Tag Archive: george balanchine


Nevada Ballet Theatre is set to begin its 2012-2013 season in bedazzling style: joined by Pacific Northwest Ballet and Ballet West, the company will perform George Balanchine’s “Jewels” at the Smith Center on October 13 and 14.

Comprising three movements, one each for emeralds, rubies and diamonds (and named accordingly), Balanchine’s work is a truly classical neo-classical piece if there ever was one. Ballet West will be taking on “Emeralds,” the first movement, with NBT undertaking “Rubies” and PNB tackling “Diamonds.”

And, to crown a show featuring three vibrant companies with a history of collaborating with one another, the performance will be set to live music. The performance will – appropriately – be set in the lovely jewel box that is Reynolds Hall.

If you’re interested in seeing the show, call the Smith Center Box Office at 702-749-2000 or click here. Season subscribers can purchase tickets now; single tickets can be purchased beginning Aug. 16. “Jewels” will be performed Saturday, October 13 at 7:30 p.m. and Sunday, October 14 at 1 p.m. at Reynolds Hall at the Smith Center, 361 Symphony Park Ave. Tickets ring in at $35-$128, plus fees.

Tomorrow’s the big day! NBT will be joined in concert by Pacific Northwest Ballet principals Carla Korbes and Seth Orza and American Ballet Theater’s Herman Cornejo in celebration of NBT’s 40th year and its debut at the Smith Center. Pop musician Matt Goss will be accompanying a new work by Canfield to top off the evening.

“Red Angels,” a work by Ulysses Dove, is on the docket (PNB soloists Lucien Postlewaite and Sarah Ricard Orza will join in for that one), as is the infamous “Serenade” by George Balanchine. On KNPR’s “State of Nevada” program this morning, Canfield and Boal spoke of the Balanchine with a kind of reverence, and they both acknowledging the almost religious feeling that accompanies the number. Pair that with NBT dancers and live music and you’re good to go.

If this tease isn’t quite enough for you, drop by the KNPR website to listen to the full story. The concert is tomorrow, May 5, at 7 p.m. at the Smith Center. Tickets range from $43-$128 and can be purchased online or by calling 702-749-2000.

The infamous Los Ballets Trockadero de Monte Carlo, an all-male ballet ensemble, hit the stage running in Tel Aviv with a tongue-in-cheek rendition of “Swan Lake.” Dance critic Ruth Eshel wrote a fantastically matter-of-fact piece about the performance and took note of the company’s history. (The group started as a large-scale nose-thumbing at classical Russian ballet that, as Eshel writes, soon solidified into the Trockadero company.)

Eshel points to the influence of not only George Balanchine in the Trock’s “Swan Lake” but to classical modern favors as well. “Les Ballets Trockadero sends its barbs at classical ballet but also at influential American choreographer Merce Cunningham, and the result makes you laugh so hard you fall out of your chair,” she writes.

Want to read more? Follow the link here to the original post. And, whether you’re a ballerina or a ballerino, bourree back soon!

Nevada Ballet Theatre and Hubbard Street Dance Chicago joined forces for a concert of counterpoints on Oct. 29 and 30 at Paris Las Vegas. The companies, directed by James Canfield and Glenn Edgerton, respectively, offset each other nicely in classical and contemporary works and the house was commendably full for Halloween weekend.

The stage at Paris played host to dichotomous pieces: NBT began the show with George Balanchine’s “Concerto Barocco,” appropriately styled with a sparse stage and stark white costumes. Hubbard Street’s “Too Beaucoup” comprised what Canfield and Edgerton both called an antithesis, captivating in its contemporary isolations and deep, black stage. (If you’re paying attention, yes, the floor was switched — twice, from white marley to black and back again. The wait for each was less than ideal but certainly acceptable given the circumstances.)

The juxtaposition was nice. NBT did well with Balanchine’s choreography; the unforgivably symmetrical staging was well executed and the dancers were musically in tune enough to do well by Mr. B. The natural dynamism of the piece glimmered through, although a touch more personality from individual dancers would have been the cherry on top. Demetria Schioldager, a creature of elastic arabesques, partnered well with Grigori Arakelyan and added some quiet composure to the busy number. It wasn’t all graceful extensions, though, as a number of choreographed slides added an element of Balanchinian derring-do.

Hubbard Street’s “Too Beaucoup” was, as the name implies, nearly too much indeed. Choreographers Sharon Eyal and Gai Behar set some fantastic movement to music by Ori Lichtik and the effect was other-worldly. Watching the piece was something akin to staring at a double-jointed dancer cracked out on caffeine moving in ridiculous ways with a strobe-light in the background.

The quality of movement was foreign and intriguing, with the odd quad pirouette or split layout thrown in for kicks. The visual cacophony, designed to explore the nature of individuals functioning within a larger system, seemed to warrant a quiet rest and a sip of water for mentally overstretched audience members. Kylian’s artistic statement was well established, although the piece probably could have ended 10 minutes earlier and had just as much impact. The audience response, however, was explosive.

