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    • By Lisa G. Bennett
      • May 13, 2019
      • 4 min read

    EMAV Review: NBT's 'Alice' a surreal, exhilarating trip to 'Wonderland' ★★★★★


    Photos by Virginia Trudeau.

    ★★★★★ - Irresistible


    Nevada Ballet Theatre’s extraordinary presentation of Septime Webre’s “Alice (in Wonderland)” was a euphoric storybook dream that had me grinning like a Cheshire cat on opening night at the Smith Center. High-art with a whimsical pop-art flair, the intoxicating performances, elegant designs, and lush music played by a live orchestra appealed to the senses, and the nostalgia and humor of the piece made the experience all the more fulfilling for children and adults alike.


    Based on Lewis Carroll’s 1865 novel “Alice’s Adventures in Wonderland” and 1871 “Through the Looking Glass,” choreographer Webre (who rehearsed performers along with répétiteurs Johanna Wilt, Jared Nelson, and Morgann Rose) added a prologue to his 2012 reimagining that gives the ballet historical context by inserting Carroll into the narrative, as he visits Alice and her eccentric family at their home. As he did in real life he gives her his book as a gift—and casts a spell as she reads it—until she falls asleep for her dream adventure to begin. Even her family members tag along, as each has their own counterpart in Wonderland.


    Matthew Pierce composed the eclectic music which matches the mood of each scene and featured character—lighthearted for Alice, dissonant for the Queen—and conductor Leif Bjaland and his 15 piece orchestra of strings and percussion brings it beautifully to life. James Kronzer's scenic design is a picture-window, monochrome of whites that serves as a blank canvas against which the colorful, sculptural costumes of Liz Vandal—think playing cards for tutus—and the rich lighting design and stunning backdrops—like the single giant red rose—of Clifton Taylor (executed by Steve O'Shea) are able to pop.


    It’s a joy to watch the athletic and energetic dancers perform Webre’s challenging choreography, which layers contemporary styles on top of ballet, with intricate gestures that capture the essence of the many creature characters. His acrobatic pas de deux are strenuous for the men, who lift and catch their partners in a variety of complex combinations, as do the Guys in White, a male corps de ballet who carry dancers aloft and help shape their movements, reminiscent of Pilobolus style.


    The doll-like Emma McGirr gives Alice a happy, precocious quality with flashes of petulance that mark her girlish personality. Her dancing is pretty and precise, and when the perpetually late White Rabbit, played by the endearing Robert Mulvey, arrives to hop and binky about, Alice joins him for a sweet duet of pas de chats and leaps and beats for one of the most uplifting scenes in the show.


    Alice encounters the silly dancing Doors, and she drinks a potion and grows super tall in a neat effect while another performer's feet dance underneath her dress. When she shrinks too small she flies above (lifted by Flying by Foy), seeming miniature-sized as she peeks through the keyhole while the goofy Tweedle Dee (Kenneth Shelby) and Tweedle Dum (Michael Caye) whiz by on their tandem bike. She cries a river of tears and gets swept away with the Dormouse (Caroline MacDonald), both tossed about by the Guys amidst the old-school effect of blue ribbons of fabric stretched across the stage and fanned to create waves.



    The corps de ballet stars as 1950’s-style, chorus girl Flamingos in a gorgeous scene colored by soft hues of pink, which is an homage to Swan Lake and features the radiant Mirella Costa Neto as the Eaglet (in pink leotard and striking turquoise tights) and the charming Sergio Alvarez as the Dodo. Costa Neto whips out bravura, change-of-focus fouettés, and Alvarez does the same with his tours á la secondes and circular leaps. When the pink Flaminglets make their grand entrance--the show has 60 children of varying ages from the NBT Academy playing Daisies, Hedgehogs, and more, rehearsed by répétiteur CeCe Farha--they’re cute balls-of-fluff, but they’re just as focused and polished as their adult costars.



    The enigmatic Cheshire Cat, danced by the playful Benjamin Tucker, is a jazzy alley cat and appears against a starry backdrop and full moon. For their humorous pas de deux he twirls his tail, slinks around Alice, and demands a good scratching, then lifts and catches her in the wildest of configurations. There are shenanigans at the Duchess’ cottage, where the acrobatic rock stars Fish (Ryan McNally, who also has a nice solo as the Joker), and Frog (Ryo Suzuki) dance, as do the bossy Duchess (Matthew Rusk) and exasperated Cook (Caye) in a funny cartwheel duet.


