Dancers Trending
Mónica Gómez overcame her shyness and performed a nuanced Kitri. Photo by Amitava Sarkar, Courtesy Houston Ballet.

Mónica Gómez became Houston Ballet's newest It girl overnight after her sensational April performance of Kitri. All fire, but with ample doses of flash, Gómez brought her natural star power to the role's nuances. "I am a very shy person," says the soloist, "so I had to work on my sass." Her richly textured dancing, combined with her incredibly expressive eyes and virtuosity, created magic onstage.

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News
Houston Ballet rehearsing Theater Under The Stars' Oklahoma! choreographed by Stanton Welch. Photo by Lawrence Knox

Rodgers & Hammerstein's classic 1943 musical Oklahoma!, now celebrating its 75th anniversary, brought a bounty of firsts: Rodgers and Hammerstein's first collaboration, Agnes de Mille's first dream ballet, the first time that a Broadway choreographer got a credit as a choreographer.

This week, there will be another first: the first time Houston Ballet and Theatre Under the Stars, Houston's home for musical theater, worked together to put on a show.

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Health & Body
Karina Gonzalez and baby Julia, photo via Instagram

Houston Ballet principal Karina González stunned audiences last fall with her emotionally charged Mary Vetsera in Kenneth MacMillan's Mayerling—while 16 weeks pregnant. "I had to be careful because the pas de deux are crazy," says González, who carefully planned her pregnancy so that she could dance in this ballet. "Thankfully, I had the best partner in Connor Walsh."

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Career Advice
Reviews help Gabrielle Lamb understand how her works come across. Photo by Glenn Goettler, courtesy Lamb

Love them or not, reviews are part of the ecology of being a dancemaker. Critical writing can validate, illuminate or sometimes get in the way of an artist's creative process. We spoke with five choreographers about their relationship to reviews.

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The Creative Process
Orr at a rehearsal of Power Up. Photo by Nancy Mims, courtesy Forklift Danceworks

Austin renegade Allison Orr doesn't use traditional performers. With her Forklift Danceworks, she has created dances featuring everyone from sanitation workers (The Trash Project) to power linemen (PowerUP), urban forestry department members (The Trees of Govalle) and food service employees (Served).

Orr has a BA in anthropology and calls her process "ethnographic choreography." Using the movements of everyday workers, she crafts large-scale extravaganzas that have included more than 75 performers (and sometimes trucks), audiences of 2,000, and a deep research process that may involve her learning how to scale a power-line distribution pole or riding with a sanitation worker at 4 am.

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News
Houston Ballet's Karina González in Swan Lake. Photo by Amitava Sarkar, Courtesy Houston Ballet

When Hurricane Harvey unleashed its rainy path of destruction on the downtown Theater District in Houston in August, Houston Ballet staff, dancers and fans knew it would not be business as usual this season. Over 40 inches of rain drenched Houston, damaging nearly one hundred thousand homes. In all, it caused an estimated $200 billion of damage in Texas. Some of that damage hit Houston Ballet's Center for Dance when the waters jumped the building's four-foot floodgates, leaving two to three inches of water in the lobby and first-floor studios.

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Career Advice
Many dramaturgs help the creative team do research. Photo by Becca Tapert/Unsplash

Clare Croft, a dance dramaturg and assistant professor of dance at University of Michigan, answers all our questions on what dramaturgs actually do, and how to best take advantage of one.

The Bottom Line: More choreographers should probably be using them.

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Career Advice
David Neumann's I Understand Everything Better. Photo by Maria Baranova, courtesy Neumann

Collaboration is a curious thing. For choreographers, it can open their practice to another set of eyes. It can allow their work to exist in a larger way. It can add serious heft to the final artistic product, with a signature all of its own.

But: There's an art to working in close communion with another artist, whether they're a designer or a composer. At the heart of the process is developing a rapport where each collaborator feels a sense of freedom within a set of given limits, where each understands what the other needs. Getting to that point takes some back and forth, trial and error, and several stabs in the dark.

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Career Advice
Zoe Scofield regrets not owning her history. Photo by Jonathan Hsu, Courtesy zoe | juniper

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

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25 to Watch
Richter and artists of Houston Ballet in The Nutcracker. Photo by Amitava Sarkar, Courtesy Houston Ballet

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."

Find out who else made Dance Magazine's "25 to Watch" list this year.

25 to Watch
Arnoult in her Dada Gert. Photo by Matthew Gregory Hollis, Courtesy Arnoult

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.

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Dance Magazine Awards
Marika Molnar working with Ana Sophia Scheller. Photo by Rachel Papo for Dance Teacher

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."

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Dancers Trending
Connor Walsh rehearses the role of Rudolf in Kenneth MacMillan's Mayerling. Photo by Amitava Sarkar, Courtesy Houston Ballet.

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.

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Career Advice
Trey McIntyre Project's farewell performance at Jacob's Pillow. PC Christopher Duggan.

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.

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Dancers Trending
Houston's theater district on Sunday, August 27. Photo by Michael Stravato for The Texas Tribune

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."

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Popular
Donatelli in Giselle. Photo by Amitava Sarkar, Courtesy Houston Ballet.

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."

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