Immerse by the Creative City Project 2

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Five blocks of Orange Avenue were closed off downtown allowing five stages to be set up, which would allow over 1,000 performers to showcase their talents in downtown Orlando. One stage was in the park in front of the History Center, the Red Bull Stage was at Pine Street in front of what used to be City Arts Factory, the UCF Stage was on Church Street, EA sponsored a stage down by Jackson Street,  and the Massey Services stage was between Pine Street and Church Street on Orange Avenue, where I stopped to sketch.

Rollins Choir and the Orlando Philharmonic Orchestra were on stage when I started this sketch, but at that time I was focusing on people in the foreground. Being Present took to the stage and I decided to place them in my sketch. The female singer on guitar took center stage and she was surrounded by percussion, a bass player and a dance company who improvised to her performance. Being Present was followed by All the Light You Cannot See and then The Orlando Ballet.

The artists who had come out to my ODD event (Orlando Drink and Draw) stood on a cement planter so we could see over the now standing and shoulder to shoulder crowd. The Orlando Ballet performed dances with a hip urban edge which perfectly fit in with the vibe of the night. Dancers were paired off with men and women partners and by the end of the choreography boys were dancing with boys and women were dancing with women. When they walked off the dance floor hand in hand the crowd whooped its approval. It reminded me of the “Keep Dancing” movement that swept Orlando after the Pulse Nightclub massacre.

After the Ballet left the stage the crowd dissipated and we decided to informally share our work for the evening and then disband ourselves. Perhaps a few years ago I would have stayed until 11pm to finish another sketch but I was all sketched out. I just needed to get home to crash. With so much to see and do, Immerse can be overwhelming, but in a good way.

IMMERSE by the Creative City Project.

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On November 21st, the downtown street of Orange Avenue was shut down from just north of Pine Street, down towards South Street.  IMMERSE is an invitation to unexpected creative encounters in the
heart of Downtown Orlando. You’ll find yourself truly immersed in art,
performance, and interactive installations.

With collaborators like Cirque du Soleil, Orlando Philharmonic,
Orlando Ballet, and the Central Florida Community Arts Orchestra, you
won’t want to miss this evening which is unlike any other.

In 2016, the Creative City Project brought nearly 1,000 performers to
the streets and public spaces of Downtown Orlando for more than 20,000
patrons. IMMERSE 2017 continued the tradition of growth and excitement
by bringing you more large scale WOW moments and unexpected, intimate creative encounters.

From Classical to Hip-Hop music, murals, dance, acrobatics,
interactive installations, artists from Orlando, around the country, and
the around the world converge on Downtown Orlando for one of the
largest showcases of innovation and creativity in the performing and
installation arts in the country.

I hosted one of the Orlando Urban Sketch Workshops during this incredible event.   With so much going on at the same time it was difficult to decide on a single subject to sketch.  I offered personalized instruction to each Urban Sketcher and then dashed off to do a quick sketch myself.  I decided to focus on performers waiting to get on the stage next.  This gave me some time to focus on them before heading off to see the twirling dancers on the stage. 

National Dance Day at the Orlando Ballet Central Campus.

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The National Dance Day free morning dance sessions consisted of creative movement in the Orlando Ballet Central Campus. Dancers lined up at the barres to warm up and stretch. Besides this main room, there were many smaller dance studios in the same building. By lunch time the place was packed. There was seating along one wall of the dance studio, and many of the sketch crawlers sat there along with the stage moms.

Some artists did gestural studies of individual dancers while others, like myself, focused on the overall scene. Dancers stretched not only on the dance floor, but in the hallways as well. The room cleared a bit when lunch time rolled around, but I kept throwing watercolor washes on the page until the afternoon sessions began.