    A sensuous Caterpillar, played by the limber Jaime DeRocker, is held aloft by the Guys who move in tandem, dipping her down and back up again so she moves like a baby butterfly would, until she metamorphoses and grows iridescent wings. And the neon Mad Hatter, played by the quirky David Hochberg, gives a psychedelic and cheerful tea party as guests tumble and cartwheel about.


    Photo by Sue Beauchamp

    The second act belongs to the nasty Queen of Hearts and Christina Ghiardi, who plays her with judgmental, pinched-lip glory, sinewy and full of predatory impulse as she dances with crisp assertiveness in her deep red catsuit. The corps de ballet are the playing cards during her Garden Party scene, and Tucker proves a funny foil as her henpecked husband the bumbling King. She unleashes her Jabberwock (serpentine puppet designed by Eric J. Van Wyk) which Alice slays, but the Queen ultimately loses during the trial scene at her palace, when her house of cards comes tumbling down.


    When Mulvey as the White Rabbit leaped about the stage with Alice to the delight of the crowd, the gentleman seated next to me whispered proudly, "That's my son." And he should be proud, as should NBT and artistic director Roy Kaiser for their brilliant production of “Alice (in Wonderland).”


    #EatMoreArt #vegasdance EatMoreArtVegas.com #nevadaballet

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    • Ralph Stalter
      • Feb 26, 2019
      • 4 min read

    EMAV Review: Nevada Ballet sparks mid-winter inspiration with new work, a diverse program, and the L

    Updated: Mar 8, 2019



    Images captured by Virginia Trudeau Photography

    The cast of Nicolo Fonte’s Crane/ing.

    ★★★★½ - Delicious

    Nevada Ballet Theatre’s (NBT’s) mid-winter program at The Smith Center featured four Las Vegas premieres including a World Premiere, "Crane/ing" by renowned Choreographer Nicolo Fonte. Commissioned exclusively for Nevada Ballet, this never-before-seen ballet featured music by Giovanni Sollima and Donnacha Dennehy. This eclectic program offered by Artistic Director Roy Kaiser included the Las Vegas Philharmonic conducted by Music Director Donato Cabrera. Krista Baker in Crane/ing and Alissa Dale in Firebird

    The February 16th evening opened with RAYMONDA VARIATIONS, which premiered in 1961 at the New York City Ballet, with choreography by George Balanchine and music by Alexander Glazounov. Throughout his life, Balanchine was attracted to Glazounov’s music for Raymonda. He wrote: “to try to talk about these dances in any useful way outside the music is not possible. The music itself, its grand and generous manner, its joy and playfulness, was for me more than enough to carry the plot of the dances.”


    George Balanchine’s Raymonda Variations. Choreography by George Balanchine c The George Balanchine Trust.

    Balanchine focused on various ways to use a dancer's rising on toe, the releve. The five soloists danced brightly and had a workout in this respect, mutually elegant and poised. The cascade of classical solos and pas de deux was filled with sweet waltzes and daring virtuosity.

    Next was a pas de deux from LIGHT RAIN by Gerald Arpino. The NBT performance of this work was part of the Joffrey/Aprino Festival, celebrating the lives of Robert Joffrey and Gerald Arpino by having organizations nationally and internationally perform their works. LIGHT RAIN (pas de deux) included music by Douglas Adamz & Russ Gauthier.

    Light Rain has been the Joffrey Ballet’s signature piece since its premiere in 1981. Created for the Joffrey’s Silver Anniversary, and presented again as the closing ballet of the Company’s Golden Anniversary, Light Rain remains the company’s most beloved and requested work.


    Jaime DeRocker and Steven Goforth in Gerald Arpino’s Light Rain (Pas de Deux).

    Gerald Arpino was the co-founder and resident choreographer of the Joffrey Ballet, directing the company for twenty years after Robert Joffrey’s death. He created this ballet to showcase the new young dancers of the company. “It is my gift to these talented youngsters…I am inspired by their modes and rituals, their passions.” Light Rain, with its accent on youth, its American artists, and its original music, continues The Joffrey traditions begun in 1956.

