Ballet Fantastique is a 5013 nonprofit chamber ballet company based in Eugene, co-directed by mother-daughter team Donna and Hannah Bontrager. Ballet Fantastique was founded in October 2000 and has three components: A professional chamber ballet company, a pre-professional academy in the Russian Vaganova method of training, a busy outreach wing. Ballet Fantastique became a resident company at Eugene's Hult Center for the Performing Arts in June 2014; the Ballet Fantastique contemporary chamber company is directed by mother-daughter choreographer-producers Donna Marisa and Hannah Bontrager and composed of 20 professional artists from across the world. The company fields auditions from dancers across the US and internationally. Since 2003, the company has presented all-original contemporary ballet productions each season at the Hult Center for the Performing Arts. Ballet Fantastique tours, has performed with Ballet Rogue in Medford, Oregon, at the internationally recognized Oregon Shakespeare Festival in Ashland, at the Lincoln Performance Hall in downtown Portland, Oregon, to name just a few.
The company has been called a "bold, cross-disciplinary dance company" by Dante Zuniga-West of the Eugene Weekly. According to Portland Center Stage Reviews, Ballet Fantastique has "made a name for itself in out-of-the-box revisions of classic story ballets."Ballet Fantastique concerts feature collaborations with live artists and musicians. Projections of local gallery paintings were used as backdrops for the performance Danse en Rouge: Variations in Red at the Hult Center for the Performing Arts, which included the Trio Voronezh and classical guitarist John Jarvie. In 2009, Ballet Fantastique collaborated with composer Jeremy Schropp and a 25-part orchestra in Visions d'Amour: 10 Ballets in Paris for the world premiere of his ballet inspired by Vincent van Gogh, "Night at the Café Terrace." Other notable collaborations include the Oregon Mozart Players, the Karin Clarke Gallery, the Eugene Symphony and Cal James and their Agents of Unity Band for Cinderella: A Rock Opera Ballet, the LA-based band Incendio.
The Academy of Ballet Fantastique teaches ballet classes for dancers ages 2–24, offers a separate Adult Dance Program for teens and adults ages 13+. The Academy admits students of any race and national or ethnic origin. In the Professional Training Division, dancers age 9 and up study the Vaganova Method of training in limited class sizes of 12 students or fewer The Young Dancer Program at The Academy of Ballet Fantastique is for dancers age 2 and up, follows a progressive training approach as well, while introducing young children to creative movement, music education, fundamentals of ballet. Students participate in professional performances with the company, may audition for company positions and apprenticeships upon graduation. Academy of Ballet Fantastique coaches are experienced in the Vaganova method of training as well as in pedagogy and professional performance. Ballet Fantastique's busy outreach programming includes scholarships for dancers in financial need, free tickets for youth to attend concerts, in-school integrated arts residencies, school assembly performances.
Ballet Fantastique became an Oregon non-profit in 2003 and earned 501 non-profit status in 2006. The organization was established to bring dance training, performance opportunities and performances to the Lane County area; the company's first performance at the Hult Center was Danse Renaissance in June 2003. On October 30, 2010, Ballet Fantastique opened its visible City Center for Dance at 960 Oak Street, funded by a grant from the Meyer Memorial Trust. Selected list of new works created and choreographed by Donna and Hannah Bontrager for Ballet Fantastique: www.balletfantastique.org, Ballet Fantastique Ballet Fantastique Official Website
Ballet Austin is the 12th largest classical ballet company in the USA, operates the largest combined training facility associated with a professional ballet company in the United States. Each year the Ballet Austin company performs ballets from a wide variety of choreographers, including Stephen Mills. Ballet Austin has performed in a State Department trip to Europe as well as at the Joyce Theater in New York City and The Kennedy Center in Washington, D. C; the Ballet Austin Academy serves more than 900 students each year as one of the largest classical ballet schools in the country. It offers classes from ages three and four, all the way to pre-professional; the academy students are given the opportunity to perform in the company production The Nutcracker, performed by Ballet Austin during the month of December for more than 53 years. Ballet Austin's Nutcracker is the longest running in the state of Texas. Ballet Austin's apprentice company, Ballet Austin II, offers an opportunity for post-high school, advanced dancers to hone their skills.
