ABT of the West?
BSJ in Jorma Elo's Glow-Stop
In the century-old Knights of Columbus Hall in downtown San Jose, California, the plaintive melody of Ástor Piazzolla’s bandoneon rises to the rafters of a high-ceilinged ballroom. A century ago the Knights held dances here; today it’s a sunny studio where Ballet San Jose is rehearsing Paul Taylor’s Piazzolla Caldera. “Twist from the tendu all the way through the head,” says répétiteur Richard Chen See. “More of a Latin feel. The style of the piece is pulled up and forward.” His directive reflects the exacting demands of Taylor’s choreography, which combines contemporary freedom with a precise, linear structure. But the push toward greater technicality and deeper artistry also reflects BSJ’s redefined standards—set by revamped leadership that includes new artistic director José Manuel Carreño—that are intended to transform the long-troubled company into a regional, and perhaps national, force in the dance world.
The company was set adrift in 2011, when the dramatic ouster of its then artistic director, Dennis Nahat, left a vacuum in leadership and creative vision. Nahat had founded the company in 1985 as the San Jose Cleveland Ballet, a dual-residency troupe that ultimately morphed into BSJ, and over the years became a beloved figure in Bay Area dance, avoiding territorial struggles with San Francisco Ballet 45 miles to the north.
The trouble began when the dot-com bust of the early 2000s devastated BSJ’s finances. The company stayed afloat with loans and major gifts from then-board chairman John Fry; unconfirmed estimates of Fry’s largesse range from $14 million to upwards of $20 million. The influx of cash allowed the company to continue to mount full-lengths such as Swan Lake, plus mixed-rep performances that included works by Balanchine, Jessica Lang and Tudor, a repertoire that showed exemplary taste yet lacked contemporary freshness; critics recognized standout principals like Karen Gabay and Alexsandra Meijer, but hinted that the company’s ambitions outmatched its execution. Reports at the time suggested that Fry wielded influence over the repertoire, board and company, exacerbating in-fighting. Things came to a head in January 2012, when Fry resigned from the board and Nahat received a letter of dismissal. Wes Chapman (formerly head of ABT II) helmed the company as artistic advisor in the interim, and Carreño took the reins last September with his blessing.
Executive Director Stephanie Ziesel, who joined the company in 2009, acknowledges that “from every facet and on every level, it was a very fragmented organization.” She seems to have emerged from the tumultuous transition with a deeper commitment to not only reviving the company, but to taking it to a place of prominence. Bringing on like-minded people such as Carreño, and making strategic internal promotions, has resulted in a unified vision. “It’s a rare opportunity for any company to kind of be in this clean-slate mode, where it’s a collaboration,” Ziesel says. “Not just between the artistic and administrative staff, but also with the board and every aspect of leadership.”
José Manuel Carreño gives company class
Ziesel herself has American Ballet Theatre connections; she is the sister of Mary Jo Ziesel, ABT’s director of education and training. In 2011, the two companies formed a “strategic relationship” that grants BSJ access to ABT’s repertoire, sets and costumes, as well as virtual letters of introduction to directors, artists and choreographers whose work BSJ might want to license. The connection was another lifeline that helped BSJ weather the stormy years. In addition, the BSJ School adopted ABT’s training syllabus, and is currently the only West Coast school certified to teach the ABT Curriculum. It will also participate in Project Plié, an ABT initiative to increase cultural diversity in ballet, starting at the school level. The school is expected to become a destination for pre-professional students, as well as a feeder for BSJ.
The June 2013 announcement of Carreño’s appointment brought BSJ instant media exposure and piqued the curiosity of balletomanes from coast to coast. His appeal is obvious: impeccable ballet credentials, masterful teaching skills and brand-name recognition around the world, not to mention an easygoing, approachable personality. But with little management experience beyond running his festival, can he revive a struggling ballet company? Is he prepared to handle tedious logistics, work within a budget and, perhaps hardest of all, manage 36 ambitious dancers and apprentices? “I love challenge,” he said in an interview in September 2013, just three weeks after he started.
Ommi Pipit-Suksun and BSJ members in company class
Retired from an illustrious dance career with ABT, The Royal Ballet and English National Ballet, the Cuban-born Carreño, 45, was not seeking an artistic directorship. Since his 2011 retirement he has focused on guest performances and on producing the Carreño Dance Festival, held each summer in Sarasota, Florida (he will continue to run the festival during BSJ’s off-season). Unlike the majority of his colleagues, he has no interest in creating choreography. The seeds of Carreño’s newest role were actually sown by chance a year ago, when he subbed for an injured dancer as Basilio in BSJ’s Don Quixote. “Meeting him and seeing his interaction with the dancers and how they took to him, it became a very natural process to start investigating whether this could work,” Ziesel recalls.