    The costumes were unitards and, from far away, it was sometimes hard to tell the different genders apart, but, unlike in classical ballet, it didn’t really matter. All the dancers were awe-inspiring at handling Arpino’s mix of modern-dance and ballet.

    NBT was honored to present CRANE/ING, a World Premiere ballet by renowned choreographer Nicolo Fonte -- Music by Giovanni Sollima, Aquilarco #6 (Spinning Top Prelude) and Donnacha Dennehy / CRANE version II.

    Monolithic gestures and poignant subtlety were two extremes in the score that are bound up with Fonte’s own passion for both boldness and intimacy in movement. Even after discovering that the original commissioning of the score was for a dance for machinery, he still found it fiercely “bird-like” and poetically delicate.


    The cast of Nicolo Fonte’s Crane/ing.

    “Crane/ing takes as its main premise that perhaps viewing things from a “bird’s eye” view, we are, metaphorically speaking, able to soar up above to an “oasis in the sky” and from that perspective see the extraordinary beauty below – the extraordinary beauty that exists deep in the collective sacred spaces of our hearts and souls.” (Nicolo Fonte)


    Robert Mulvey in Firebird.

    The final ballet on the bill was FIREBIRD, Igor Stravinsky's breakthrough work of 1910, with choreography by Yuri Possokhov -- one of the most iconic and spectacular of the classical ballets of that era.

    The story is based on a Russian folk tale where Prince Ivan, assisted by the Firebird, destroys the evil magician Kashchei the immortal, marries his princess and brings happiness to the kingdom. Alissa Dale danced the Firebird with strength and delicacy. Her pas de deux with Ivan, Sergio Alvarez, embodied the romantic lyrical brilliance of the choreography. Robert Mulvey, as Kaschie, and Jaime Derocker, as the Princess, also performed with great passion and intensity. This piece definitely stands the test of time.


    Firebird's Christina Ghiardi and Sergio Alvarez.

    Throughout the evening, all of the dancers performed with great beauty and control, delivering first rate performances which captured every breath of the music, and managed the choreography with comfort and confidence, making this another memorable performance. As always, NBT dancers were elegant and rousing in equal measure.

    It takes a world class ballet organization, orchestra -- and their respective artistic leaders -- to bring such new creative work to Las Vegas artists and audiences. May this stellar artistic collaboration between NBT and the Las Vegas Philharmonic spawn many successors.

    Correction: Due to injury, Christina Ghiardi (pictured) was replaced by Alissa Dale in 'Firebird.' An earlier version misidentified the artist in performance. Please accept our apology for this error.

    #vegasmusic #vegasdance #vegasculture #EatMoreArt #vegasarts #vegastheatre #SmithCenter #dtlv #LVPhilharmonic #Stalter #Dance #NevadaBallet

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    • Ralph Stalter
      • Jan 5, 2019
      • 8 min read

    Healing HeARTS: how a Las Vegas mother-daughter duo conquered cancer with the help of Dance, and eac

    Updated: Mar 8, 2019



    Nevada Ballet Theatre (NBT) continued its annual tradition of performing The Nutcracker in December, sharing sugarplum fairies, dancing dolls and the Land of Sweets with Las Vegas audiences. It was my great privilege to escort young Kennedy Aitken and her mom, Kim, to our first performance of this classic ballet at The Smith Center thanks to the generosity of my good friend, Jack Gaughan -- who conducted the live musical accompaniment to NBT’s production for the sixth time.


    Jack’s experience with the classic Tchaikovsky score goes back to age 7, when he performed it at a piano recital. His first time conducting it for a ballet was in the mid-1970s. But this isn’t a story about how Jack started his music career. It’s the story of a local dancing duo: the young Las Vegas girl – a cancer survivor who just started taking ballet and jazz classes– and her mom, who first danced in NBT’s Nutcracker in the early 80’s (when she herself was only in 4th grade)!

    Kennedy and I first met in 2013, when we were matched up during the annual Leukemia & Lymphoma Society (LLS) "Man & Woman of the Year" event – a philanthropic competition to support blood cancer research among a group of motivated and dedicated individuals in communities across the United States. Candidates form fundraising teams and compete in honor of two local children who are blood cancer survivors.

