Ballet San Antonio

Review: “Off Center”

Laura — Mon, 26 Mar 2012 18:17:43 +0000

By Jasmina Wellinghoff/For the Express-News

For its last “Off Center” production, presented Sunday (March 25) at the Carver Community Cultural Center, Ballet San Antonio invited three other dance groups to share the stage with them, partly because the new leadership wants to collaborate with other organizations and perhaps out of necessity as well.

Envisioned as a showcase of new ballet choreography, past “Off Center” shows gave company members and a few others the opportunity to create new works. Recent cost-cutting, however, reduced the ballet’s dancing ensemble to five, most likely resulting in fewer potential choreographers.

Be that as it may, the performance was still enjoyable, if rather short, featuring five ballet pieces, a classical Indian dance example and four works by the San Antonio Jazz Ensemble. In addition, Ballet San Antonio artistic director, Gabriel Zertuche choreographed a good-looking number for the young dancers of Ballet Conservatory of South Texas, set to the music of the great Japanese ensemble Kodo. Nicely lit and tailored to the skills of the group, “Fushicho” put emphasis on the arms, inventing group and whole ensemble patterns that kept the eye occupied and often pleasantly surprised.

The Jazz Ensemble was also a delightful surprise. It introduced itself with “Bartender” by Jennifer Baldwin, featuring the lithe and nonchalant IIan Nunez as the title character surrounded by seven eager women. He leapt out from behind that bar to engage with the ladies and party the night away with them, twirling one, lifting another, rolling on the floor with yet another. It was a high energy dance that made you feel like joining in. An especially nice touch came at the end. The party over, it was time to clean up and close the joint. Nunez and a few women stayed behind to do that but instead of just functionally removing the bar, tables and chairs to clear the stage, they enacted a whole little silent playlet with a sense of humor.

The Ensemble also scored with Amanda Jenkins’ “I Don’t Know,” tap-danced by the choreographer herself to Ruth Brown’s song of the same name. All by herself on stage with a single chair for company, Jenkins embodied the songemotionally and rhythmically — a seamless, delightfully charming number.

But the evening largely belonged to Zertuche, who premiered two new works and reprised two older ones. Among the latter were “Energia Libre,” a ballet showcase for a male dancer, originally created for former company member Carlos Hopuy and performed Sunday equally well by Jayson Pescasio. Framed by four blue shafts of light beamed at an angle from both sides of the stage, Pescasio was all strength, control, and elastic physicality as he tossed off turns and jumps –- some with legs angularly spread in the air — staying airborne long enough to have time to reposition his feet before returning to solid ground.

Ian Morris and Saki Yabumoto also did justice to Zertuche’s “Da Luz,” a lyrically imagined wistful interlude between two statues that have come to life.

The choreographer’s most complex piece was “Surfacing,” which concluded the program instead of “Nokturn,” which had been printed in the program. No explanation was offered for the change.

The rather dark, moody “Surfacing” starts with all five dancers lying on the floor with a semicircle of light cast on the backdrop behind them. For a while we see them delineated against the background as black figures but they eventually stand up and emerge to dance a dance of yearning crafted out of so many fine details that one wished to see it again almost as soon as it was completed. They returned to the floor several times, sometimes slashing the air with their outstretched legs as if trying to free themselves of invisible cobwebs. Back upright, they moved softly even when executing daring and unusual lifts, giving the entire piece a bit of a dreamy aspect. One lift that earned instant applause had Yabumoto step into Morris’ hand at about knee level, from where he lifted her up in one clear swoop as if she were a china doll. The other dancers in “Surfacing” were Sarah Aujon, Danae Quevedo and Pescasio.

Quevedo also had the opportunity to shine by herself in Zertuche’s much more upbeat “Barcelona” danced to “Spanish Dance” by Czech composer David Popper.

IIn addition, the program held Aujon’s 2010 piece “Lulluby” and “Dancing Feet” performed by Kalalaya Indian Performing Arts. The former is supposed to be about a child of the Holocaust, but all that we actually saw on stage was a disturbed, often frightened little girl. Context was not given.