Established in 1999 by associate artistic director Michelle Martin, Ballet Austin II is made up of 10 emerging artists. Founded in 2007, the Butler Center for Dance & Fitness serves over 8,000 people with year-round classes in ballet to modern, hip hop to hula, jazz to Broadway; the company has developed outreach initiatives that reach 31 Central Texas school districts and 200 other area non-profits. Ballet Austin offers fitness and dance programs for the public, such as yoga, adult ballet, hip-hop, tap and musical theater. Ballet Austin is located in a 34,000 sq/ft facility named the Butler Dance Education Center in downtown Austin at 3rd Street and San Antonio Street; the center features administrative offices, box office, eight rehearsal studios, a 1,500 sq. ft equipped Pilates studio and the AustinVentures StudioTheater with 287 seats. Dance Magazine called the ensemble "sleek and sophisticated", while Washington Post dubbed it "one of the nation's best kept ballet secrets". Mills' work with Ballet Austin has been declared" whimsical and fantastic", "effortlessly striking", "meaningful".
Named Artistic Director in 2000, Stephen Mills is choreographer. There are twenty two full-time professional dancers, recruited from an annual 30-city audition tour; as of November 2015: As of September 2016: Stanley Hall Official website
Ballet BC is a contemporary ballet company located in Vancouver, British Columbia. Ballet BC was founded as Ballet British Columbia by Jean Orr, David Y. H. Lui and Sheila Begg in 1986, with Annette av Paul as first Artistic Director; the company adopted its current name after financial problems and a restructuring in 2009. Artistic direction passed to Reid Anderson, Patricia Neary and Barry Ingham and in 1992 to John Alleyne, who introduced a program with original choreography including his The Faerie Queen in 2000 and dances by other Canadian choreographers. Alleyne was followed by Emily Molnar after the reorganisation in 2009; as of April 2015, the company is the only professional ballet company in British Columbia. It is based in the Queen Elizabeth Theatre. Ballet BC presents a repertoire of contemporary ballet; the company opened the 2015 Jacob's Pillow Dance Festival, presenting three dances each by a different choreographer, including Twenty Eight Thousand Waves by their own resident choreographer Cayetano Soto.
The company travelled on their 30th anniversary tour in late 2015 and 2016. Official website
Giselle is a romantic ballet in two acts. It was first performed by the Ballet du Théâtre de l'Académie Royale de Musique at the Salle Le Peletier in Paris, France on 28 June 1841, with Italian ballerina Carlotta Grisi as Giselle; the ballet was an unqualified triumph. Giselle became hugely popular and was staged at once across Europe and the United States; the traditional choreography, passed down to the present day derives from the revivals staged by Marius Petipa during the late 19th and early 20th centuries for the Imperial Ballet in St. Petersburg. "Giselle" is a masterwork in the classical ballet performance canon. The ghost-filled ballet tells the tragic, romantic story of a beautiful young peasant girl who falls for the flirtations of the deceitful and disguised nobleman Albrecht; when the ruse is revealed, the fragile Giselle dies of heartbreak, Albrecht must face the otherworldly consequences of his careless seduction. One of the world's most-often performed classical ballets, it is one of its most challenging to dance.
Librettists Jules-Henri Vernoy de Saint-Georges and Théophile Gautier took their inspiration for the plot from a prose passage about the Wilis in De l'Allemagne, by Heinrich Heine, from a poem called "Fantômes" in Les Orientales by Victor Hugo. The prolific opera and ballet composer Adolphe Adam composed the music. Jean Coralli and Jules Perrot created the choreography; the role of Giselle was intended for Carlotta Grisi as her debut piece for the Paris public. She became the first to dance the role and was the only ballerina to dance it at the Opéra for many years; the ballet is about a peasant girl named Giselle, who dies of a broken heart after discovering her lover, Albrecht, is betrothed to another. The Wilis, a group of mystic and supernatural women who dance men to death, summon Giselle from her grave, they target her lover for death. The Wilis are haunting characters, they are the spirits of virgin girls. These creatures were popular in Romantic-era ballets. Led by Myrtha, the Queen of the Wilis, they gain their power in numbers as they effortlessly move through dramatic patterns and synchronized movements, control the stage with their long tulle dresses and stoic expressions.
Appearing ethereal, the presence of the Wilis is intended to create an eerie mood that builds as the ballet continues and they enclose on Albrecht. They are hateful of men because they have all died of a broken heart. Giselle finds forgiveness in her heart for Albrecht, their goal is clear and they are relentless on their quest. The Wilis dominate the second act; the ballet opens on a sunny autumnal morning in the Rhineland during the Middle Ages. The grape harvest is in progress. Duke Albrecht of Silesia, a young nobleman, has fallen in love with a shy, beautiful peasant girl, despite being betrothed to Bathilde, the daughter of the Duke of Courland. Albrecht disguises himself as a humble villager called "Loys" in order to court the enchanting and innocent Giselle, who knows nothing of his true identity. With the help of his squire, Albrecht hides his fine attire, hunting horn, sword before coaxing Giselle out of her house to romance her as the harvest festivities begin. Hilarion, a local gamekeeper, is in love with Giselle and is suspicious of the newcomer who has won Giselle's affections.