    Kennedy is now healthy, strong and a beautiful young lady -- celebrating 5-years off of chemo. She also continues giving back to help others as the national face of the LLS "Pennies for Patients" campaign this year! LLS is the world's largest voluntary health organization dedicated to fighting blood cancer.

    Her mom, Kimberly Hollingshead Aitken, is a Las Vegas native who has been the Dance Instructor/Choreographer at Durango HS since 1998. She danced in The Nutcracker when it was still being presented at the Judy Bayley Theatre at UNLV’s Performing Arts Center. Performing with NBT’s professional company allows students the opportunity to improve their performance skills, enhance their knowledge of the classical repertoire and receive the opportunity to share the stage with professional dancers.

    I asked Kennedy and Kim to share about the role that dance plays in their lives...

    When and why did you actually start dancing/teaching dance?

    Kim: I started dancing when I was 5 with Carter dance academy and then transferred to Nevada Ballet Theatre when I was 7. I started dancing because I love to dance; music comes on and my body just starts to move. I had to choose (eventually) between dance and gymnastics (for a long while I did both) and dance won hands down. I loved performing in The Nutcracker and a couple of other ballets presented by NBT. Choosing dance as a career was just an obvious choice for me. Dance is my passion and I get to live what I love every day and hope to help new generations love dance as much as I do!

    Kennedy: I love to dance, too. I took a dance class when I was younger, but I was going through chemotherapy for my Leukemia so I had to stop because I was just too tired all the time and had too many doctors’ appointments and hospital stays. So I am very excited to finally be able to take dance classes again. I am taking Jazz and Ballet and just love them both so much!


    Academy of Nevada Ballet Theatre students perform as part of The Nutcracker ensemble

    What motivates you to continue dancing/teaching dance today?

    Kim: Dance is my happy place. For me, dancing just always brings a smile to my face and makes me feel so accomplished when I teach and finish a piece and it seems to make my students feel the same. This is such a therapeutic art form. Even if I am not having the best day, dancing helps take my troubles away. Seeing my students love dance and come away with a new life-long activity that they didn't think they could do is probably my biggest motivator.

    Kennedy: My love for dance keeps me motivated. I love learning new choreography and feel great when I learn and perform a new routine. It is just so much fun!

    What are some of the biggest challenges that you've faced over the years you've been dancing/teaching dance?

    Kim: There are occasional injuries that are a struggle when you are a dance teacher. So it’s important to listen to your body and utilize the talents of your students to demonstrate when your own body isn't at full working potential. And there are some students that don't really want to be there, because I teach in a high school and not a studio. As much as that blows my mind (since I love dance) it is a struggle when a student doesn't want to be there and does everything in their power to make sure I know that. Otherwise, I really love my job and have no complaints -- except that my school day starts at 7:00 am, so that makes for a super early start to my day for the past 21 years!

    Kennedy: None, so far, so fun!


    Would you say that dance/teaching dance -- or the arts in general -- had any impact on Kennedy's healing and recovery process?

    Kim: Kennedy has always been a fixture at my school, all my kids have been. Fortunately, as the dance teacher, we have been able to use the dance forum as a way to give back to those who have helped Kennedy on her cancer journey [Leukemia and Lymphoma Society (LLS) and Candlelighters Childhood Cancer Foundation of Nevada (Candlelighters)]. I do believe that has helped in her recovery (especially the mental/emotional impact cancer has on kids). Kennedy loves to give back. She is a very generous soul, and using the dance shows as fundraisers and getting on stage at my school to perform on fundraiser nights, or just being her cute self has helped her feel that her going through cancer was not in vain. She can help others going through the same thing and that is very healing for her and our whole family.

    Did the arts serve any therapeutic purpose for you, as a mother, during Kennedy's illness and subsequent treatment?

