Artistic director Marcello Angelini teaching class at Tulsa Ballet. Courtesy Tulsa Ballet.
I spend a lot of time reflecting on the direction dance is heading. How do we chart the trajectory of our field? Simple: Through the choices we make when crafting our seasons, the works and choreographers we invite to be part of our repertoire. Fostering the creation of new art is the most important responsibility of every artistic director.
Barak Marshall's Monger, which appears at the Walking Distance Dance Festival this month. Photo by Rose Eichenbaum, Courtesy John Hill PR
A Broadway luminary and a postmodern darling bring their talents to ballet, a music video maven turns to the concert stage, and a contemporary choreographer gets soulful with Aretha Franklin. Our editors' must-sees this May are all about the unexpected.
Let me start with a confession: Growing up, I was the type of dancer who believed that there was only one kind of real dance: Ballet! Everything else was for the unchosen ones; other dances were fabricated by humans for the large masses who were not selected by Terpsichore. Dance was human. Ballet was divine.
Fast forward 30 years. I'm the artistic director of Tulsa Ballet, and I now understand that ballet was just a step in the evolution of dance, a journey that started with the Homo sapiens and has taken us to Broadway and hip hop. Now, at age 57, I appreciate ballet but love contemporary dance. But my passion? It resides in Broadway!
Aspen Santa Fe Ballet in Nicolo Fonte's The Heart(s)pace. Photo by Sharen Bradford, Courtesy ASFB
Small- to medium-sized companies based in cities outside dance meccas—New York City, Chicago, Los Angeles—are often written off as "regional," or somehow lesser than their big city counterparts. But in recent decades, a few have defied such categorization as they've gained traction on the national and international scene.
So how does a company build an international profile without losing connection to its hometown? We asked the directors of Tulsa Ballet, Aspen Santa Fe Ballet and Sarasota Ballet to share their strategies.
Xenos, Akram Khan's final full-length solo, is an ode to the soldiers of World War I. Photo by Nicol Vizioli, Courtesy Sadler's Wells
We might have gotten a little bit carried away with this year's "Season Preview"—but with the 2018–19 season packing so many buzzy shows, how could we not? Here are over two dozen tours, premieres and revivals that have us drooling.
Tulsa Ballet dancers. Photo by Jeremy Charles, Courtesy Tulsa Ballet
It's always fun when a ballet company breaks out the bubbly with some good old-fashioned Hollywood melodies. Tulsa Ballet is doing it up big with Derek Deane's Strictly Gershwin, a glam extravaganza with 56 dancers, 3 guest tappers, 4 singers and an onstage orchestra of 46. Strictly Gershwin was called a "whopping success" after it opened at English National Ballet in 2008. It now comes to Oklahoma for its U.S. premiere. Feb. 9–11. tulsaballet.org.
Kawashima in rehearsal. Photo courtesy Tulsa Ballet
In a crowded company class at Tulsa Ballet, Maine Kawashima stands out, and not just because of her tiny size. (She's 4'11".) The 22-year-old corps de ballet member is fiercely focused, repeating combinations over and over again with tireless determination. Once class is over, she keeps going, whipping out fouettés.
"She is a technical wizard," says artistic director Marcello Angelini. "But she's also a sensitive and versatile dancer."
Jin Ha and company of M. Butterfly. Photo by Matthew Murphy, Courtesy Polk & Co.
Every Broadway debut is the culmination of a journey. But for Ma Cong, who makes his this week as choreographer of the revival of David Henry Hwang's Tony-winning play M. Butterfly, the trip has had as many improbable twists as the plot of a Peking Opera.
It's the tale of a provincial boy whose dance talent takes him from Yunnan to study in China's capital city, where he catches the eye of a powerful leader. She nudges him out of classical Chinese dance and into an alien form called ballet, then sends him to a faraway country to compete with other outsiders. There, he's invited to dance in another place, Tulsa, and the young man leaves behind the world he knows to discover not only a new land, but who he really is. And, 18 years later, at 40, he's a U.S. citizen with a blooming choreography career, a husband, twin boys on the way and a Broadway show that partners him with director Julie Taymor, one of his idols.