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.

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.

Dress Rehearsal, The Little Mermaid

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On April 10th, I went to the Bob Carr Performing Arts Centre to sketch a dress rehearsal for The Little Mermaid with Robert Hill as the Artistic Director and choreographed by Katia Garza. I went in via the stage door and backstage ballerinas where busy stretching. Most of the dancers were very young middle school and high school students. It would have been nice to sketch from back stage but this was my first time ever sketching a ballet in town and I didn’t want to get in the way. There were lots of dancers and I wasn’t a part of this world . I made my way to the auditorium seating.

This was a full run through of the show with the dancers performing to recorded music and narration. I thought the narration was overkill but I imagine it was staged with younger viewers in mind. The costuming was quite elaborate. Ariel stood out from the blue undersea world in her bright pink costume.  Rear screen projections did a great job of creating the undersea setting. When Ariel rose to the surface, a flock of young white sea gulls danced gracefully. As a princess, she had everything, but of course she wants what she doesn’t have. Legs are required for dancing. As any mermaid would do, she gave up her voice to walk beside her man and they lived happily ever after. After the run through, Katia gathered the dancers and shared notes. There was just one performance on April 13th and I’m certain it was amazing.

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.

Topographies

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“Topographies” a series of sculptures by Barbara Sorenson are on exhibit in front of the Orlando Museum of Art. These bright primary colored resin and metal creations will be on exhibit through April Fool’s Day. On March 18th, “Art and Dance: A Pas de Deux” a piece inspired by Sorenson’s Work will be performed in this court yard. The piece will feature Orlando Ballet Dancers choreographed by Robert Hill and Eric Yow.

On exhibit inside the museum is “Made in Florida” featuring three exhibitions and a gallery display. Work in the exhibit features artists who were inspired by the sunshine state. Florida’s unique landscape and culture has inspired artists from all ages. The eclectic permanent collection features work of such acclaimed artists as John Singer Sargent, Cecilia Beaux and Robert Rauchenburg.

I found myself in front of the Museum at dusk with an hour to spare since I planned to attend a piano recital across the parking lot at 7pm at the Margison Theater in the Shakes. This recital, which was part of ArtsFest, was to feature Hyung-Min Suh, the third place winner of the second Florida International Piano Competition. There weren’t many cars in the parking lot. At 7pm I walked into the empty theater. The building was deserted. I checked out the intricate set that was built for “Romeo and Juliet“. The set was gorgeous with a root-like structure holding up an isolated platform as well as the infamous balcony. Now, I really want to see, and sketch the play. This was the second time an ArtsFest event I planned to sketch was MIA. This year’s Fest must be in some disarray after United Arts lost Margot Knight and Cory Warren. An unexpected disadvantage of drawing on a tablet at night is that big beetle and tiny gnats were attracted to the screen’s light.

Vampire’s Ball

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There was a media preview of Vampire Ball at the Orlando Ballet building near Lake Ivanhoe. I arrived a bit early and hung out with several reporters in the lobby. I looked down a long hallway which had a large puddle which was being mopped up. The building is below the water level of Lake Ivanhoe so the water keeps seeping in. At the top of the open staircase several young dancers were using the railing to balance as they stretched. I entered the room where the preview was being staged and I started blocking in the room before the reporters entered.

Robert Hill the Ballet’s Artistic Director introduced the show. The choreography is all original as a matter of fact they are still polishing dances right up until the show opens. All of the dancers lined up chorus line style and each introduced themselves and said where they came from. The first dance had a Frankenstein theme. A dancer lay prone on a coffee table and the mad scientist brought him to life. Another dance had a sinister vampire who seduced his victims through dance. On the sidelines there was a large cast of dancers who watched as they stretched. They all came on stage for a huge zombie fight scene. The zombies fought as if in a neighborhood turf war.

Whenever I’m alone with you played and a young couple in love danced and embraced. All of the choreography was fluid, well staged and exciting. This was modern ballet with an edge. It was visceral and exciting. The Vampire’s Ball is being performed October 21-23. This is a show I certainly don’t want to miss.

The Abbey

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Yelp was promoting its new “Culture Club” campaign with a kick off party at the Abbey. When I entered the venue, I saw Kelly DeWayne Richards sitting at the bar so I went over to say hello. He was dressed all in black with a red tie and stylish fedora. I know Kelly from his Sunday morning cabaret performances at the Parliament House. This is the one place where I occasionally get up to sing. It turns out Kelly is now performing at “Musical Mondays” which start at 7pm each week at the Abbey. He was told about the gig just two days before his first performance and had just nine people the first night. I want to get out to the next “Musical Monday” and I know the place will be packed.

The Yelp event featured several performances. Altar Boyz sang flamboyant religious themed songs. They had plenty of pep, but left me cold. The Orlando Ballet performed a piece from the upcoming “Vampire’s Ball.” Robert Hill, the artistic director, explained that in horror films there is always a young innocent couple who is unaware of any danger since they are so in love. The young dancers performed a sensual dance that expressed their longing. It was the undeniable highlight of the evening.

Then Kelly’s baby grand piano was wheeled on the stage. He explained to the audience that he was there to set the mood, so people continued to mingle as he played. He began with “The Piano Man” by Billy Joel. The lights in the room were constantly on the move, switching from reds to blues. I considered going to sketch at the Comedy Improv Festival after I finished up at the Abbey but Terry fired off a text asking when I would be coming home. I decided to call it a night. I typed Hh (heading home) into my cell. She wasn’t there.

Interview with Robert Hill

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Mark Baratelli invited me to come out and sketch an interview he was having with Robert Hill, the Artistic Director of the Orlando Ballet. The interview took place at the Orlando Public Library. Mark kept the interview entertaining and funny. This is Robert Hills second year as the artistic director and he is on a mission to make ballet relevant to the world we live in by providing audiences with contemporary choreography, music and subject matter while continuing to preserve classical ballet that have stood the test of time. The Orlando Ballet’s 37th season begins with Giselle which is one of the timeless classics. For the holiday season, Nutcracker will return to the stage and in February Battle of the sexes hits the stage for a second time. The season will close with Carmen based on the opera.
Questions were fielded from the audience . A man stood and asked, “With a stage filled with dancers, how do we know where to look?” Robert said, “Actually that is a really good question, If the choreography is done right, it will lead your eye.” Mark asked a question which bought a laugh from the audience, “Do you let your dancers eat?” Robert responded by pointing out how he encourages his dancers to eat healthy foods.
Conducting the interview in a public place like the library is part of the plan to bring the ballet to a wider audience. After the interview was over, I approached Robert asking him to allow me to sketch rehearsals. He seemed enthusiastic and he said his assistant would call me. I have wanted to sketch ballet rehearsals for well over a year and it looks like I might finally realize that dream.