Since the onset of the pandemic, Houston Ballet Academy’s world-renowned faculty and staff have adapted and adjusted to ensure their students continue to receive exceptional ballet training. Get to know the individuals who work with these students and how they are prevailing during the ongoing crisis.

Meet the Artists

Susan Bryant, Academy Instructor

Susan Bryant began her dancing career studying with Muriel Evans and Lisa Shaw in Hampton, Virginia. She continued her training at North Carolina School of the Arts and joined Houston Ballet’s Ben Stevenson Academy after graduation. Bryant joined Houston Ballet the following year, where she enjoyed a 20-year career and attained the rank of Soloist. Upon her retirement in 2005, Bryant was invited to teach in the Academy where she continues to teach in the Upper School and Adult Program. Learn more about her career at houstonballet.org.

Grecia Lavanderos, Pianist

Grecia Lavanderos has been an accompanist with Houston Ballet for 18 years, since emigrating from Chile to Houston in 2002. She received her Musical Arts degree from the University of Chile, where she worked as an accompanist and a Ballet Pedagogy music teacher. From 1991 to 2002, Lavanderos worked for the Municipal Theater in Chile as a pianist for the Ballet de Santiago. In the U.S., she has served as the Principal Pianist for Dance Salad, an international dance festival held in Houston and for Carreño Ballet Festival in Sarasota.

Q&A with Susan Bryant and Grecia Lavanderos

In what ways will the adaptations the Academy has made help support them in the future?

Susan: Houston Ballet Academy has reinvented how ballet class is taught during this pandemic. Students and faculty alike have turned their kitchens, bedrooms and dining rooms into ballet studios. Through Zoom class we have been able to stay connected to our students by offering them training even though our studios were no longer open.

Grecia: There are many physical adaptions and protocols that the building has adopted, which will help maintain a safe environment for everyone. The first one is the constant cleaning of all workspaces, hand sanitizer in different areas and protocols for wiping down barres, pianos, etc. Another adaptation that I am grateful for is the tape on the floors which helps maintain an appropriate distance among dancers and other staff. Lastly, they offer COVID testing which will help stop the spread of the virus. Other measures include a reduction in room capacity, as well as the ability to work from home. Of course, nothing would be the way it is without the new technologies that Houston Ballet has implemented. We use technology called the synchro box which allows dancers and musicians to avoid the typical internet delay.

What has inspired you most during this time? 

Susan: It is inspiring to see the dedication and passion of our students during these challenging times. We recognize it is not easy to have your ballet redefined, so it is even more admirable what our students have accomplished.

Grecia: These are difficult and uncertain times for everyone. I have been playing the piano for 30 years, and never would I have imagined myself and this industry under this state. Having said that, my coworkers are my inspiration. I have observed musicians, dancers, students and teachers adapt to this new way of living in so many unimaginable ways. I see their eagerness and desire to continue with the arts, and I see them learning new ways to use technology to keep our artistic institution alive. I have also seen the power of technology more than ever and I am grateful to have the opportunity to spend more time with family and friends, even if it is through the internet. As a mother, I also get my inspiration from my children, because I see them working hard to achieve their goals, despite these uncertain times.

What is one way you have adapted in the midst of this pandemic?

Susan: As an instructor I have had to adapt my classes to fit our new environments while still challenging the students at a level that they can continue to grow, improve and receive the training they deserve.

Grecia: In terms of work, one way I have adapted during the pandemic is by learning how to play piano remotely via the use of different technologies. This allowed me to learn many concepts (such as Ethernet, Zoom, GarageBand, etc.) that were all foreign to me before the pandemic. I have also been extremely grateful for the help and assistance of my colleagues. It is truly a team effort that has allowed us to succeed. In relation to my daily life, I now spend a lot of my time reading, cooking and knitting for my grandnephews in Chile.

What is your favorite part about being an accompanist with Houston Ballet Academy?

Grecia: My favorite part about being an accompanist at Houston Ballet Academy is being able to translate my artistic inspiration and effort. This helps me communicate and adapt to the necessities of the teacher and the dancers. I enjoy being part of a truly dedicated team that comes together to form a beautiful art. In a way, I feel that my music is helping shape the students into better professionals and artists. 

Why is it important for the students to continue their ballet training during this time?

Susan: The pandemic has not stolen our students’ love and passion for ballet, and I am proud that Houston Ballet Academy has continued to provide training for our beloved students.

How can people help support Houston Ballet Academy right now?

Grecia: Houston Ballet Academy offers several virtual dance classes for all ages. People can help support Houston Ballet Academy by enrolling their children in these classes, or by taking adult classes themselves. The Academy has implemented a phased return to keep our artistic community safe. We offer hybrid classes that parents, and students can choose to attend.

Help keep Houston Ballet Academy dancing by donating at give.houstonballet.org/academy.

If the new year has you in search of a new activity, fitness opportunity or community, look no further, Houston Ballet Academy is just the place to find all three. While some may not realize, along with youth ballet training, the Academy also offers a robust adult program. “We have classes for all levels,” says Houston Ballet Academy Director Melissa Bowman. “We have classes for people who have never had dance, all the way through dancers who are advanced.”

Open to participants ages 14 and up, Houston Ballet Academy’s adult classes are available to anyone who wants to learn ballet or continue their training with a community of peers. Current class offerings include a multi-week introductory class series for the ballet novice and an array of in-person and virtual drop-in classes ranging from beginner to advanced technique. In addition to the core ballet classes, body conditioning classes are also available to improve strength and alignment. Classes are offered six days a week with morning and evening options to accommodate a variety of schedules and levels.

“It’s not just for people who danced before,” exclaims Bridget Schmal, who first started ballet at Houston Ballet Academy in 2003. A beginner adult student with no prior dance training, Schmal was hooked by the kind instruction, live music and consistent high-quality training as she became familiar with the classes.

Knowledgeable instructors create a welcoming learning environment that is free of judgement. The faculty is comprised of distinguished teachers, including many former and current Houston Ballet Company dancers. “You trust that they know what they’re doing,” says Schmal. “They have your body’s health in mind. They’re not going to make you do stuff that is outside of your ability.” The instructors teach specifically to the students in the room and offer level-appropriate modifications or corrections in a friendly and supportive manner.

Live music also contributes to the inviting atmosphere. “Pianists are kind of the unsung heroes,” explains Schmal. “They all have their own musical personalities.” Live accompanists play for nearly every ballet class, providing beautiful music in a variety of styles that only enhances the experience.  

Houston Ballet Academy is committed to providing excellent training at all levels, and the adult program is no exception. “Our teachers really care about the adult community and want them to have the best training,” expresses Bowman. “We really try to tailor it to them and feel that they are an important part of the HBA family.”

Schmal and her peers appreciate the Academy’s willingness to incorporate their suggestions into the programming. One recently resulted in the introduction of an Adult Intensive for dancers who want to take their training to the next level. Including classes that are not on the regular schedule, the Adult Intensive offers dance history, variations and body conditioning classes in addition to ballet technique. This year’s Adult Intensive, scheduled June 1-5, 2021, offers in-person and virtual program options for intermediate to advanced participants.