The newly positive atmosphere and lofty goals, combined with Carreño’s high profile, have attracted well-connected, well-heeled benefactors from Silicon Valley. “They see the change, and they want to be involved with it from the ground up,” says associate artistic director Raymond Rodriguez, who has been with the company since its beginning. For example, Seagate Technology CEO Stephen J. Luczo and his wife, Agatha, underwrote Carreño’s three-year contract. Donations are up considerably from the 2011–12 fiscal year, when contributed income dropped by 50 percent from the previous year, to under $2.5 million, and the company operated at a loss of over $1 million. For 2012–13, contributed income rose to $3.7 million, total revenue exceeded $5.5 million and the company nearly broke even. Ziesel predicts a balanced budget for this year of $5.8 million in total revenue, including a 25 percent increase in earned income from the previous year.
When asked if ABT plays any part in BSJ’s business or creative decisions, Ziesel asserts that her company is fully independent, and that her artistic director calls his own shots. “The only formal, defining documents are with respect to the ABT National Training Curriculum that we have implemented in our school,” she says.
Nonetheless, solid connections probably helped Carreño pull together BSJ’s high-octane 2013–14 season. His first coup was organizing a November fundraising gala featuring ABT’s Julie Kent and Misty Copeland, New York City Ballet’s Joaquin De Luz and Maria Kowroski, and SFB’s Maria Kochetkova, among others—a rare lineup for Bay Area audiences. It’s a testament to the goodwill Carreño enjoys that he could marshal that kind of star power on short notice.
Carreño worked similar magic to conjure up the 2014 repertory, a sophisticated offering replete with big names: Balanchine’s Serenade, Jorma Elo’s Glow-Stop and Roland Petit’s Carmen were already in BSJ’s rep, but the season boasts seven company premieres, including Ohad Naharin’s Minus 16, Twyla Tharp’s In the Upper Room and Taylor’s Piazzolla Caldera. Carreño’s choices suggest the versatility and quality he wants from his dancers, but also a savvy about the direction ballet is taking. “I said to Stephanie, ‘We have to start doing whatever we haven’t been able to do.’ That’s our goal now—going to a better rep, a more international rep, start touring with the company. That’s all my vision,” he said. Carreño’s wide-ranging connections helped him get permissions to license the pieces, and the improved budget meant the company could afford to pay for them.
The company roster is evolving to meet the elevated artistic and technical demands. One dancer opted not to return for the 2013–14 season and eight others were not renewed. For the future, Carreño wants versatile dancers who are hungry to grow. “My main thing with the dancers is to be in shape, taking class every day, working on yourself,” he says. “And from there, if you really have this open mind that you want to learn everything, you can change.” Passionate about teaching and coaching, he is dedicated to developing them to their greatest potential.
Among the current members are five principals, including longtime dancers Meijer and Ramon Moreno, plus the newly promoted Ommi (Nutnaree) Pipit-Suksun. Carreño has also stocked the corps with talented newcomers who are sure to rise: Joining the men are former Ballet Nacional de Cuba dancers Ihosvany Rodriguez and Walter Garcia. Rounding out the women’s corps are Grace-Anne Powers, most recently of Montreal’s La La La Human Steps, plus former ABT II dancer Alison Stroming.
And when the curtain rises on the February 14 season opening, it will be up to the dancers to deliver on the promise of the new BSJ. Carreño’s presence has given the company a glamorous jump-start, but along with that comes high expectations and close scrutiny of every trip-up and triumph as the company finds its way. Here’s hoping everyone at BSJ loves a challenge as much as José Manuel Carreño does.
Claudia Bauer is a dance writer based in the Bay Area.
Photos by Alejandro Gomez, Courtesy BSJ
The 2018 Oscar noms are here. Which is fun and all; we'll never not get excited about a night of glitz and glamor and, when we're lucky, pretty great dancing. But we'd be a heck of a lot more excited if the Academy Awards included a Best Choreography category. And really—why don't they?
Last year, La La Land's Oscars domination (FOURTEEN nominations) made the fact that Mandy Moore couldn't be recognized for her fantastic choreo—a huge, indisputable part of the film's success—seem especially cruel. This year, it feels weird not to recognize the dance contributions of Ashley Wallen (The Greatest Showman), Anthony Van Laast (Beauty and the Beast), and Aurélie Dupont (Leap!), to name just a few.
It might not have a U.S. tour on the books (yet), but we have to admit that we're getting exceptionally excited for Akram Khan's Xenos to premiere.
Growing up in inner city Rochester, NY, Aesha Ash was just one of the neighborhood kids. She'd imagine people driving by, judging her by her black skin.