National Dance Day does Improvisation

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National Dance Day was a full day of free dance courses. The day began at Cultural  Park (lawn in front of the Loch Haven Neighborhood Center) y and then moved into the Orlando Ballet Rehearsal halls. Participants were encouraged to participate in exercises, dance routines, and performances by Central Florida dance professionals. In the Orlando Ballet Central Campus 30 free specialized dance classes were offered throughout the day to ages 3-100,  including special needs movement classes.  Central Florida dance company directors, choreographers, and fitness instructors shared different styles of dance through body conditioning, dance technique, and choreography at beginner, intermediate, and advanced levels.  NDDO strove to bring educational, community-driven dance opportunities to non-dancers and dancers alike!

This sketch was done in the Improvisational Dance Class. After stretches and warm ups, participants were encouraged to move freely and abstractly. No one moved the same way. Some of the exercises simply involved moving from one side of the room to the other. It looked like z whole lot of fun since the re were no fancy moves to memorize. This was one of the last classes of the day, so people were already warmed up, limber and ready for anything.

I was hosting a sketch crawl. There were about 6 artists to start, but by the en of the day, there were just four of us left. Being able to sit in and sketch so many dance classes meant that we got limbered up and loose by sketching so many gestures all day

The Orlando Ballet brings the magic of Coppélia to the Dr. Phillips Center for the Performing Arts.

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On April 30th I went to the Dr. Philips Center for the Performing Arts to sketch a dress rehearsal of Coppélia. In Greek Coppélia means “young lady” and this comic ballet premiered in 1870. The performance was set to he music of Léo Delibes. Terry decided that she wanted to see this rehearsal, so she met me in front of the Center. When I opened the stage door, I was surprised to see a crowd of journalists. At Earth Day, I bumped into Jim Cundiff, the Interim Executive Director at the Orlando Ballet. He told me about an exciting collaboration between the Ballet, Orlando Philharmonic, and Central Florida Community Arts. It turned out that this rehearsal was the platform to officially announce this collaboration.

Robert Hill, the Ballet’s Artistic Director, David Shilhammer, the Executive Director of the Orlando Philharmonic and Joshua Vickery the founder and Executive Director of Central Florida Community Arts stood on stage before the rehearsal.  Since it’s inception in 1974, the Orlando Ballet has relied on recorded music for it’s performances. Starting in October of 2015, the Philharmonic Orchestra will perform in the pit to bring all future ballet performances to life. David Shilhammer explained that recorded music limits the performers from taking chances and varying their rhythm and timing, The orchestra can adapt to each performance allowing for greater flexibility. In April of 2016 the Ballet will collaborate with Central Florida Community Arts which has 800 singers in multiple choirs. This is a win win for all the organizations and audiences. As the Dr. Phillips Center was being constructed, critics assumed that local arts groups would never stand to benefit. This incredible collaboration proves that they can and will endure.

Coppélia concerns an inventor, Dr Coppelius, who has made a life-size dancing doll.
It is so lifelike that Franz, a village youth, becomes infatuated with
it and sets aside his true heart’s desire, Swanhilde. She shows him his
folly by dressing as the doll, pretending to make it come to life and
ultimately saving him. The rehearsal was playful and magical. The mechanical dance choreography was delightful. I had never seen this ballet and I am glad I finally did. I also admired the gorgeous painted backdrops which had a rich deep impressionistic use of color. I would think that the dancers might hold back a bit in a rehearsal, but everyone danced full out. Many of their athletic moves defied gravity.

Mark Your Calendars! The remaining performances of  Coppélia are today May 2nd at 11am and 8pm and May 3rd at 2pm at the Dr. Phillips Center for the Performing Arts 445 South Magnolia Avenue

Orlando, FL. Tickets  starting at $38.75 are available online or at the box office. This really is an amazing production, and bring your kids, they will love it too.

Looking ahead…

October 30- November 1, 2015 Gisselle with music by the Orlando Philharmonic.

December 17 – 20, 2015 Nutrcacker with music by the Orlando Philharmonic.

February 5-7, 2016 the world premiere of The Firebird with music by the Orlando Philharmonic.

March 18-20, 2016 Don Quixote with music by the Orlando Philharmonic.