For Schmal, now an advanced student, ballet plays an important role as a constant in her life. She looks to it not only as a way to stay in shape, but also as an escape mechanism. “You just take class and for that hour and a half you just escape anything that’s going on in your life,” she explains. Especially during tough times, present times included, classes serve as a therapeutic boost.

Whether they come for fitness, stress-relief or simply the love of ballet, Houston Ballet Academy’s adult students joined by dedicated instructors and musicians make up a wonderful community connected by dance. Anyone who is interested in learning the art of ballet is welcome and encouraged to join at any time.

Houston Ballet Academy adult classes are available through MindBody. Explore virtual and in-person adult class schedules and pricing online now.

By Chenay Newton

Since the fall of 2020, Houston Ballet has “traveled” from coast to coast entering hundreds of classrooms in twenty states across the country through Virtual Field Trips. The new Education and Community Engagement (ECE) program, a product of current times, combines aspects of Houston Ballet’s existing programs for a reimagined digital experience.

Available to grades K-12, Virtual Field Trips provide narrated, online performances featuring professional Houston Ballet dancers and Houston Ballet Academy students to schools near and far. “This digital dance program gives our students an opportunity to see a world outside of their homes and community. It’s been a tremendous outlet for us in so many ways,” says Erwin Brown, Piano Teacher at Atherton Elementary Fine Arts Magnet School in Houston.

While seeking digital programming for Atherton’s Fine Arts department, which includes dance, theater, band, choir and piano for Pre-K to fifth grade students, Brown found limited options. He was relieved when Houston Ballet’s Virtual Field Trip program was announced, allowing his students to participate in the Dancing in Texas and The Nutcracker digital performances last fall. “These are top-quality videos, but just the mere fact that it is free, that says a lot about Houston Ballet,” exclaims Brown. Virtual Field Trips are one of ECE’s many programs offered to participants at no cost.

With the current limitations to standard instruction, Virtual Field Trips help fill a gap. “Since we are not able to use music instruments with the students, we used the music in the videos as a tool to identify instruments as well as notes and duration.” Brown illustrates one example of how teachers are creatively incorporating these engaging online performances into their lesson plans.

At Atherton, displaying the Virtual Field Trips on “SMART Boards” provides an immersive theatre-like experience for the class. “The program gives the students the experience of seeing a real performance at a level in which they can understand,” explains Brown. “I learned how people work together to perform,” says Javar, an Atherton student who has participated in the program. Javar enjoys seeing the performers, which is an experience that is only available at school.

Students love the programs so much they don’t want the experience to end. “They ask ‘Can we see it again?’” recalls Brown. “When you get those types of responses from the children, then you know that you have accomplished your goal.”

The Virtual Field Trip experience continues beyond the video screening. Digital study guides created for each program identify learning outcomes and are filled with extension activities in alignment with Texas Essential Knowledge and Skills (TEKS). Brown uses the study guide in tandem with the school’s curriculum, describing the resource as a “perfect match.”

In addition to the educational benefits, Virtual Field Trips provide a bit of escapism for students. The ability to engage in the online performance is a much-needed outlet during the pandemic. “Just for those brief moments you forget about what’s going on outside, what’s going on at home,” says Brown. “For a few minutes they have an opportunity to dream and see something that they can appreciate.”

Witnessing the diversity of dancers in the performances can also plant seeds for students, especially in schools such as Atherton where the diverse student body is predominately Black. “They have an opportunity to see someone of their race in the videos,” notes Brown. “I really appreciate the fact that they have an opportunity to broaden their goals and aspirations.” Representation matters, and Virtual Field Trips can help students see the possibilities for their futures are limitless.

Summarized as educational, entertaining and inspiring, Houston Ballet’s Virtual Field Trips are just that. With endorsements from both students and teachers, Brown looks forward to the spring offerings and the possibility of more in the future. “I hope this program will be able to continue for years to come.”

Find details about upcoming Virtual Field Trips and register online today.

By Chenay Newton

In celebration of Black History Month, Houston Ballet took its Breaking Boundaries series live for a virtual conversation with three current and eight former Black Houston Ballet dancers. The series, which began last fall, includes four episodes entitled “Firsts”, “Nows”, “Through an Educator’s Lens” and “Through the Male Dancer’s Lens”. The live fifth installment on February 10 was a continuation of these previous discussions and further explored the BIPOC experience in ballet. Additionally, the series brought to light how Houston Ballet has approached diversifying a traditionally Eurocentric art form and demonstrated the Company’s continued commitment to breaking boundaries in the ballet world.

The legacy of change began in 1976, when Adrian Vincent James became the first Black dancer at Houston Ballet under the leadership of the newly appointed Artistic Director, Ben Stevenson. Over the course of Stevenson’s directorship, many Black dancers joined the Company and graced the Houston stage, such as Sandra Organ in 1982 and Houston Ballet’s first Black principal dancer, Lauren Anderson, who began dancing with the Company in 1983.

Not only was Stevenson different in that he prioritized talent over the aesthetics of a particular skin color, but he demonstrated a commitment to exposing children of all races to ballet. Lauren Anderson reflected on her time as principal under Stevenson’s directorship during the most recent Breaking Boundaries conversation. “I remember when I was younger and we would go to the Miller Theatre…and Ben [Stevenson] would throw me on as the Sugarplum Fairy in the student matinée and he would say ‘I’m putting you on because little kids need to see you because it’s the student matinee and that’s when a lot of these Black kids get to come to the ballet,’ and that really makes a difference, because I do that now,” explained Anderson.

The attention to Black dancers’ experiences in the ballet world did not begin and end with Stevenson’s directorship, thankfully. This past summer, with Black voices speaking out about the continued presence of racism and discrimination in America gaining traction and being given a voice in mainstream spaces, Houston Ballet, along with much of America, set aside time to listen and learn. “I was really impressed with Houston Ballet when the Black Lives Matter movement happened this summer,” expressed Harper Watters, a Houston Ballet Soloist and one of the three current Black dancers in the Company. “We really united as a Company, the dancers and with our staff, and we had conversations…We found that it wasn’t that they weren’t wanting to say anything, they just didn’t want to say the wrong thing…The more you educate yourself, the more confidence you will have in identifying racism and implicit bias.”

Naazir Muhammad and Kellen Hornbuckle, two current Black dancers within Houston Ballet’s Corps de Ballet, also joined this live conversation and shared about the joys and pressures of representing all that it means to be a Black dancer in ballet. While echoing the earlier sentiment of Lauren Anderson and Ben Stevenson about how important representation is, Muhammad said, “I think that they aren’t as into it because they don’t know anyone that looks like them that does it. Representation matters. We see LeBron James and Kobe, so they all want to play basketball. We see Ray Lewis and Ed Reed, so they want to go play football. We see Barry Bonds and Sammy Sosa, so they want to play baseball, but they don’t see classical male ballet dancers of color. If we got that [ballet] to appeal to the masses, I think that would change.”