"They'd never know that I was dreaming of becoming a professional ballet dancer. No one would think, Some day she's going to make it into New York City Ballet," says Ash.
After an inspiring career at NYCB, Béjart's Ballet Lausanne and LINES, the January 2006 Dance Magazine cover star—one of our 25 to Watch that year—is no longer performing. But she's determined to use her dance background to change the stereotypes and misconceptions that people—including black people—have about women of color. "I want to show it's okay to embrace our softer side, and let the world know we're multidimensional," says Ash.
Aesha Ash in Richmond, CA. PC Renee Scott via swandreamsproject.org
In 2011, she launched the Swan Dreams Project to inspire kids in the community she grew up in. The original idea was to post images of herself in a tutu all over Rochester. "I remember growing up and in the bodega you'd see images of girls in bikinis on motorbikes," says Ash. "I wanted to replace those with photos that show women of color in a different light."
She knew the power imagery can have: She still remembers what it felt like as a student at the School of American Ballet to see a photo of black ballet dancer Andrea Long. "That image was everything on days when I was feeling disenchanted. I'd see that picture of her, and know that the struggles I was going through, she went through them, too."
Ash soon realized she didn't have the budget to fund her original plan ("I never realized how expensive a bus stop advertisement is!"). But she's made the images available through an online store, and often simply gives away prints at her own expense to schools and students in need of some inspiration.
Any proceeds she makes from the sales go directly to other organizations that are working to expand ballet in diverse communities. One large donation even led to a pointe shoe fund at dancer Robyn Gardenhire's City Ballet of Los Angeles school—and it helped one dancer who had quit ballet because of the expense come back to class.
Now a mother of two in San Jose, CA, Ash will also start teaching a free after-school ballet class at her daughter's public school next month. "I recently taught at Girls Inc. in Oakland, and one of the little black girls said, 'Are you the ballet teacher?' She just stood there, staring at me with her mouth open, like a unicorn had just walked into the room," Ash says. "You never know the impact you can have just by being a presence."
You're standing in the wings, moments from entering the stage. You've done your planks to warm up your core, pliés to feel centered and dynamic stretches to loosen up. But your mind won't stop racing through all the ways your performance could go wrong.
Sport science strategies can get you in the right headspace. Photo by Thinkstock
Ideally, a warm-up should be more than just a physical preparation to dance. Because if you want to unlock your full potential, you need to get in the right headspace. "Your mentality is going to dictate which version of you comes out on any given day," says performance psychologist Dr. Jonathan Fader, who serves as director of mental conditioning for the New York Giants football team. These top strategies from the sports world can help you reach the state of mind that will serve you best.
Conversations about body image in dance typically revolve around female dancers. For an obvious reason: It's usually women who are driven to dangerous means to reach the ideal "ballet body."
But they're not alone in the struggle. Former Twyla Tharp dancer Charlie Hodges recently told his own story during a TED Talk at California's ArtCenter College of Design.
Recent media attention on sexual harassment has me wondering about my director, who has gotten involved with adult dancers in the company while being married. One friend became depressed after the relationship ended. Another dancer's contract wasn't renewed when his wife found out about his affair. Is this behavior crossing the line?
Toasted almond, caramel, nutmeg and mocha aren't craft ice creams or flavored coffees. They're among the choices in colored tights at the boutique in Dance Theatre of Harlem's headquarters in upper Manhattan.
And for Tru Annafi, an 11-year-old first-timer at the DTH summer intensive, those brown hues matter. At her former summer program, in Chicago, "I was the only African American, and they made us wear pink tights," she says. Chloe Edwards understands. A 13-year-old from suburban New York, she points out that the skin-toned tights "help you keep your line. In ballet, line is so important."
The coming weeks see not one, but two companies that can best be described as French cultural mash-ups landing at New York City's Joyce Theater.
It was a Christmas Eve that The Lion King dancer India Bolds will never forget.
Exhausted from a long week of performances, Bolds was clueless when she saw her cast mates randomly dancing in Broadway's Minskoff Theater lobby, and even more confused when they morphed into a choreographed flash mob. But when her boyfriend of four years, Dale Browne, popped up in the mob wearing a beautiful blue suit, she realized what was coming.
Back in the 80s, Molissa Fenley introduced a luscious, almost Eastern-feeling torque in the body that made her work compelling to watch. Her sculptural shapes and fierce momentum showed a different kind of female strength than we had seen. Now, as part of The Kitchen's series on composer Julius Eastman, Fenley has remounted her 1986 Geologic Moments, the second half of which she had developed with Eastman. The result, which premiered at Brooklyn Academy of Music, is a richly textured piece in both music and dance. (The first half has music by Philip Glass.)