April 29-May 1, 2016 the world premiere of Beauty and the Beast with Central Florida Community Arts.

National Dance Day brought out a huge crowd.

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On July 26th of 2014, National Dance Day hit Orlando. It was held at the Orlando Ballet Central Campus (2201 McRae Avenue Orlando FL). The Free event featured 15 classes with 13 styles of dance in 3 dance studios. This was the second annual
celebration that aimed to educate, inspire, and promote the Orlando dance
community. This event was specially designed to promote
progressive development of dancers, celebrate the diversity of Central
Florida’s dance professionals, and further connect the Orlando dance
community. This year’s event encouraged dancers and non dancers
alike to participate in a variety of 15 free dance workshops. These
classes were taught by local Orlando dance company directors,
choreographers and fitness instructors who lead participants
through body conditioning, dance technique and choreography at beginner,
intermediate, and advanced levels. National Dance Day Orlando brought opportunities
to those who love the art of dance by encouraging ongoing education.

I parked in the Theater parking lots on Princeton and walked towards the dance studios. I’ve never been inside this dance space before, so I didn’t know what to expect as I approached.  The dance studios are in a large building right next to the railroad tracks. There were a few dancers standing outside the entrance chatting. I was amazed when I entered. The entry hall was packed with dancers taking a break between classes. Holly Harris who was instrumental in organizing the event, welcomed me. She gave me a quick tour showing me the 3 huge dance studios. Every dance studio was packed. Hundreds of people had showed up to dance. To say that the event was a success would be an understatement.

I settled in, sitting in the back corner of a studio. Sketching a crowded group of dancers, all doing the same dance moves is probably the greatest sketch challenge there is. I contented myself with catching each dancers unique gestures and body proportions. The instructor further complicated the sketch by insisting that dancers in the back rows should move up while the front rows moved back. This allowed everyone a chance to see the dance moves up close and added a sense of panic and chaos to my sketch. I stayed for the duration of the samba class and then packed up my kit. I could have stayed all day capturing dancers but I keep my sketch habit to one a day. Otherwise I’d get lost in the process and never come up for air. Art requires some balance to work its way into becoming a life.

As I was leaving I bumped into Larissa Humiston who is the founder and lead choreographer for Emotions Dance. She was with Taylor Shepherd, who is one of Larissa’s incredibly talented dancers. On stage Taylor is fierce and commands attention. They were about to teach a beginning and intermediate Contemporary dance class. Larissa understands the advantages of collaborating with artists of all kinds. I worked with her doing a series of paintings that were projected before each dance piece for a show titled “Art Evolution“. It was a very rewarding experience.

Carmina Burana swept into the new Dr. Phillips Performing Arts Center.

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I went to a dress rehearsal for Carmina Burana at the new Dr. Phillips Center for the Performing Arts. I was told to enter the stage door which is off Anderson Street. This was my first time in the brand new building. I nervously asked a security guard if I needed to sign in but he just pointed me up a stairway. The stage door opened up leading me right back stage. Dancers were stretching and nervously waiting for the run through of the show to start. Hundreds of singers were on stage standing in bleachers and on a second level balcony. I searched for the entrance to the auditorium seating and got lost with one of the dancers who was doing the same. I felt a bit more at ease knowing this new venue was also new to the performers.

The show features The Bach Festival Society of Winter Park and the Orlando Ballet as they re-mount the acclaimed 2013 performance of Carl Orff‘s Carmina Burana for one night only, during the Grand Premiere of the Dr. Phillips Center for the Performing Arts presented by Dr. Phillips Charities and Balfour Beatty Construction.

This program marks the third time the Bach Festival has presented this work as a joint choral–ballet presentation, first in 1992 with Southern Ballet Theater and the second in 2013 with the Orlando Ballet. The Bach Festival Society has performed this work as a concert piece several other times since 1990 under John Sinclair’s baton, as well as with the London Symphony Orchestra in 2009.