Black representation was not the only topic that was covered. Over the course of the hour-long event, hosted by ABC13’s Melanie Lawson and streamed live on ABC13’s apps, the panelists dove into the complexities of typecasting, how influential social media is in showing solidarity and the importance of resources like scholarships to diversifying ballet. “I would love to see there be an abundance of scholarships for Black students,” expressed Cleopatra Williams. Williams began dancing with Houston Ballet in 2000 and was its first Black dancer to perform the role of Clara in its production of The Nutcracker. “I love what Houston Ballet is doing as far as outreach…I think our ballet companies need to understand that they are going to need to help these Black students to finance that [their ballet education] until they can make their own money.”

Overall, the event had a hopeful air for ballet becoming a more inclusive artform. The panel and virtual audience members alike were imbued with a sense of pride in work Houston Ballet is doing to achieve this. Former Houston Ballet dancer Kiya Sturm-Lind captured the spirit of the night by saying, “I am just happy there are people of color in this predominantly white community and that they’re showing a force. We can do anything, we just need forums like this, more people to do outreach like Lauren [Anderson] is doing…For Houston to set the precedent for all of these other places is pretty phenomenal.”

This event would not have been possible without the support and time of Houston Ballet’s past and present Black dancers. Thank you to Lauren Anderson, Daniel Durrett, Kellen Hornbuckle, Adrian Vincent James, Ayisha McMillan, Caleb Mitchell, Naazir Muhammad, Sandra Organ, Kiya Sturm, Harper Watters and Cleopatra Williams. Special thanks to ABC 13’s Melanie Lawson for moderating Breaking Boundaries LIVE.

Watch the full conversation on YouTube now.

If you are thinking about starting ballet for the first time as an adult, you may have some questions. We’ve got you covered with answers to frequently asked questions that will help alleviate your hesitations so you can begin ballet with confidence.

I never danced as a child, is it too late for me?
“Not at all! It’s never too late to start dancing,” says Houston Ballet Academy Instructor Lindsey McGill, who has taught Introduction to Ballet for 19 years. Ballet training is not limited to children, aspiring prima ballerinas or professional dancers. There is a growing community of adult ballet students who take class recreationally because it’s enjoyable. “It’s so much fun because you get to listen to music and express yourself and workout all at the same time,” describes Amy Hirshkowitz, a current adult ballet student at Houston Ballet. Whether you’re starting ballet as a way to stay active or to fulfill a long-awaited dream, it’s never too late to learn new things.

How should I prepare for my first ballet class?
Come ready to learn. “No previous experience is needed, just an open mind, a curiosity to learn ballet,” says McGill. If you prefer to do some recon before beginning a new endeavor, Houston Ballet Academy Instructor Betsy McMillan, who has taught adult ballet students since 2009, can point you in the right direction. “Books and videos are great resources for preparation for your first class. Gail Grant’s Technical Manual and Dictionary for Classical Ballet is very helpful for learning terminology and some of the fundamentals of the technique.” You can also turn to YouTube to find examples of what to expect in ballet class.

Do I have to wear a leotard?
“Leotards and tights are wonderful, but you do not have to wear them,” says McGill. Yoga gear or any type of fitted active wear also are good options. You’ll want to keep in mind how your clothing fits. “It is important for the instructor to be able to see your body well to assist you in achieving healthy and proper alignment,” explains McGill. If you are interested in leotards, tights and dancewear, McGill recommends visiting Danskin or Capezio for women and Capezio for men. Your local dancewear store can also be a good resource, but don’t feel obligated to purchase a new ballet wardrobe to get started.

How should I wear my hair?
McMillan says, “Hair should be neat and pulled back away from your face.” You are welcome to go for the perfect ballet bun, however, a bun is not required. As long as your hair is away from your face and off the back of your neck, the exact hairstyle is totally up to you.

What about ballet shoes? How do I find the right fit?
“Ballet slippers with elastic straps are worn for ballet class. The size is usually 2 sizes smaller than your street shoe size. If you buy online, there is a sizing chart you can follow,” explains McGill. “You want a snug fit like socks, but long and wide enough so that you can lay your toes flat on the ground and even spread your toes.” There are canvas and leather ballet slipper options and several brands to choose from. McGill’s go-to brand is So Danca, whose slippers come with the elastic straps already sewn on. She directs students to online purchasing for women and men and to YouTube for tips on sewing elastic onto canvas or leather shoes.

I don’t have a “ballerina body,” will I fit in?
“Ballet is an art form and meant to be enjoyed by all people and body types,” says McGill. Don’t let a stereotypical ballerina image hold you back from pursuing ballet.

How do I prepare my space for a virtual ballet class?
“Finding space that is as clear and unobstructed as possible is important. You will need some sort of ‘barre’ to hold onto. If you don’t have access to an actual ballet barre you can use a sturdy chair or a countertop,” explains McMillan. Make sure you have enough space to move around in. McGill recommends a level surface of 8×8 or 10×10 feet. “Also, have a table or place to set up your phone or computer that is far enough away so that the camera can capture as much as your full body as possible.”

Parting words
“My advice for new students is to keep an open mind and enjoy the new experience,” says McMillan. Just like any new skill, learning ballet will take practice. Don’t be discouraged if you aren’t able to execute every step or position perfectly from the beginning. Know that the instructors are there to support you. “The Houston Ballet teachers are amazing, and they want to help us learn,” says Hirshkowitz. If you stick with it, you’re sure to see improvement over time. “Go for it, it’s a lot of fun.”

Sign up for a free Introductory Ballet class on Sunday, March 7 at 11:00 AM CST. This class includes ballet movement and a Q&A to answer any lingering questions you have before the Introduction to Ballet 8-class series begins on March 28, 2021.

By Chenay Newton

Almost one year to the day of canceling its Forged in Houston production, what would be one of many future engagements to be canceled in the months to come, Houston Ballet continues its year of pandemic pivots by launching a new series of works for the age of digital dance. While things aren’t gold and glimmering, as they were this time last year during its golden anniversary celebration, there are still silver linings for what a company without a live audience can bring to the virtual stage.

“I’ve yet to experience a ‘normal’ season in the company,” explains Saul Newport, a member of Houston Ballet’s Corps de Ballet. “After a year in the second company [Houston Ballet II], I joined halfway through the 2018/19 season as an apprentice. The 2019/20 season was a year full of surprises, firstly getting injured and then, just as I was getting back, COVID hit.” Newport isn’t alone, as many dancers across the globe have experienced the screeching halt to stage time early in their careers.

Fortunately, dance companies like Houston Ballet have found new ways to engage with audiences and keep dancers dancing, responsibly. Houston Ballet Artistic Director Stanton Welch’s newest creation, In Good Company, does just that. In Good Company, set to music by The Dead South and generously underwritten by Leticia Loya, promises at least one new video per week through the end of April.

“In Good Company to me is a celebration of community,” beams Newport. “The movement is infused with a strong sense of hope. We may not be physically dancing together at the moment, but we have the determination and optimism to keep the arts alive.”