“Petit Mort,” another Hubbard work choreographed by Jiri Kylian of Nederlands Dans Theater, was a beautiful step in a more classical direction. The piece was full of attenuated limbs and twining partnering, hoop skirts, kinetic physicality and swords. The fencing foils even served as impromptu dance partners and added, forgive me, an edge. The movement was enthralling, punctuated by the snick of swords, and comical in turn. There is something quite funny, after all, in a dancer that suddenly zips out from behind the free-standing hoop skirt and bodice you thought she was wearing.

NBT’s “Cinq Gnossiennes” was a poignant meditation on the nature of relationships set to Erik Satie’s nuanced piano accompaniment, performed by Carol Rich. Canfield’s contemporary choreography melded well with the company’s classical technique and the mesh allowed a broader spectrum of emotion to sift through. The lighting accentuated this, shifting with each movement but maintaining the core theme. It was a lovely and affecting set to watch.

“Up,” NBT’s suite of variations to different renditions of Rodgers and Hart’s “Blue Moon,” served as a sweet, if somewhat anticlimactic, finale. The mood swung from cute and pink to blue and jazzy to whimsical, exuberant and sexy. It’s difficult not to appreciate the creativity spawned from a single motif, although audiences without a predilection for the tune might be out of luck.

Despite the nearly three-hour running time, “Dance Dance Dance!” was a lively and varied program. Classical ballet and Chicago jazz mixed well at the hands of Canfield and Edgerton, partners in crime whose shennanigans date back to their days in the Joffrey company together. This amiable relationship was obvious throughout the show. Perhaps, a year from now, Hubbard Street and NBT will be bumping elbows in Reynolds Hall at the Smith Center.

Penny Saunders and Pablo Piantino of Hubbard Street Dance Chicago perform Jiri Kylian's "Petite Mort." Photo by Todd Rosenberg

It’s Nevada Ballet Theatre’s 40th season this year and the company is joining hands with Hubbard Street Dance Chicago to kick it of properly. “Dance Dance Dance!” opens at Paris Las Vegas on Oct. 29 and 30 and will include George Balanchine’s Concerto Barocco, Jirí Kylián’s”Petite Mort,” Sharon Eyal’s and Gaï Behar’s “Too Beaucoup” and James Canfield’s “Up” and “Cinq Gnossiennes.”

For single tickets to “Dance Dance Dance!,” give the Paris Theatre Box Office a ring at 702-946-4567 or click here. Catch the show on Oct. 29 at 8 p.m. or Oct. 30 at 2 p.m. An opening night special offer is available; $40 buys a ticket to the Oct. 29 show and a front-of-the-line, no-cover pass to Chateau Nightclub and Gardens. Click here for the moolah-saving details.

But (and I’m risking sounding like a used car salesman here, but bear with me) that’s not all! Hubbard Street artistic director Glenn Edgerton will teach a professional-level master class from 1:30 to 3 p.m. on Oct. 27 at NBT’s Summerlin studios. $75 nets the master class and a ticket to “Dance Dance Dance!” on Oct. 29 at 8 p.m. or Oct. 30 at 2 p.m. Walk-up registration is available the day of the class for $50, but space is limited. To save a spot, call 702-243-2623 to register.

For anyone else out there who emboites in the other direction at the first sign of sports equipment projectiles, don’t worry: March still brings plenty to celebrate, er, madly. The Academy Awards, which took place over the weekend, celebrated the nomination of “Black Swan” for several categories, including best picture. Natalie Portman, psychotic ballerina extraordinaire, snagged the statuette for best actress through her role in the film and, thankfully, showed no signs of sprouting wings.

On an entirely unrelated but similarly excellent note, a new kind of game is coming to Las Vegas, and it’s beginning with a bang tonight. Nomi Malone and Miss Miranda Glamour will be hosting “Burlesque: the Game Show” at FREEZONE, a couple blocks south of Hard Rock Hotel. Renea’ Le Roux and Lou-Lou Roxy will be making guest appearances and ladies can get discounts on drinks from 8 p.m. to 1 a.m. For a night of burlesque and unpredictability, hit up FREEZONE at 610 E. Naples Drive at 10:30 p.m.

For the more classic at heart, Nevada Ballet Theatre will be performing “The Tried and True and the New” at 8 p.m. on March 4, 5 and 6 at UNLV’s Artemus W. Ham Concert Hall. Guest artists from Alvin Ailey American Dance Theater will make an appearance and choreography by George Balanchine, James Canfield and Matthew Neenan will be featured. Tickets are selling quickly, so head over here to buy yours.

For those of you that can’t bear the thought of an entirely sports-bereft March, Face Productions is organizing a show on Fremont Street that should be a good compromise. The month-long production features sassy performers with pom-pom expertise and vixens dancing to Beyonce tracks, both appropriate for the ultimate halftime show experience.

Do you know of any mad events going on that should be featured here? Leave a comment below and let me know. Otherwise, get some pep in your step and gear up for a month full of burlesque, ballet and, if you insist, basketball.

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