In “Dancing Feet,” Aarthi Kartic and Bharath Ram plunged into an unusually vigorous and fast bharatanatyam style performance, driven by a contemporary musical score by Indian composer Suma Sudhindra. Perhaps there was a deeper meaning in their gestures and body postures –- as dictated by tradition –- but they sure seemed to have fun and they were certainly fun to watch.

Now, let’s say goodbye to “Off Center.” We’ll miss it.

Click here to read this article on the San Antonio Express-News Website
Click here to download a PDF of this article

Auditions

Laura — Tue, 14 Feb 2012 19:27:34 +0000

Ballet San Antonio will hold an open audition at the Ballet Conservatory of South Texas on Saturday, February 25, 2012, at 2:00 p.m. Please bring headshot, resume and $25 audition fee. Please contact Gabriel Zertuche at gabriel@balletsanantonio.org with any questions.

Ballet Conservatory of South Texas
5200 Broadway
San Antonio, TX 78209

Ballet San Antonio Auditions

Laura — Mon, 13 Feb 2012 20:45:06 +0000

Ballet Conservatory of South Texas
5200 Broadway
San Antonio, TX 78209

Review: “Coppelia”

Laura — Sat, 04 Feb 2012 18:07:05 +0000

By Jasmina Wellinghoff
For the Express-News
Ballet San Antonio is keeping its 2011 momentum going strong. Only a few months after premiering the brand new ballet “Dracula,” and only a little over a month since its multiple performances of “The Nutcracker” entertained holiday crowds, the company has mounted a revival of “Coppelia,” last seen in the spring of 2010. It opened last night (Feb. 3) at the Lila Cockrell Theater.
Unlike most 19th century ballets, “Coppelia” is not about princesses, beguiling ghosts or tragic love. Its heroine, Swanhilda (Sarah Aujon) is a spunky peasant girl who loves a guy who can’t seem to commit to her. It’s not that he doesn’t like her. He is just very infatuated with the gorgeous Coppelia who sits on her balcony, reading a book and ignoring his advances. So, naturally, Swanhilda is jealous and she isn’t the kind of girl who suffers in silence.
The ballet tells the story of how Swanhilda discovers that Coppelia is a life-size doll and how she wins Franz (Carlos Hopuy) back when he realizes that he was about to lose a real woman while obsessing over a mechanical mannequin. There is a message here for all times but the message may not have been the only thing on the original French creators’ mind. Mechanized, life-size dolls appear in several classical ballets of the time, probably reflecting the general interest of the Europeans in these novel inventions. For choreographers, dolls that come to life obviously offered a chance to explore a different kind of movement on stage.
Like most companies today, Ballet San Antonio opted for “traditional choreography” restaged by guest choreographer Susan Clark. Which most likely means, choreography based on the Petipa/Cecchetti 1894 version, preserved and transmitted through generations of artists, though that’s not specified in the program. The overall staging is the handiwork of new artistic director Gabriel Zertuche.
Like in 2010, there’s a great deal to be enjoyed in this production, from multi-layered ensemble choreographies to fine solo displays, nice sets, deft comedic touches and pretty costumes, all propelled, supported and enveloped by Leo Delibes’ gorgeously melodic score. Aujon is reprising her role but Ian Morris who was a great partner to Aujon last time, has been replaced by Carlos Hopuy. Though an excellent dancer, partnering is not Hopuy’s forte. Nevertheless, he is confident and in control throughout the show, especially in the last act’s solos or with the other men, Morris included, tearing around the stage with clean entrechat jumps and sustained jetés. The four of them are a pleasure to watch by themselves or with the ensemble of women in long pink tutus, as they all weave complex figures and configurations in celebration of Franz and Swanhilda’s wedding.
The usually flawless Aujon was not in top form opening night, perhaps due to injury, causing a couple of awkward moments in the wedding pas de deux. She didn’t seem super happy either while Hopuy radiated joy as befits a bridegroom.
But back to the dancing dolls. At the end of Act 1, Swanhilda is so intrigued and annoyed by Coppelia that she talks her friends into breaking into Dr. Coppelius’ house with her to meet the mysterious girl. What they find is a spooky scene full of life-size dolls, including the reading beauty. When the dolls’ maker, Coppelius, returns home, he chases the girls away but Swanhilda hides behind curtains and later pretends to be the lifeless Coppelia. Aujon’s rendition of “becoming alive” is amusing, complete with stiff limbs, rigid falls and mechanical head jerks. And she is not the only dancing doll. Dr. Coppelius’ mechanical mannequins all get their their brief chance to look alive. Aujon is also charming in the Valse Lente of Act I.
Group dances, both balletic and the ethnic mazurka and czardas- which pair Aujon with the attractive Jarrin Overholt and Hopuy with the graceful Danielle Cambell, respectively – are feasts for the eyes and all the adult dancers are highly competent. But even the kids look good. Soloist Saki Yabumoto who dances the “Prayer” divertissement in Act III should also be mentioned for her delicate arm movements and softly unfurling lines.
Here and there, the show’s logic could be clearer and the program should explain the business of shaking a stalk of wheat as a test of love which probably derives from a folkloric tradition but gets kind of lost on stage. On the whole, though, “Coppelia” is pure fun.
The show repeats today at 2 p.m. at the Lila Cockrell Theater; tickets are $25-$55 through Ticketmaster or at the door.