While the dancers come together onscreen through creative editing, intricate staging and a nostalgic nod to the craft of filmmaking, they film their roles individually in the Margaret Alkek Williams Dance Lab in the Houston Ballet Center for Dance. Materials are learned at home by watching videos of the choreography before rehearsing in the studio with a ballet master. This allows for minimal time in-person rehearsing, which occurs in small groups with masked dancers.  After rehearsals are complete, they film the choreography one at a time with just the necessary people in the room: Welch, Lisa J. Pinkham, lighting designer, David Rivera, Associate Director of Audio/Visual Services, Nicole Foreman, Audio/Visual Associate, and one Ballet Master. The dancer being filmed removes his or her mask for the final takes. The room is then fully disinfected and the air undergoes a purification process between dancers.

All of the intricate details come from the guidance of Houston Methodist to ensure the safety of dancers and staff. “One of the biggest differences this year from last year is the health and safety protocols Houston Ballet has implemented to keep us all safely dancing,” explains Newport. “During our workdays we have a few extra steps before taking class or rehearsals, like completing a health check on our phones, signing in and out for contact tracing and wiping down the barres before class.”

One of the “COVID blessings,” as Welch says during this time, is Houston Ballet can reach a larger audience by presenting works fully on social media. Dancers not native to their home theaters, like Newport, benefit from this as well. “It’s mind-blowing to think that anyone all over the world can view and enjoy what we’ve been working on recently. That being even more special for me because I’m from New Zealand, so my family and friends who wouldn’t normally get to see me dance now can.”

As a continuation of its commitment to creativity and its community while away from the stage, Houston Ballet presents eight weeks of these new dance films for free on its social media channels. Newport echoes the thoughts of the whole organization as he expresses, “I would like to say a huge thank you to everyone who has supported us during these unprecedented times. Your generosity and support have made it possible for us to bring you this premiere, and I can’t thank you enough. I hope you enjoy it!”

See Newport now in “Honey You,” and keep an eye out for him in upcoming songs: “The Dead South,” “Long Gone” and “The Ballad for Janoski.”

by Jacalyn Lawton

Houston Ballet Principal Connor Walsh talks returning to the studio for In Good Company.

In Good Company is the third installment of creation during COVID from Houston Ballet, and it’s the first opportunity the full Company has had to create in a stage-like setting. Following Dancing with Myself, filmed by the dancers in their homes, and Restoration, filmed throughout greater Houston, In Good Company inches the Company towards ‘normal.’ “There’s an element of coming back to where we belong,” expresses Connor Walsh, Houston Ballet Principal. “This is a little bit more about how we are finding our way back to the studio and how we can create in our building—how we can keep dancing in the manner we are used dancing, even with these obstacles.”

Under the guidance of Houston Methodist and following strict protocols, small groups of masked dancers are able to take class and rehearse together at last, in addition to filming individually for In Good Company. Walsh celebrates this milestone and is grateful to be back at the Center for Dance. “For me, it’s a connection of being within the space of a dance studio again and the freedom to dance with abandonment and adventure that we have sort of been without,” he explains.

While In Good Company takes a giant jeté into resuming studio life, Houston Ballet is still navigating what it means to be distanced within its walls. “It’s that collective energy,” Walsh misses. “With any arts organization, I’m sure, but particularly with a ballet company because there are so many dancers, there are so many moving parts all working towards the same thing. There are about 60 of us and there are a hundred other people all working to put this thing together—that culminates into a performance. I can’t wait until we can have that sense of unity again as an organization. Even though it’s there—we are working our tails off and appreciating each other—you don’t feel that connection the same way.”

Walsh makes use of his time and finds the silver linings in the situation. “It’s a time for a lot of people to say ‘what do I need to work on, what do I need to improve on,’ rather than worrying about the experiences we are missing out on. It’s about self-improvement, both as an artist and a technician.”  

See Walsh now in his featured role for “Achilles,” and keep an eye out for him in the rest of the In Good Company series.

by Jacalyn Lawton

Principal Dancer Jessica Collado has danced many iconic roles in her years on the stage and has recently taken her talents to film for Stanton Welch’s In Good Company. Early in 2020, she set out to take a brief pause to jeté into a new leading role as Mom.

While Collado expected things to change for her naturally during this time, she never could have imagined that a global pandemic would change things for everyone. “It has definitely been an adjustment,” she explains. “I was such a creature of habit and routine before having a baby. While pregnant, I would try and imagine what my days would look like working full time and having this little one to tend to…I knew some things would have to give.” 

Baby Henry was welcomed into our strange new world in April 2020, and Collado has found the silver linings this past year’s situation has afforded. “I miss that schedule and those busy days full of dancing, rehearsing and performing so much, but I’m thankful for the extra time I have been able to spend with him,” says Collado. “I was able to listen to my body in the recovery process, not rush things, and let my body properly heal. I invested time with a pelvic floor physical therapist to really track my rehab, and in some ways, I feel stronger than ever before…and more in tune with my body.” 

Collado made her way back to the studios last summer for the brief window they were open to the dancers. “I took Henry with me, and he napped in the stroller the whole time,” she recalls. “It was so comforting to be back in the studios. The floor, the barre, the mirrors, the smell [she laughs], I missed it so much and realized how much I had taken for granted before the pandemic hit. I want him to grow up around the studios…to see the dancing and hear the music. Ballet is such a huge part of my life and who I am. I want him to know and experience that.” 

In September, Houston Ballet made strides towards regaining its connection among Company members. Under the guidance of Houston Methodist, dancers were permitted to take Company class in small, masked pods. “The ability to dance with my co-workers again, and have a live teacher, and have live MUSIC! Gosh I missed the music. We were slowly adding the small layers back to what our lives used to be.  I tried to give myself grace as I stared at this new dancer in the mirror, but everyone was in a state of ‘finding’ their technique again.”

While they are not dancing together fully just yet, Welch’s newest dance films In Good Company have allowed them to be “together,” even if they are just digitally stitched together on screen. “As a dancer, I’d say the biggest difference is our inability to connect with each other and our audience,” reflects Collado. “So much of our job requires a physical sense of closeness, and that has been a huge challenge. I never thought I would miss physical interaction, and partnering, as much as I do. As well as not being able to perform live. The feeling of dancing in a theater for an audience…it’s irreplaceable, and I miss it.”

Collado has a featured part in “In Hell I’ll Be in Good Company,” the sixth debut in the In Good Company series. “I think each song carries a different sentiment, and “In Hell…” is a tongue and cheek number about a husband and wife,” says Collado. “It has a ‘roll your eyes, I’ve heard it all before…’ vibe, with a jivey beat and a fun attitude. I got to do this duet with Oliver [Halkowich], who I have known and loved for as long as I can remember, so the relationship was fitting [she laughs].”

Like much of the greater Houston Ballet family, Collado has taken this time in optimistic stride. “I know everyone will look back on the year 2020 with such doom and gloom,” she says. “Henry has really been my light through this whole pandemic. He keeps me present, motivated and on my toes! And I really think that the ballet has taken this curve ball and made the most of it. It’s allowed us to think outside the box, to open a new door of possibilities. We are artists and will continue to create around any obstacle you put in front of us.” 