He tries to convince the naive Giselle that her beau cannot be trusted, but she ignores his warnings. Giselle's mother, Berthe, is protective of her daughter, as Giselle has a weak heart that leaves her in delicate health, she discourages a relationship between Giselle and Loys, thinking Hilarion would be a better match, disapproves of Giselle's fondness for dancing, due to the strain on her heart. A party of noblemen seeking refreshment following the rigors of the hunt arrive in the village, Albrecht's betrothed, among them. Albrecht hurries away, knowing he would be recognized and greeted by Bathilde, exposing him as a nobleman; the villagers welcome the party, offer them drinks, perform several dances. Bathilde is charmed with Giselle's sweet and demure nature, not knowing of her relationship with Albrecht. Giselle is honored when the beautiful and regal stranger offers her a necklace as a gift before the group of nobles depart; the villagers continue the harvest festivities, Albrecht emerges again to dance with Giselle, named the Harvest Queen.
Hilarion interrupts the festivities. He has discovered Albrecht's finely made sword and presents it as proof that the lovesick peasant boy is a nobleman, promised to another woman. Using Albrecht's hunting horn, Hilarion calls back the party of noblemen. Albrecht has no choice but to greet Bathilde as his betrothed. All are shocked by the revelation, but none more than Giselle, who becomes inconsolable when faced with her lover's deception. Knowing that they can never be together, Giselle flies into a mad fit of grief in which all the tender moments she shared with "Loys" flash before her eyes, she begins to dance wildly and erratically causing her weak heart to give out. She collapses before dying in Albrecht's arms. Hilarion and Albrecht turn on each other in rage; the curtain closes. In the original version, taken up again by a production of the ROB, Giselle stabs herself with Albrecht's sword, which explains why her body is laid to rest in the forest, in unhal
Coppélia is a comic ballet choreographed by Arthur Saint-Léon to the music of Léo Delibes, with libretto by Charles-Louis-Étienne Nuitter. Nuitter's libretto and mise-en-scène was based upon two stories by E. T. A. Hoffmann: Der Sandmann and Die Puppe. In Greek, κοπελιά means young lady. Coppélia premiered on 25 May 1870 at the Théâtre Impérial l'Opéra, with the 16-year-old Giuseppina Bozzacchi in the principal role of Swanhilda and ballerina Eugénie Fiocre playing the part of Frantz en travestie; the costumes were designed by Paul Lormier and Alfred Albert, the scenery by Charles-Antoine Cambon, Édouard Desplechin and Jean-Baptiste Lavastre. The ballet's first flush of success was interrupted by the Franco-Prussian War and the Siege of Paris, but it became the most-performed ballet at the Opéra. Modern-day productions are traditionally derived from the revivals staged by Marius Petipa for the Imperial Ballet of St. Petersburg in the late 19th century. Petipa's choreography was documented in the Stepanov method of choreographic notation at the turn of the 20th century.
These notations were used to stage the St. Petersburg version for such companies as the Vic-Wells Ballet. Dr. Coppélius is a doctor, it is so lifelike that Franz, a village youth, becomes infatuated with it and sets aside his heart's true desire, Swanhilda. She shows him his folly by dressing as the doll, pretending to make it come to life and saving him from an untimely end at the hands of the inventor. Act IThe story begins during a town festival to celebrate the arrival of a new bell; the town crier announces that, when it arrives, anyone who becomes married will be awarded a special gift of money. Swanhilda and Franz plan to marry during the festival. However, Swanhilda becomes unhappy with Franz because he seems to be paying more attention to a girl named Coppélia, who sits motionless on the balcony of a nearby house; the house belongs to Doctor Coppélius. Although Coppélia spends all of her time sitting motionless and reading, Franz is mesmerized by her beauty and is determined to attract her attention.
Still upset with Franz, Swanhilda shakes an ear of wheat to her head: if it rattles she will know that Franz loves her. Upon doing this, she hears nothing; when she shakes it by Franz's head, he hears nothing. However, she runs away heartbroken. On, Dr. Coppelius leaves his house and is heckled by a group of boys. After shooing them away, he continues on without realizing that he has dropped his keys in the melée. Swanhilda finds the keys, she and her friends decide to enter Dr. Coppelius' house. Meanwhile, Franz develops his own plan climbing a ladder to her balcony. Act IISwanhilda and her friends find themselves in a large room filled with people. However, the occupants aren't moving; the girls discover that, rather than people, these are life-size mechanical dolls. They wind them up and watch them move. Swanhilda finds Coppélia behind a curtain and discovers that she, too, is a doll. Dr. Coppelius returns home to find the girls, he becomes angry with them, not only for trespassing but for disturbing his workroom.