    Kim: Dance was exceedingly therapeutic for me. Initially, when Kennedy was first diagnosed, my students were AMAZING!!! Especially my dance team! They were all very understanding of my time away while she was in the hospital and they were all in on doing the fundraiser performances and dance specials for her. It was hard having to still work, but bills had to be paid. Fortunately my husband switched to a swing shift at the exact time of her diagnosis, so she always had a parent with her and the other one at work so we didn't lose our home or suffer devastating financial hardship as many families going through this do. But since I loved my job and my students were so supportive, it definitely helped me be able to go to work and then hurry back home to her. I choreographed dances that year that all spoke of strength, hope, love and support which was a great outlet for me to be able to heal as well through my choreography.

    Any unexpected or comical moments while you were performing/teaching dance?

    Kim: One big one was unexpectedly ripping my right hamstring during a dress rehearsal in which I was performing a piece I choreographed to honor my husband who had passed away in 2012. I still performed the piece both nights of the show because it was so vitally important to me to do so, but I have never experienced that level of physical pain (except maybe in child birth). Everyday something fun or funny happens, I laugh a lot (mostly at myself) but I try to keep everything pretty light and fun in my class. These kids have so much stress with their academic classes, my goal is for my class to be a positive, fun, happy outlet for them each day.

    What are your takeaways from The Nutcracker performance that you recently attended?

    Kim: Takeaways from The Nutcracker I just attended are that awesome sets and lighting make a huge difference. This show at the Smith Center was phenomenal and the sets and special effects added so much to the overall experience. The dancers were fantastic; I was especially impressed by Clara. Clara was very talented. I don't know if she was Junior Company or a professional dancer, that's how good she was! Another takeaway was that The Nutcracker is a timeless and beautiful piece and each choreographer's touch is beautiful. I am super glad that James Canfield’s choreography still made the Russian number super fun and exhilarating!


    Academy of Nevada Ballet Theatre student Lilly Hale with NBT Company Artist David Hochberg

    What would be your wishes for yourself, other dancers, or dance programs in Las Vegas for the New Year?

    Kim: My wish for all dancers (those who know they are, think they are or would love to be) is to keep dancing! Jump up to the credit music at the end of movies and boogie as fun and crazy as possible. I would love for all dance programs to feel supported in every way and know that what they are doing does make a difference in the lives of those they encounter, whether they ever hear that themselves or not. Dance is beautiful, uplifting, helps keep us in shape and brightens our spirits! I hope everyone finds joy in dancing this year and every year.

    ---------------------------------------------------------------------------------------

    Beyond our local community, ballet is enjoying soaring popularity as a new generation discovers its physical, mental and social benefits. As for The Nutcracker, there are some valuable statistics in Dance/USA's recent eJournal article "Nutcracker Again?"

    In an analysis from Dance/USA's Annual Survey covering the past 10 years (2008-2017) of The Nutcracker, 16 to 24 Dance/USA member companies surveyed reveal the following trends:

    • Nutcracker ticket sales amongst survey respondents represented $51M in 2017 versus $30M in 2008.

    • Dance companies have had to add, on average, two more performances per season to meet the demand, which is a 29 percent increase in number of performances.

    • Attendance has increased by 14 percent, or more than 83,000.

    • Average ticket prices have almost doubled since 2008 and attendance has increased.

    • Marketing spent as a percentage of ticket sales has remained at 10 percent to 12 percent on average.


    Nevada Ballet Theatre's 2019 'Nutcracker' ensemble

    From the introduction of The Nutcracker to the American stage 74 years ago to today, it has become undeniably a tradition to both ballet aficionados and general theater audiences. The Nutcracker is predominantly how most people are initially introduced to the art of dance and theater. It is often the first moment that a little girl or boy dreams of becoming Clara or the Nutcracker Prince. That first seed planted in the imagination of that child has led to some of the world’s greatest performers, whether they make their careers in dance, music or theater. It has become the foundation of multiple generations of performing arts supporters who return year after year with their families to see the magic that is The Nutcracker. That, if nothing else, is why The Nutcracker will never die. The past 20 years of data have shown it is sustainable if we are prepared to adapt to the ever-shifting changes in our world, cities, cultures and time.

    So yes (I’m betting that Kennedy, Kim, Jack and I would agree)! Nutcracker again! Long live The Nutcracker!

    Check out EMAV's own Lisa Bennet's review of NBT's recent production here!

    #EatMoreArt #vegasculture #vegasdance #NevadaBallet #NBT

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