See Collado now in her featured role for “In Hell I’ll Be in Good Company,” and keep an eye out for her in the rest of the In Good Company series.

by Jacalyn Lawton

The final installment of Houston Ballet’s In Good Company brings a close to the 8-week series that showcases 11 different songs from folk band, The Dead South. This feat, accomplished through an intricate collaborative process between Houston Ballet Artistic Director Stanton Welch, the dancers and a small but mighty film crew, all under the guidance of Houston Methodist, kept the Company dancing in a safe environment throughout these unprecedented times. The project features syncopated movements that highlight the intricacy of the lively folk music, remaining polished while staying true to the grittier sound of The Death South’s album, “Good Company.” The stage provided a moodier setting than either of the Company’s previous filmed dance projects, Restoration or Dancing with Myself, enchanting the audience with tales of grief, loss and, ultimately, resiliency.

Houston Ballet First Soloist Allison Miller reflects on the installments of In Good Company, emphasizing the unique themes of the performances. “Each song has a different feel and slightly different message, but I think this piece is about hope and persistence,” says Miller. “It is about humans going through tough times and coming out strong. There is an overall feeling of grit and determination.”

Indeed, they are strong. As any dancer can tell you, grit and determination are essential to the art, and Miller details how the recording process often felt just as challenging as a live performance. “The process of preparing to film felt like a show—getting into costume, hair and makeup. The filming took place in the Margaret Alkek Williams Dance Lab with lighting done in the moment by Lisa Pinkham and filming by David Rivera,” explains Miller. “Unlike a show that is pre-perfected, the filming session is an active collaborative process between choreographer, lighting designer, videographer and dancer. Nothing is set in stone, and you are putting the pieces all together in the moment. After a few ‘takes’ of each section, with all parties satisfied, we move on to the next, making sure all the footage necessary is collected. Just as exhausting as a performance!”

Filming for In Good Company also carried with it some of the same rewards for dancers as performing onstage, according to Miller. “To be a part of the creative process again and to have something to share with our audience is so fulfilling, even though it is all very new and different from one year ago. This work is keeping us all motivated, satisfied and proud until we are able to return to a more ‘normal’ work life and the stage.”

It turns out that the slow process of returning to a more ‘normal’ work life is right on the horizon for the Company, as Houston Ballet returns to live performances for Houston Ballet Reignited at Miller Outdoor Theatre May 7-8.

Even with this exciting news, Miller expresses her gratitude for the organization and the support it has provided to her and fellow dancers over the past year. “We are so fortunate to be part of a company that has pivoted and found a way for us to keep working and dancing throughout. It is exciting to be creating these film projects, because we work every day to hone our craft in order to share stories with people. The fact that we are actively doing that in these circumstances is just amazing and I’m so grateful.”

See Miller in her featured work, The Dead South, below, and catch up with the rest of the In Good Company series, including the finale, Ballad for Janoski, online now!  

Demonstrating its ongoing commitment to its community, Houston Ballet hosted its 13th annual Graceful Givings event virtually to inspire hope in Houston-area schools’ arts communities. Over the years, the event has provided a unique experience for dance and theatre teachers from Houston-area schools to choose from thousands of dollars’ worth of dance apparel for their programs and students, all free of charge. This year’s event sent 19 schools home with more than $60,000 worth of items.

“Graceful Givings is such a special event, and we are thrilled to be able to continue this annual tradition in a safe way during the pandemic,” says Alexandra Garza, Houston Ballet Education and Community Engagement Coordinator. “Our dancewear partners have been so eager to continue to contribute donations, which cements our ability to offer these items to students in need.”

Graceful Givings is an undertaking in a normal year, as staff and dozens of volunteers organize donations, but the ECE team deemed it vital to continue the event amidst the pandemic as a way to remind students of the hope and joy that can be found in the arts. Coordinators aimed to keep the virtual event as simple and spirited as the in-person event usually is. Each participant’s predetermined number was spun in a digital wheel. When a participant’s name and number were called, they were given the opportunity to choose an item from the inventory list. This process continued until all the items were claimed. Gracious participants collected their items at a contactless drive-through following the Zoom event.

One of the many reasons the ECE team decided to continue the event this year amidst uncertain circumstances was how clearly the event aligns with the team’s values, as the items donated mainly benefit schools from low-income communities, with 75 percent or more students identifying as economically disadvantaged. Thousands of dollars’ worth of shoes, costumes, accessories and apparel are donated each year from local shops, such as Georgie Girl Costumes, Jazz Rags Dancewear, St. Anthony of Padua Catholic School, Leapin’ Leotards and Houston Ballet’s very own Boutique. The donated items are well-loved within the schools where they find their home, as many teachers and program leaders can attest.

“Houston Ballet is invested in the Houston Fine Arts community and in the teachers and students who are in need of a sense of normalcy and hope,” says Chadwick Peters, Dance Director/Fine Arts Chair at Meyerland Performing and Visual Arts Middle School. “In this year, specifically, it gives us something to look forward to using for performances and classes with our students in the future, one we can all look forward to.”

Houston Ballet is committed to the health, safety and welfare of its community, as well as making a positive difference. Graceful Givings is just one way that the nonprofit seeks to foster a love for art and dance among the next generation.

By Alex Giblin

Houston Ballet and Christopher Bruce CBE jointly announce Bruce’s departure as Houston Ballet’s Associate Choreographer. The news to step down from the position comes after 32 years of service to the American ballet company’s mission.

“After more than 30 years as Resident or Associate Choreographer with the Houston Ballet, both the company and I feel the time has come when it would be appropriate for me to step aside in order to allow another choreographer the opportunity of holding this prestigious position,” says Christopher Bruce CBE.

“Needless to say, I have hugely enjoyed my collaboration with the Houston Ballet. It has been an honor to have worked with such a remarkable company where the standards have been maintained at the highest level under the direction of both Ben Stevenson and Stanton Welch, and where I have been truly fortunate to have seen my ballets danced by several generations of wonderful artists. I should add that there is mutual interest in me continuing to stage work in Houston from time to time and I look forward with pleasure to those visits.

When the appointment is made, I wish the new Associate Choreographer every success and sincerely hope they experience all the pleasure and creative excitement I have been privileged to know with the company over so many years.”

Hailed by London’s The Daily Telegraph as “the Nureyev of contemporary ballet,” Bruce was appointed Houston Ballet’s Associate Choreographer in 1989. Over the last decades, Houston Ballet has emerged as Bruce’s artistic home in America. The company has 12 works by Bruce in its repertoire. He has staged his Ghost Dances, Grinning in Your Face, Intimate Pages, Swansong, Sergeant Early’s Dream, Cruel Garden, Rooster and Land for the company and has created four original works: Guatama Buddha (1989), Journey (1990), Nature Dances (1992) and Hush (2006). In 1990, Houston Ballet traveled to Denmark to film Ghost Dances and Journey for Danish Television.

“Houston Ballet has been privileged to work with Christopher Bruce in this capacity for so many years,” says Stanton Welch AM, Houston Ballet Artistic Director. “He is an incredible part of our institution and has influenced many generations of dancers and choreographers, myself included. I want to thank him on behalf of all choreographers for being a hero of the choreographic revolution that we all could aspire to. This is a new chapter, but by no means a farewell. Houston Ballet and its artists will continue celebrate our relationship with this living legend by performing his iconic works for decades to come.”