He begins cleaning up the mess. However, upon noticing Franz at the window, Coppélius invites him in; the inventor wants to do that, he needs a human sacrifice. With a magic spell, he will transfer it to Coppélia. After Dr. Coppelius proffers him some wine laced with sleeping powder, Franz begins to fall asleep; the inventor readies his magic spell. However, Dr. Coppelius did not expel all the girls: Swanhilda is still there, hidden behind a curtain, she pretends that the doll has come to life. She wakes Franz and winds up all the mechanical dolls to aid their escape. Dr. Coppelius becomes confused and saddened when he finds a lifeless Coppélia behind the curtain. Act IIISwanhilda and Franz are about to make their wedding vows when the angry Dr. Coppelius appears, claiming damages. Dismayed at having caused such an upset, Swanhilda offers Dr. Coppelius her dowry in return for his forgiveness. However, Franz offers to pay Dr. Coppelius instead. At that point, the mayor gives Dr. Coppelius a bag of money, which placates him.
Swanhilda and Franz are married and the entire town celebrates by dancing. Doctor Coppelius is not unlike Hoffmann's sinister Herr Drosselmeyer in The Nutcracker or the macabre Svengali-like travelling magician of the same name in Offenbach's The Tales of Hoffmann; the part of Franz was danced en travesti by Eugénie Fiocre, a convention that pleased the male members of the Jockey-Club de Paris and was retained in Paris until after World War II. The festive wedding-day divertissements in the village square that occupy Act III are deleted in modern danced versions; some influence on this story comes from travelling shows of the late 18th and early 19th centuries starring mechanical automata. This field of entertainment has been under-documented
Carolina Theatre of Greensboro
The Carolina Theatre of Greensboro is Greensboro, North Carolina's only remaining historic theatre. It was billed as “The Showplace of the Carolinas” when it opened on Halloween night, 1927; the 2,200 seat structure was built for the Saenger-Publix Company, cost over $500,000 to build and was one of the first commercial buildings to be air conditioned in the state. Early programs featured live performances, the Carolina Theatre Orchestra, the Carolina News newsreel, audience sing-alongs and silent films accompanied on the Robert Morton theatre organ. Saenger installed a Vitaphone sound system in 1928; the first "talkies" attracted sellout crowds. The first movie with sound shown at the Carolina was Glorious Betsy starring Conrad Nagle in 1928; the Jazz Singer was shown next. When constructed, the auditorium had a segregated balcony plus a mezzanine. Black patrons could only sit in the balcony; as late as May, 1963, the theatre was segregated. On May 15, 1963, students from North Carolina A&T University and Bennett College blocked the theatre's entrance when they were refused entrance.
By the early 1970s, the theatre had declined and was slated for demolition by its owner, Jefferson Pilot Corporation, now Lincoln National Corporation. The United Arts Council of Greensboro raised $550,000 to purchase the building from Jefferson Pilot at a bargain price; the United Arts Council refurbished the Theatre before reopening it as a community arts performing arts center in 1978. In 1981, a mentally disturbed woman necessitated a second refurbishment; the balcony was closed and new lighting and sound systems installed. In its present configuration, the theatre seats 1,075. Today, the Carolina Theatre is owned and operated by Carolina Theatre of Greensboro, Incorporated – a 5013 nonprofit corporation. Brian Gray is Managing Director of the corporation; the theatre is home to the Greensboro Ballet. Community Theatre of Greensboro mounts its annual production of The Wizard of Oz every November at The Carolina. With the exception of several public grants for restoration and maintenance, the Theatre operates on its own receipts and private contributions.
Current programming includes classic and artistic movies, touring performers and companies, local theatre and dance productions, other nonprofit and corporate uses. CTOG, Inc. is a member of the League of Historic American Theatres and North Carolina Presenters Consortium. A renovation campaign to raise $2.5 million was announced September 14, 2017, with renovations complete in October 2018. Guidestar link to IRS 990 Carolina Theatre of Greensboro Website North Carolina Presenters Consortium League of Historic American Theatres Inventory Cinema Treasures article on Carolina Theatre of Greensboro
Wonderbound is a contemporary ballet company based in Denver, Colorado. It is the second largest ballet company in the state. Ballet Nouveau Colorado was founded in 1992 as a non-profit student performing company and school, providing outreach performances for elementary schools in Adams County and Denver's North Metro area. In 2002 BNC transitioned to maintaining a full-time contemporary ballet company. In 2002 BNC was honored by the Colorado State House of Representatives with CO House Resolution #02-1009 "for its commitment to bringing arts to the metropolitan region and for providing a wonderful educational haven to individuals who are interested in dance". By 2005 BNC had grown into the second largest ballet company in the State of Colorado. At the start of their 2007-2008 season BNC hired husband/wife team Garrett Ammon and Dawn Fay to take over the artistic direction of the company, made a significant adjustment to their marketing campaign and established a widespread presence on the internet including profiles on Facebook and MySpace as well as video postings on YouTube.