Click to read this article on the San Antonio Express-News Website
Click to download a PDF of the article

Ballet San Antonio Brings Back Coppelia, Ballet’s Most Celebrated Comedy

Laura — Wed, 11 Jan 2012 20:48:35 +0000

San Antonio, January 10, 2012 – Ballet San Antonio will bring back Coppelia – ballet’s all-time favorite comedy – to the Lila Cockrell Theater for two performances February 3 and 4.

Featuring San Antonio’s very own professional ballet company along with 50 children from across the city, Coppelia is based on a 19^th century story of mistaken identity that conveys enduring messages about self-esteem, dignity and resilience. Coppelia premiered in 1870 and was choreographed again by George Balanchine for the New York City Ballet in the 1970s.

Ballet San Antonio’s Coppelia is directed by Gabriel Zertuche, the company’s new Artistic Director, and staged by Susan Clark, Artistic Director of Midland Festival Ballet and former principal dancer of Atlanta Ballet and Milwaukee Ballet. This version of Coppelia features new and dynamic choreography with principal dancers Sarah Aujon and Carlos Hopuy dancing the lead roles of Swanhilda & Franz.

“Swanhilda is a character that today’s woman can love,” Aujon said. “She is a young spunky peasant girl in love whose mischievous curiosity leads to comic misadventure. Coppelia is a thrilling, fast paced journey that anyone can relate to and enjoy.”

In 2010, the San Antonio Express-News raved about Ballet San Antonio’s production of this comedic ballet classic: “From start to finish, it’s a colorful, amusing and beautifully danced show that does justice to the story, Leo Delibes’ score and the classical tradition.”

Coppelia marks the third production in the company’s expanded 2011/2012 season. Ballet San Antonio performed Dracula in October, and The Nutcracker with the San Antonio Symphony in November and December.

Tickets for Coppelia are available via Ticketmaster http://www.ticketmaster.com/Coppelia-tickets/artist/806784. Performances will take place Friday, February 3, 7:30p.m. and Saturday February 4 at 2:00 p.m. at the Lila Cockrell Theatre.

Ballet San Antonio Names Gabriel Zertuche New Artistic Director

Kirsten — Wed, 11 Jan 2012 16:08:22 +0000

San Antonio, January 10, 2012 – The Ballet San Antonio Board of Directors has named Gabriel Zertuche Artistic Director of the city’s professional ballet company and has promoted Courtney Mauro Barker to its Executive Director and President.

“Ballet San Antonio continues to grow artistically and is reaching a broader audience than ever, and we are building on this positive momentum,” said Mario Vazquez, Ballet San Antonio’s Board Interim Chairman. “As we prepare for our future role as resident ballet company of the Tobin Center for the Performing Arts, we look forward to developing even deeper collaborations with other arts organizations, businesses and schools throughout our community.”

Mauro Barker was named Ballet San Antonio’s Executive Director in January 2011. In her new position, she is responsible for both the operational and artistic direction of the company.