To learn more about Bruce and his contributions to Houston Ballet’s repertoire, visit houstonballet.org.

Photo Credits:

Christopher Bruce CBE with former Houston Ballet dancers Dawn Scannell and J. Kristopher Payne and Artists of Houston Ballet rehearsing Land. Photo by Jann Whaley (1997).

Christopher Bruce CBE with former Houston Ballet dancers Steven Casteel and Karl Vakili rehearsing Nature Dances. Photo by Jann Whaley (1992).

Christopher Bruce CBE with Artists of Houston Ballet rehearsing Ghost Dances. Photo by Amitava Sarkar (2015).

Houston Ballet is pleased to announce the addition of Skylar Campbell from The National Ballet of Canada as a Principal Dancer. Campbell will join the Company in January 2022, in time for the remaining 5 performances of the 2021-2022 season.

“We are thrilled to announce Skylar Campbell will join Houston Ballet’s 2021-2022 season as a Principal Dancer,” says Stanton Welch AM, Houston Ballet Artistic Director. “He joins us from the prestigious National Ballet of Canada, and we are excited to welcome him to Houston and begin this working relationship.”

A native of Laguna Beach, California, Campbell trained under Victor and Tatiana Kasatsky and David Allen in Orange County before joining The National Ballet of Canada as an RBC Apprentice in 2009. He was promoted to Principal Dancer in 2018. During his tenure at The National Ballet of Canada, Campbell created the title role in the world premiere of Will Tuckett’s Pinocchio and danced the title roles in John Neumeier’s Nijinsky and Guillaume Côté’s Le Petit Prince. His repertoire also includes principal roles such as Hilarion in Giselle, Gurn in La Sylphide, Mercutio and Benvolio in Romeo & Juliet, Peter/The Nutcracker in The Nutcracker, Alain in La Fille mal gardée, Jack/The Knave of Hearts and Lewis Carroll/The White Rabbit in Alice’s Adventures in Wonderland, Florizel in The Winter’s Tale, Camille in The Merry Widow, Bluebird in The Sleeping Beauty, Puck in The Dream, Levin in Anna Karenina and Alan in A Streetcar Named Desire.

Campbell has worked with world-renowned choreographers including Christopher Wheeldon, Alexei Ratmansky, Justin Peck, John Neumeier, James Kudelka, Sir Peter Wright, Ronald Hynd, William Forsythe, Crystal Pite, Wayne McGregor, Alex Ekman, Kevin O’Day, Will Tuckett, David Allan, Guillaume Côté, Jiří Kylián and Robert Binet. He has danced featured roles in Etudes, Paquita, Petite Mort, The Vertiginous Thrill of Exactitude, The Second Detail, Chroma, Genus, Tarantella, Chaconne, A Month in the Country, The Concert, Piano Concerto #1, Symphony # 9, Spectre de la Rose, Hamlet, Night, Unearth, Orpheus Alive, The Dreamers Ever Leave You, Being and Nothingness and Frame by Frame. His repertoire also includes Swan Lake, Cinderella, Onegin, Manon, Don Quixote, The Seagull, The Four Seasons, Elite Syncopations, Theme and Variations, Paz de la Jolla, Allegro Brillante, Angels’ Atlas, Emergence and Cacti.

“I am humbled and honored to be joining the Houston Ballet as a Principal Dancer. I have always admired the Company with great passion and I’m very much looking forward to being a part of a phenomenal organization,” says Campbell. “After 12 years with The National Ballet of Canada, I am thrilled to be coming back to my home country to dance with such an inspirational group of artists.”

Campbell’s international accolades include the Bronze Medal in the Pas de Deux category at the Youth American Grand Prix in 2009 and Finalist in the Prix de Lausanne the same year. In 2011, he received the William Marrié Award for Dramatic Excellence for his role as Alain in La Fille mal gardée. He also won the MyTheatre Award for the Best Ballet Performance in Robert Binet’s Unearth and was recognized by Dance Magazine as one of the “Top 25 Dancers to Watch” in 2015.

Campbell is also the Director/Founder of the Skylar Campbell Dance Collective; a nonprofit organization aiming to unite and collaborate with artists from across North America.

To learn more about Houston Ballet’s 2021-2022 Company, please visit houstonballet.org.

Photo credits:

Skylar Campbell in John Neumeier’s Nijinsky. Photo by Bruce Zinger (2012). Courtesy of The National Ballet of Canada.

Skylar Campbell in rehearsal. Photo by Karolina Kuras (2019). Courtesy of The National Ballet of Canada.

Skylar Campbell in Alexei Ratmansky’s Romeo and Juliet. Photo by Karolina Kuras (2020). Courtesy of The National Ballet of Canada.

Houston Ballet Academy would like to introduce its 2022 Summer Intensive Program. Scheduled for June 27 to July 30, 2022, the program connects serious ballet students with distinguished faculty and guest artists at Houston Ballet’s Center for Dance, the largest facility specifically built for professional dance in the United States.

“You’re not only getting an amazing training opportunity that is going to stay with you into your professional career should you pursue a career in dance, but you’re also making life-long connections with friends that are going to be your colleagues, your friends even if you don’t pursue a career in dance,” says Dustin Shaw, Houston Ballet Academy Programs Manager.

Class Offerings & Instructors

When attending this program, dancers can expect to take classes including ballet technique, pointe, partnering, repertory, and variations. In addition to learning from the world-class Academy instructors, students can take classes taught by some of the most accomplished dancers in the company, such as principal dancers Karina González and Connor Walsh. As Houston is known for its robust dance scene, students can look forward to professional dancers in musical theater, contemporary, and jazz teaching in the program.

Beyond strictly technique classes, the program prioritizes dancers’ well-being and injury prevention, “so as they are getting all this amazing experience as ballet dancers, they are also getting classes in body conditioning, body rolling, and several other classes that basically cross-train their bodies so that they can dance longer and stronger. One of the things that sets our Summer Intensive Program apart from others is both the strength of our performance training program and our health and wellness program. With our partnership with Houston Methodist, we’ve lessened the number of chronic injuries in both our students and our dancers,” says Jennifer Sommers, Houston Ballet Academy Director of Education.

Dancers are provided with support to explore and discover different techniques and variations to better shape their artistry. This support can make a difference providing dancers with more freedom to be creative.

“I strongly believe that the Summer Program gives students creative license to explore their technique, their artistry, and their understanding. I believe, too, that when you trust in the person delivering that information to you, you’re going to grow as a dancer. You will certainly leave with more technical stability, stronger technique, an understanding of artistry and the confidence, I believe, to explore different ways of approaching your dancing to see what works for you,” says Houston Ballet Principal Instructor of Ballet and Character Cheryne Busch.