The school and offices were based in Broomfield. In December 2009 BNC's Board of Directors made the decision to dismiss Lissy Garrison from her position as executive director, the longest holder of this position till that time. In 1995 Garrison joined BNC as a consultant to the Board of Directors, served as president of the board for two years and became Executive Director in 1999. BNC never disclosed the circumstances surrounding the firing of Garrison. However, since her departure "Ballet Nouveau has changed its administrative structure. Instead of the artistic director being subordinate to the executive director as before, both now report directly to the board and are considered peers."In the summer of 2010 Garrison's position was filled by Shari Ammon Mills, the sister of the Artistic Director, Garrett Ammon. On January 12, 2011 BNC appointed Christin Crampton Day, a former Colorado Ballet board member and public relations professional to replace Ammon Mills. In 2012 Directors Ammon and Fay made a commitment to all live music collaborations with artists across Denver.
This has resulted in unparalleled productions performed at theaters throughout the Denver metro area. The company is proud of a partnership with the Performing Arts Complex at Pinnacle Charter School in North Denver; this theater became their home theater in 2007. They maintain two staff members at this location who work to manage events at the theater along with an internship and theater program for students of the charter school, they perform at the PACE Center in Parker, the Newman Center in Denver, in Boettcher Auditorium with the Colorado Symphony and on the Elaine Wolf Theater stage in collaboration with the MACC JCC. In 2012, with assistance from a grant from the Bonfils Stanton Foundation, the company rebranded as Wonderbound including a new logo and spinning The School of BNC off into an independent agency known as the Colorado Conservatory of Dance. Along with the branding change, Wonderbound moved to their new rehearsal studio space in the heart of Denver, Colorado. One full production a year and four smaller events take place in the studio.
The ten Wonderbound dance artists work five days a week, eight hours a day and all rehearsals are free and open to the public. Wonderbound is a non-profit 501 arts organization and as such is supported by donations and ticket sales. Wonderbound is supported in part by the Scientific and Cultural Facilities District of Adams and Jefferson Counties and by the Bonfils Stanton Foundation. Wonderbound earns 30 percent of its revenues from ticket sales. Wonderbound partners with local communities and businesses to assist in fundraising and applies for and is the recipient of several grants every year. In 2012, Bonfils Stanton Foundation awarded Wonderbound with a 3-year $75,000 grant to enable them to complete their move to Denver; this was a turning point in the company's lifespan. In 2013, Wonderbound was awarded a $250,000 ArtPlace America award for Creative Placemaking due to their unique space in Denver When BNC was founded in 1992 it hired professional dancers only on an "as-needed" basis. In 2002 BNC began to perform professionally maintaining a full-time professional company for the duration of its 25-week session, with only five dancers the first year.
Wonderbound offers full-time employment to 10 professional dance artists, each with a contemporary ballet background. Employment includes full medical benefits. For most dancers employment at Wonderbound is their only job, however some supplement their income through teaching. Following Robert Mills's departure BNC recruited Ballet Memphis principal dancers and married couple Garrett Ammon and Dawn Fay. Ammon, winner of the Individual Artist Fellowship for choreography in 2007 from the Tennessee Arts Commission stepped into the role of artistic director and his wife, named one of Dance Magazine's "25 to Watch" for 2007, took on the newly created position of associate artistic director; the new artistic team's first season with BNC took on the theme "Experience the Evolution" and premiered Ammon's "Love of My Life," a ballet choreographed to Queen music, at BNC's annual showcase. The new show was featured at the fundraiser, Nouveau at Night. Ammon went on to reinvent BNC's Valentine's Day show, "Moulin Rouge", presented two years earlier as a one act set in a Toulouse-Lautrec-esque Parisienne cafe choreographed by former artistic director, Robert Mills.
Ammon's "Moulin Rouge," a full-length show, was a love story inspired by the 1894 Gothic horror novel "Trilby," by George du Maurier and featured the hypnotist character Svengali. Now in their tenth season of a