Before his appointment as Artistic Director, Zertuche served as Ballet San Antonio’s Ballet Master and Resident Choreographer. In that role, he choreographed critically acclaimed pieces as part of Ballet San Antonio’s Off Center contemporary ballet performances, as well as the 2011 premiere of Dracula, an original Ballet San Antonio production. Dracula was recently described in the San Antonio Express-News Best of Dance 2011 compilation as “a meticulously staged, beautifully danced new story ballet choreographed by Zertuche…a big undertaking and a big accomplishment for Ballet San Antonio.”

Zertuche succeeds Mayra Worthen, who founded Ballet San Antonio 27 years ago. Worthen directed Ballet San Antonio’s annual The Nutcracker performances, a popular holiday staple for more than 20 years.

“We would like to express our gratitude to former Artistic and Founding Director, Mayra Worthen, for her dedication and leadership during her more than 25 years at the helm of this company,” Vazquez said.

As part of the company’s preparation to perform at the future Tobin Center, Ballet San Antonio is temporarily residing at Ballet Conservatory of South Texas, a non-profit pre-professional ballet school situated closer to the Tobin Center and other current performance venues.

Ballet San Antonio will bring back Coppelia – ballet’s all-time favorite comedy – to the Lila Cockrell Theater for two performances February 3 and 4. Coppelia marks the third production in the company’s expanded 2011/2012 season.

The mission of Ballet San Antonio is to share the splendor of dance through diverse artistic performances and outreach programs that reflect, promote, and enrich the cultural heritage of our South Texas community. We hold an uncompromising commitment to continually attract exceptional professional dancers, create distinctive performances, and make dance accessible to the widest possible audiences through partnerships with local organizations.

For more information about Ballet San Antonio and the 2011/2012 season, please visit www.balletsanantonio.org. Ballet San Antonio is a 501(c) 3 charitable organization.

Ballet San Antonio “Best of Dance 2011″

Laura — Wed, 04 Jan 2012 20:17:38 +0000

Multiple Ballet San Antonio productions considered as part of the San Antonio Express-News’ “Best of Dance 2011.” Click here to read on mysa.com or download a PDF of the article.

2012 Coppelia Children’s Audition Information

Laura — Tue, 03 Jan 2012 19:29:59 +0000

Children’s auditions for Coppelia will take place on Saturday, January 7, 2012 at Ballet Conservatory of South Texas. Auditions for the youth cast (ages 9-12) will be held from 10 AM to 11 AM. Junior cast (ages 13-17) auditions will be held from 11 AM to 12 PM.

Children ages 9+ with at least 3 years of ballet training and are currently enrolled in dance classes may audition for children’s roles. Children from dance studios across San Antonio & surrounding areas are encouraged to audition.

Children MUST attend all scheduled rehearsals and performances.

Rehearsals will be held on Friday evenings (youth cast) and Sunday afternoons (junior cast).

Performances will be at the Lila Cockrell Theatre on Friday, February 3, and Saturday, February 4, 2012.

Details:
Ballet Conservatory of South Texas
5200 Broadway
San Antonio, TX 78209

Please wear a black leotard, pink tights and ballet slippers. Children should be warmed up by the start of their audition.

For more information please email info@balletsanantonio.org.

2012 Coppelia Children’s Audition

Laura — Wed, 07 Dec 2011 17:37:11 +0000

The 2012 Coppelia children’s audition has been postponed. A new date will be announced soon. Please contact Courtney Barker at courtney@balletsanantonio.org with any questions.

Nutcracker Supporting Cast

Laura — Mon, 07 Nov 2011 17:06:33 +0000

Ballet San Antonio is looking for one male 5’8″ or taller for its production of the Nutcracker with the San Antonio Symphony at the Majestic Theatre. Must have dance or musical theater experience. Please call 404-9641 for more information.

Performance dates:
November 25 to 27 & December 2 to 4
Friday & Saturday evenings: 7 PM
Saturday & Sunday matinees: 2 PM
Friday, November 25 matinee: 2 PM

Rehearsal dates:
Saturday, November 12 (12:15 to 2 PM)
Sunday, November 13 (3:30 to 5 PM)
Saturday, November 19 (2 to 4 PM)
7 PM rehearsals on November 21 to November 23 and November 30 to December 1

Please call 404-9641 for more information.