Master Classes

This year’s tour is different than previous audition tours because Houston Ballet Academy, in conjunction with Education and Community Engagement, will provide dancers the exclusive opportunity to take master classes directly with Lauren Anderson, Houston Ballet’s first African American Principal dancer and Associate Director of Education and Community Engagement, at Duke Ellington School of the Arts in DC and Booker T. Washington School for the Performing and Visual Arts.

“Every time I walk out the door and teach at anything like a summer intensive somewhere, I have the lens — would they be a good fit for Houston Ballet? Who here would we not only benefit from but would benefit from us? I am an ambassador for Houston Ballet. I never took classes anywhere else except for Houston Ballet. I’ve done every Summer Intensive Program since 1976,” says Houston Ballet Associate Director of Education and Community Engagement Lauren Anderson.

Performance Opportunities

“A pillar of Houston Ballet Academy is our commitment to performance programming, so every single student that participates in our intensive has an opportunity to learn throughout the day, be coached by an elite core of teachers, and have an opportunity to perform,” says Sommers.

This summer, a total of six end-of-summer performances will be held for students in Levels 5-8, and students in Level 8 have the opportunity to collaborate with the American Festival for the Arts and work with young composers to produce original works in both dance and music. This unique experience is invaluable to aspiring dancers and choreographers wanting to improve their artistry and choreographic skills.

“These student choreographers are choreographing on their fellow dancers in the program, so not only are they getting the opportunity to work with a composer who’s crafting this for them, but they are working with their peers and getting that hands-on experience working with dancers,” explains Shaw. Learn more about the AFA Choreographic Experience here.

Other performance opportunities dancers can look forward to include learning how to partner with other dancers. This is valuable for students that may be dancing in smaller studios where they may not have the opportunity to learn pas de deux because there aren’t enough dancers.

“It really is a program which has developed over the years that stands many tiers above many other Summer Programs. I’m saying that because now that I have been here for so many years going out to see students in different auditions and different dance schools from which they’re coming, it’s very easy to notice the difference and really appreciate our strengths in our students,” says Busch.

Residential Experience

Outside the studio, dance students in the program have the option of living at the University of St. Thomas (UST) dormitory. Breakfast and dinner are provided daily, the dorm is chaperoned 24 hours, and students are transported to class in vans and buses. In the evenings, students can partake in dorm activities such as crafting and movie nights, and on Sundays, there is an option to participate in organized field trips. Past Sunday activities have included shopping at the Houston Galleria, Splashtown Waterpark, NASA Space Center, and Schlitterbahn Waterpark.

This residential experience allows dancers to build a sense of community and form lasting memories with their fellow dancers. “Five weeks is a long time to live, and work, and really spend 24/7 with your peers, and to be around people who love this art form as much as you do, that residential life component is great to have a release, but also continue to allow students to bond outside the studio. Ballet friends are your forever friends. People make friends in their summer programs that they stay connected to throughout their dancer lives,” says Sommers.

Beyond the Summer Intensive Program

By participating in the Summer Intensive Program, dancers can enhance their artistic abilities and launch their ballet careers. For dancers interested in further opportunities with Houston Ballet, auditions are held in the middle of the Summer Intensive Program for the year-round Pre-Professional/Professional Program.

“We have an elite training program, 64 percent of our current company dancers came into Houston Ballet via the Summer Program. So it is a program that connects the next generation’s dancers with opportunities to perform in companies either here or around the globe. It’s an essential tool for us to get the very best and brightest, the future of ballet, to Houston,” says Sommers.

2022 Audition Tour

Interested in the 2022 Summer Intensive Program? In-person auditions will take place in 13 cities between January 8 and February 6, 2022. For those unable to make it to an in-person audition, video auditions will be accepted starting January 8, 2022.

Read more about the 2022 Summer Intensive Program and the Houston Ballet Academy at houstonballet.org.

by Jordan Campos

Houston Ballet is pleased to announce the addition of Beckanne Sisk and Chase O’Connell to the Company as Principal Dancers for the 2022-2023 season. They will join the Company in July for the start of next season.

Sisk began her ballet training with Longview Ballet Theater at the age of five. She studied there until 13 when she moved to Philadelphia, PA to attend The Rock School for Dance Education on scholarship. She was a part of the Rock Academic Program Alliance (RAPA) for four years. While there, Sisk won the Jerome Robbins award in 2007, and competed at the Youth America Grand Prix (YAGP) from 2007-2010, placing in 1st and 3rd. Artistic Director Adam Sklute invited her to join Ballet West II in 2010 after seeing her compete at YAGP.

“I first saw Beckanne competing in YAGP at the age of 16. A colt of a dancer, she was an astonishingly beautiful girl with an amazing combination of bravura, line, and coolness. I offered her a position with Ballet West II and she joined at 17. At age 18, I nominated her for a Princess Grace Award in Dance and she won, becoming only the second dancer in Ballet West history to win this prestigious award (the first being Jeff Rogers in the 80s). At the Award Celebration in New York, I told her that there would come a time when she could go to any company in the world,” says Sklute. “She joined Ballet West that year and was catapulted to stardom first by being thrown in, last minute, to the demanding leading role of Kitri in our production of Don Quixote, and then by being featured in our television docuseries Breaking Pointe on the CW network.”

Sisk has performed the female principal roles in Anna Marie Holmes’ Don Quixote, John Cranko’s Romeo and Juliet and Onegin, as well as Adam Sklute’s adaptations of Giselle, The Sleeping Beauty and Swan Lake.

Sisk has been noticed by The Washington Post in William Christensen’s The Nutcracker, “one of the most charming and beguiling ballerinas to embody the role in recent memory. She was every bit the fairy-tale queen of one’s dreams – regal but warm, expressive but subtly so, who sustained her balances as if mere air held her up, and yet paradoxically, her dominant quality was softness.” Also, her performance in Cranko’s Onegin was recognized by Pointe Magazine as one of the Standout Performances of 2019.

Original principal roles have been created on her by many renowned contemporary choreographers such as Nicolo Fonte, Val Caniparoli, Edwaard Liang and Matthew Neenan. She has since become an international guest star.

Chase O’Connell was born in Fredericksburg, Virginia and started taking dance classes at the age of 2. At age 13, he received a scholarship to train at the Kirov Academy of Ballet in Washington, D.C. He studied under Vladimir Djoulouhadze and Anatoli Kucheruk from 2007 to 2009. In 2009, he received a scholarship to train at the Royal Ballet School in London, England. There, he studied under Meelis Pakri and David Peden. While at school he had the privilege to perform with English National Ballet in their 2010 Nutcracker.

“Out of over 300 dancers vying for exactly three spots available in Ballet West II, he was one of two men to whom I offered contracts,” says Sklute. “Very tall, with matinee idol good looks, elegance, and a pristinely clean technique. He, too, quickly moved through the ranks becoming a principal in 2016. An exceptional partner, he has become the perfect danseur noble.”

After studying at the Royal Ballet School for 2 years, O’Connell joined the world-renowned Paris Opera Ballet to perform in their 2011 production of Rudolf Nureyev. In 2012 he began his contract with Ballet West II. He was promoted into the main company in 2013 then promoted to Principal in 2016. O’Connell has danced in galas internationally and his performance in Onegin was one of Pointe Magazine’s top performances in 2019.