Three noted vocal soloists are singing with the Bach Festival Choir, Youth Choir, and Orchestra on this program: soprano Julia Foster, tenor James Hall, and baritone Gabriel Preisser. Robert Hill, artistic director of the Orlando Ballet, is the choreographer for this performance.

From my front row seat, I got a fabulous view of the large orchestra pit. One of the French Horn players, Kathy Thomas waved to me from the pit. Robert Hill greeted me and talked about how exciting it was to be in the new space. I felt at home, althouch the sketch was a challenge. John Sinclair was in the spotlight. What makes the theater impressive are the many booth seats that are stacked along the side walls of the theater. It isn’t a particularly large or ornate theater but the eyes are drawn upwards towards the high ceilings.  The chorus was still “on book” and John scolded them to memorize the music before the performance. My wife sang Carmina Burana and it is challenging to memorize. The hundreds of voices combined with the ballet was mesmerizing. The dark sometime sinister music has been used again and again in movies so it’s driving theme is instantly recognizable. Male dancers supported female dancers making them appear to leap forward and backwards, weightless and in slow motion. This is an incredible performance to christen the new space. There was only one performance of the show on November 22nd at 7:30pm. It must have been magical and overwhelming with a full house. It felt nice to execute my first sketch in the new space. I hope it is the first of many.

The Orlando Ballet presents Peter and the Wolf.

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I’ve been wanting to sketch an Orlando Ballet rehearsal for quite some time. I finally contacted Robert Hill the company’s Artistic Director and he was more than gracious. Joey Lynn, Robert’s assistant was supervising the rehearsal when I arrived. She guided me to a spot where I could watch the rehearsal without getting kicked by a dancer. The Ballet Company has recently moved into a new studio space which is right on the water. All of the dance studio plate glass windows face out to a view across the lake. I was in this building, (610 Lake Formosa Drive) just one other time several years ago for a fundraiser raising aid to Haiti.

Families will continue to delight in productions that are specifically
created to capture the imagination of the young ones, while engaging the
adults. This season, we present Peter and The Wolf, The Swan Princess, The Magical Princess Doll, and of course our popular Family Series version of The Nutcracker. These one-hour productions are designed with young
audiences in mind, and promise exquisite story telling through the
perfect combination of world-class ballet, opulent sets, and costumes. Mark Your Calendar, this production of Peter and the Wolf will be staged on October 18, 2014 at 11:00 am at the
Bob Carr Theatre
(401 West Livingston Street
Orlando, FL).

This is a classic story of a young boy on his quest to trap a wolf with
the help of other animals is brought to life in this one-hour
production. The choreography is by Robert Hill. He pointed out to the cast that the movement in this production is very much over the top and exaggerated,  like in a cartoon. I found myself quite entertained by the movements of a duck and bird who interacted playfully. The duck always had her hands behind her back shaking them like the feathers on her tail. The bird had graceful flowing movements on point that made her seem weightless as if in flight. The cat had graceful sinewy movements. I was shocked and disappointed that the duck I had so carefully watched and sketched was devoured by the wolf.

Ballet has a whole language developed over it history to define it’s movements. The director might shout out, Pencke’, Pencke’, Pencke’, or Écarté! and cast members knew exactly what pose to take. I need to research these French terms so I can better understated future rehearsals. I was most impressed when the rehearsal ended. All the the dancers gathered around Robert and each thanked him in turn. When I packed up to leave, one dancer, near the exit asked if he could see what I has been sketching. I pulled out the sketchbook and suddenly found myself surrounded by all the dancers. They expressed their amazement and gratitude. It was a rare moment to be surrounded by so much young talent and experience their gratitude. I hope to get to future rehearsals to better understand the rarefied world of ballet. One of the dancers stood in a relaxed pose just like “Little Dancer” a sculpture by Edgar Degas. I sighed, I need to capture that level of grace and power next time I sketch.

Oklahoma!

