’d bring incense if I could, but that might just bother the other girls!), and of course all of my makeup, hair supplies, and shoes. Needless to say, the morning we actually arrived at the Arsht Center, I realized how long it took me to get ready and was almost late! I forgot how much it entails to prepare and I’ll have to break myself into performance season again.

Our weekend of shows at the Arsht Center marked the beginning of the season for me. Even though we’ve been working and rehearsing for two months, I feel like we’ve officially started now. This is what we’ve been working for after all. Being onstage is a completely different feeling. Even in class I feel like a different person. The seats may be empty, but I still feel like I’m performing. There are no mirrors in front of me to dissect every little detail visually. Onstage, I have no choice but to feel everything. I have to approach class differently than I would in the studio. Everyday feels like a fresh start because even though I may look the same, my body feels completely different from one day to the next and I have no mirror telling me that I have the same arabesque I did yesterday. I love it because it’s a clean slate. Every class, every rehearsal, and of course every show.

The shows were awesome that weekend. Everyone looked beautiful and genuinely happy to be performing again. I particularly enjoyed watching Company B come together. MCB has done Company B before, but I wasn’t here for it and seeing the piece as a whole in the theater was definitely exciting. It’s great in rehearsal, but with the white marly, the lights, and of course costumes and makeup, it added a whole other element! Seeing the first cast perform it put a huge smile on my face and I couldn’t wait to do it myself the next day. I had the privilege of dancing this Paul Taylor work on Sunday afternoon and I enjoyed every minute of it. I am thrilled to have the opportunity to perform it again when we go to Broward this weekend.

After a nice weekend off, I am ready for another weekend in the theater. The Broward Center holds a special place in my heart because I’ve had a few firsts in this theater. Broward is the place that I’ve performed some of my favorite parts for the first time, including Rubies, In the Upper Room, and Dew Drop in The Nutcracker. I’ve always called Broward Center “my theater” so I’m looking forward to being back and also visiting my favorite sushi place across the street.

See Kristin perform at “her theater” – Broward Center – this weekend November 6-8. The Company will perform Allegro Brillante, Tschaikovsky Pas de Deux, Company B and Symphony in Three Movements. Click here to get your tickets.

Photo by MCB Dancer Leigh-Ann Esty

Behind-the-scenes of opening weekend with Rebecca King

Post by Rebecca King

Miami City Ballet Dancers are back in the studios after an exciting opening weekend at Adrienne Arsht Center in downtown Miami. I think I speak for everyone when I say that it was a wonderfully successful weekend!

On Friday night (opening night), there were obvious nerves onstage before the curtain went up at 8:00 p.m. Everyone was waiting impatiently while welcoming speeches were made. I was standing in the wings on stage right with the rest of the Company to cheer on our friends and colleagues as they performed. Personally, I just love the moment when the curtain comes down on a ballet and everyone in the wings explodes with applause and screams “bravo!” The whole evening was filled with smiles, roses, and energy both onstage and offstage, which was simply contagious.

The next couple of days, we returned to the theater to receive a congratulatory speech from our Artistic Director, Edward Villella and a wonderful review in The Miami Herald.

I brought the Flip camera with me to the theater this past weekend to document backstage moments as we prepare for opening night. There is so much that happens behind the scenes, and I hope this will give you a little insight into what our performances look like from our point of view.

The Cover Girl Experience

You’ve seen Jennifer Kronenberg on the cover of Dance Magazine. Now hear what she has to say about the experience! Jennifer, who’s been dancing since she was seven, has dreamed about this all her life.

Come watch our cover girl perform this weekend at Adrienne Arsht Center.

Daniel the Bugle Boy

Daniel Baker is one of the dancers who will perform the role of the Bugle Boy in Company B! This Paul Taylor work will be featured by MCB during Program I, which kicks off at Adrienne Arsht Center on Friday, October 23.

Before you watch Daniel boogie woogie on stage, watch this video about his very exciting role.

Leigh takes you to Chicago – plus Stephen’s exciting experience

Post by Leigh-Ann Esty

Hello everyone! It’s Leigh Esty back with another video installment of Miami City Ballet on tour–this time we traveled to Chicago! I’ll take you from hot Miami weather to chilly temps in the Windy City! You’ll see excerpts of performances, rehearsals and backstage action. Chicago welcomed us with open arms, blessing us with grand applause, full houses and wonderful reviews. This tour was full of exciting moments! Principal Dancer Patricia Delgado got her hands on the Flip and added her commentary during backstage activities. Two of our corps members danced new roles! To say the least, this tour was quite eventful. I hope you enjoy my video journal as much as we enjoyed Chicago!

Stephen Satterfield, MCB Corps de Ballet, had the opportunity to dance a principal role in Symphony in Three Movements on the Chicago tour. Check out this video about his experience.

With the support of the Miami-Dade County Tourist Development Council, the Miami-Dade County Department of Cultural Affairs, the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners.

Rebecca King documents the Company preparing for opening night

Post by Rebecca King

My name is Rebecca King and I am a member of the Corps de Ballet. This week, the Company gave me the Flip camera and asked me to document the activities that go on while the dancers and staff prepare for opening weekend. I am so excited to take you from the studios to the theater!

While preparing for opening weekend, we spend most of our time working on the ballets that we will be taking to the theater. Everyday our director, Edward Villella, teaches an hour and a half ballet class, which is followed by six hours of rehearsals. Needless to say, it is busy around the studios during this time, but all the dancers are very excited to get into the theater. We all enjoy performing at the Arsht Center here in Miami and appreciate the wonderful audiences who always receive us so warmly.

This week I filmed some rehearsals and other behind the scenes moments that I hope will give you a bit of insight into our studio rehearsal days.

So, the Company is off to the theater on October 22 for a dress rehearsal and I will be taking the camera with me to capture all the exciting moments of our 2009-2010 Season opening weekend!

MCB will be performing Allegro Brillante, Tschaikovsky Pas de Deux, Company B and Symphony in Three Movements at the Adrienne Arsht Center on October 23rd and 24th at 8:00 p.m. and October 25th at 2:00 p.m.