Nancy Wozny is editor in chief of Arts + Culture Texas, the only print Texas arts magazine in the state. She is also frequent contributor to Pointe Magazine, Dance Teacher and Dance Magazine, where she is also a contributing editor. Her byline has appeared in The Houston Chronicle, Dance USA's The Green Room, Culturemap, and numerous other publications. She is the winner of the Gary Parks Award from the DCA, an NEA Fellow at ADF, and the recipient of numerous grants for her work in dance, somatics and creativity. She has taught and written about Feldenkrais and somatics in dance for two decades and is currently teaching at Shepherd School of Music at Rice University. She also has served as a Scholar in Residence at Jacob's Pillow since 2010.
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Overnight success doesn't happen often in the dance world. Mistakes, regrets and on-the-job realizations are simply part of the process. Four accomplished choreographers share what they had to figure out along the way.
Pam Tanowitz: It's all about the editing.
Photo by Brad Paris, Courtesy Tanowitz
Houston Ballet demi-soloist Mackenzie Richter is fond of saying "Adagio is not my thing," but after her performance int he third "Kingdom of the Shades" solo in Stanton Welch's La Bayadère, she needs to reconsider that statement. Control, suspension and floating grace to carry off the most difficult adagio work are most certainly her thing now, along with her allégro, jumping and turning abilities.
Long and leggy, the powerhouse ballerina got plucked out of HBII early to apprentice, and was then promoted to the corps mid-season in 2016 and to demi-soloist in September 2017. "I am working on being a little less academic," says Richter. "Being perfect doesn't mean that you are interesting to watch."
Annie Arnoult and her Open Dance Project invited audiences inside Woody Guthrie's world in 'Bout a Stranger, evoking the Dust Bowl era through movement, song, theater and set design for a visceral experience of the great American songwriter's life. Arnoult's opus unfolded through vignettes occurring in makeshift kitchens, corridors and tiny stages that enveloped the viewer.
Her keen attention to detail, the timeliness of the subject (considering today's political climate of social action) and the superb performances by her dancers astonished on every level, making 'Bout a Stranger one of the most fully realized pieces to come out of Houston in decades.
Since George Balanchine first asked her to care for his dancers in the 1980s, Marika Molnar has helped heal icons as varied as Merce Cunningham, Trisha Brown, Natalia Makarova, Judith Jamison, Twyla Tharp, Chita Rivera and Mikhail Baryshnikov. Some patients call her their guardian angel.
"Marika has always answered all my (sometimes ridiculous) questions with the patience and respect that can only come from a deep love of us patients and what we do," says New York City Ballet principal Ashley Bouder. "Without her help during and after my pregnancy, I would never have been able to come back to the stage at full capacity."
It's been 34 years since Sir Kenneth MacMillan's Mayerling touched down on American soil, when The Royal Ballet first performed the great English master's tour de force ballet stateside. On September 22–24, Houston Ballet becomes the first North American company to perform MacMillan's epic chronicle of the murder-suicide of the heir to the Austro-Hungarian Empire, Crown Prince Rudolf, and his 17-year-old mistress, Baroness Mary Vetsera. Chronicling the last chapter of the Hapsburg Empire, the ballet is known for its true-to-life realism, and for the role of Rudolf, which transformed the way male ballet dancers drive a story. It's considered a dream role for a male dancer. And with seven pas de deux with five different women, a deadly difficult one at that.
Driving Houston Ballet's Mayerling train is principal Connor Walsh, who nearly missed this opportunity to dance the part when Hurricane Harvey flooded Houston Ballet's theatrical home, Wortham Center. Now moved to the Hobby Center for the Performing Arts and back in rehearsal, Walsh took a break from his busy schedule to talk about the role of a lifetime.
Starting and sustaining a dance company is not for the faint of heart. It often takes tremendous sacrifice in terms of time, energy and money. But it's not a life sentence. Arts organizations, like everything else, come to an end, and nothing could be more important to an artist's vitality than knowing when to call it quits. Even as the founder of a company, there is a graceful way to move on.
It's been 12 years nearly to the day that I last reported on a hurricane for Dance Magazine during Katrina, which devastated much of New Orleans. Now, as you are well aware, Harvey is approaching that level of catastrophe, with 18 deaths, a record rainfall of 51 inches, more than 10,000 Houstonians in shelters, and with our bayous at capacity. You've seen the photos. It's awful, heartbreaking and still dire for many stranded in their homes or in danger of continued flooding.
For local artistic directors, choreographers and studio directors, the first task was to find out how their dancers and teachers were managing, and the state of their homes and family.
"I've been concerned about the safety of the dancers," says Annie Arnoult, director of Hunter Dance Center and Open Dance Project. "The dancers live all over the city and surrounding areas. Most have been trapped in their homes...a few without power. We've stayed in constant touch through regular 'roll calls,' and everyone's fine so far; but I will feel much better when we can be back together face-to-face doing what we do best."
When it comes to a ballet matching a dancer's special talents, choreographer Justin Peck's Year of the Rabbit fit Houston Ballet demi-soloist Tyler Donatelli to a T. Built for power, flash and precision, Donatelli crashed through Peck's driving rhythms with finesse and clarity in a lead role this past March. She's a speed demon, which worked well for Peck's breakneck pacing. "His movement came so naturally to me," says Donatelli. "I could just be myself."