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On September 6th I went to the final performance of Oklahoma at the Northland Church (530 Dog Track Road Longwood FL). Since I had already sketched the huge stage, I rushed up for a front row seat on stage right. As people continued to filter in, I started sketching in the stage. I knew how the opening act would unfold so I had a good idea where the actors would be staged. There was also a lone stool onstage which became the scenes anchor. A mother and her little girl sat to my right. I apologized to her that I’d be sketching for much of the show. She didn’t mind. As a matter of fact, her little girl was scribbling much of the time as well.

Aunt Eller played by Alice Smetheram sat in the stool.  The romance between Curly and Laurey played by Wes Miller and Cassidy Tompkins, became obvious though they jokingly tease each other. Their teasing turns to an argument and Aunt Eller shouts out “Why don’t you just kiss her?” 
Curly asked Laurey to go to a box social dance with him that night, but she refuses, feeling that Curly
had waited too long. He attempts to persuade her by telling her that he
will take her in the finest carriage money can buy, “The Surrey with the Fringe on Top“,
but she teases him about it until he says he made it up to get back at
her, and Laurey flounces off, not realizing that Curly really has rented
such a rig.

A lonely farm hand named Jud, played by Tim Evanicki, becomes obsessed with Laurey and he asks her to the dance. She accepts to spite Curly although she is terrified of Jud.  Tim’s performance was amazing. He must have operatic training and he was always a menacing presence. The Orlando Ballet collaborated with Central Florida Community Arts to bring about a graceful dream ballet as Laurey as she lamented her choice of suitors.

The production was painfully long and I discovered that my choice in seats meant staring at backsides during the more crowded scenes at the box social. With an army of performers however, it was easy to get swept away by the music. Mark your Calendar! On September 20 and 21 at 7:30 and September 22 at 6:30 CFC Arts will be presenting The Music of Rogers & Hammerstein at the Orlando Shakespeare Theater. Tickets are $10 at the door. The Orlando Ballet 2013 season will kick off with “Tribute” on October 18-20th at the Bob Carr.

Thriller Flash Mobs

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The Creative City Project came about as a result of a conversation between Cole Nesmith and Terry Olson, the Director at Orange County Arts & Cultural Affairs. The Creative City Project involves gorilla style performances in public spaces every day of the month in October.

The Orlando Ballet had a Thriller themed flash mob on October 12th in the Plaza Theater Courtyard in Downtown Orlando at noon as part of The Creative City Project. I arrived a bit late and there was a crowd of people in business attire milling around the plaza. A 7-11 which recently opened in the plaza was packed. I was afraid I had missed the flash mob but  Robert Hill, the company’s artistic director let me know that there would be three more performances about every 15 minutes. Each performance would be just three minutes. That would be a challenge to catch an entire cast dancing in three minutes. I felt I had bit off more than I could chew.


I climbed the stairs for an aerial view of the staging area. Suddenly I was surrounded by the entire ballet cast all dressed in black. They were posing for a photo in front of the Plaza Theater marquee and resting before the next performance. In the bright noon light they tended to look more like cheerleaders rather than zombies. I considered sketching them, but they went back downstairs just as I started. A woman’s piercing scream shifted my attention to the courtyard. She ran to the center of the courtyard, screaming the whole time. People turned to look concerned. Then Michael Jackson’s Thriller boomed from the sound system. The entire cast danced as zombies and ghouls. People kept gathering to watch. Then as Vincent Price laughed, the performers disappeared. The flash mob was used to help promote Vampire’s Ball which will run from October 19th to the 21st. The show is advertised as being frightening, erotic, and campy. I saw a preview from last year’s show and it looked amazing.


Tonight after 6PM at the City Arts Factory, Yow Dance will also be performing a Thriller Flash Mob as part of Dia Des Los Muertos and Monster Factory. At this flash mob, everyone is being encouraged to join in. So put on your best zombie attire and get out and dance! There will be makeup artists at City Arts Factory in case you need some extra gory wounds.