Sisk and O’Connell met at Ballet West and grew to become a partnership on-stage and off. Engaged since 2019, their wedding had to be postponed due to COVID-19.

“I support Beckanne and Chase in this move. These are world-class artists who deserve to be experienced by audiences around the world,” says Sklute. “I am proud and honored that Ballet West and I could help guide them on their journey as they grew to this outstanding level. While I hope they will always call Ballet West and Salt Lake City home, Houston is just the beginning for them as I see it.”

Photo Credits:

Beckanne Sisk & Chase O’Connell in SWAN LAKE – Photo by Beau Pearson. Courtesy of Ballet West.

Beckanne Sisk in GISELLE. Photo by Beau Pearson. Courtesy of Ballet West.

Chase O’Connell in APOLLO. Photo by Beau Pearson. Courtesy of Ballet West.

Written by Christina Ferraz

Houston Ballet’s Education and Community Engagement (ECE) department has been busy the past couple years adapting classes to new health and safety protocols, creating virtual content, and livestreaming performances to engage the community from home. As restrictions continue to decrease, we are thankful to be able to return to in-person programming and connect with students on a deeper level.

One of the most exciting programs to return to Houston Ballet’s Margaret Alkek Williams Center for Dance this year is the Chance to Dance program. Keep reading to hear from Associate Director of ECE Lauren Anderson and Houston Ballet II dancer Emry Amoky, as they give us an inside look at Chance to Dance from the perspective of both teacher and student.

GIVEN THE CHANCE TO DANCE

What is the Chance to Dance program?
Lauren: Chance to Dance is one of my favorite programs. We go to elementary schools where 75% or more of their students are identified as economically disadvantaged by the Texas Education Agency and select students who we feel have artistic potential. We bus those students to the Margaret Alkek Williams Center for Dance once per week for seven weeks. During this time, they participate in beginning ballet classes. On the final day of class, the ballet instructor and the principal of the school evaluate the class for scholarship opportunities. We look for students who have a natural talent and those we think will thrive at the Academy. It’s hard not to pick every single student! Once the students have been chosen, they are offered full scholarships to become a student in the Houston Ballet Academy.

Looking back at your time in the Chance to Dance Program, were you nervous or excited?
Emry: I was nervous because it was my first time going into downtown Houston. I remember seeing Lauren Anderson and knowing there was something exciting about her. Once I got into the studio, my nerves went away. Little did I know that my life was about to change.

As a Chance to Dance scholarship student like Emry Amoky progresses through the academy, what does that look like?
Lauren: Once students register for class, we give them their set of dancewear and ballet shoes. They become a full merit Houston Ballet Academy scholarship student. On their first day of class we introduce them to their ballet instructor and send them on their way. The students who show exceptional talent, like Emry, have the opportunity to become members of the professional program. Once the student is in this program, they take ballet classes during the day and begin online schooling. Emry is the first student from the Chance to Dance program to join this division. These students get to perform in The Nutcracker and many other Academy performance opportunities. Their lives change.

How has the Chance to Dance program impacted your future and life goals?
Emry: Houston Ballet has given me a totally new perspective. It’s crazy; I would go as far to say that ballet has made a positive impact on me in every aspect of my life. When I switched to the professional program in 2018, I was so thrilled. The professional program is challenging, but challenge is when growth happens. Now that I am in HBII, I feel like I’m living the dream. Having the opportunity to dance with my idols is crazy to me. I would not be who I am now without Houston Ballet.

What is your favorite aspect of Chance to Dance?
Lauren: I am a teacher. I love seeing that kid who thinks or doesn’t know that they can dance, or when children move to the music for the first time, or when you see them sit up a little straighter. Or maybe they skip across the floor and feel like they have found their superpower. And, of course, giving the scholarships; seeing students walk through the door for the first time, and then later seeing them join the Academy and grow within Houston Ballet. I love watching their love of dance manifest.

FOLLOWING UP WITH DEANDRE

If you’ve been following Houston Ballet’s Education and Community Engagement’s signature program X3: Explore, Extend, Excel! (X3), you may recognize this fourth-grade student from Atherton Elementary School. Deandre Rodriguez is the first student to be offered a full scholarship to the Houston Ballet Academy through the X3 program. Teachers said, “With unmatched energy and enthusiasm for dance, it was evident that there was something special about him.” In the fall, Deandre will be moving up to Level 3 Ballet and is excited for the year ahead! It looks like Deandre’s wish is coming true – he might just make it to the stage sometime soon!

Photo by Lawrence Elizabeth Knox.

STATE OF THE ARTS: 2021-2022 ECE IMPACT

We are thrilled to share that this year, Houston Ballet’s Education and Community Engagement programs served 169,316 participants from 378 Houston-area schools, community centers, and libraries. Over 68% of the children served were identified as economically disadvantaged by the Texas Education Agency.

For more detailed information about programming available to your school or community, visit www.houstonballet.org/about/ece.

By Houston Ballet Staff

Kent will join Houston Ballet and Artistic Director Stanton Welch AM in July 2023

Houston Ballet proudly announces Julie Kent as Co-Artistic Director, making Kent the first co-director in the history of Houston Ballet. Currently serving as the Artistic Director of The Washington Ballet, Kent will begin her new role in collaboration with Houston Ballet Artistic Director Stanton Welch AM in July of 2023.

“The Houston Ballet board is thrilled to welcome Julie Kent to Houston Ballet,” said Kristy Bradshaw, Houston Ballet board president. “Our board has worked tirelessly to ensure our Company maintains a strong financial foundation, including working through the crisis of Hurricane Harvey and the global pandemic. It is this work that has put Houston Ballet in the position to make a bold strategic investment in our future with the addition of Ms. Kent. Julie Kent is an icon of ballet, and we are excited for her collaboration with our own icon of choreography, Stanton Welch. We are confident that this partnership will elevate Houston Ballet further and usher in a new era of growth for our Company.”

Throughout her decorated career, Julie Kent has showcased her dedication not only to the mastery of ballet, creativity and expression, but also to propelling ballet forward into the 21st century and redefining the image of the American Ballerina. Originally from Bethesda, Maryland, Kent is the longest-serving ballerina in American Ballet Theatre’s 83-year history. During her 30-year tenure with the American Ballet Theatre, she acquired a vast repertoire dancing over 100 ballets, including all of the major classical, dramatic and neo-classical roles in works by Marius Petipa, George Balanchine, Jerome Robbins, Sir Frederick Ashton, Sir Kenneth MacMillan, John Cranko, Jiří Kylián, Ronald Hynd, Ben Stevenson OBE and Christopher Wheeldon. Additionally, Kent has originated roles for many prominent choreographers and directors, including John Neumeier, Lar Lubovitch, Mark Morris, Twyla Tharp, Alexei Ratmansky, Natalie Weir, and Houston Ballet’s own Artistic Director, Stanton Welch AM. Kent and Welch previously worked together during Kent’s time as a dancer at American Ballet Theatre for Clear and Carmina Burana.

Highlights from Kent’s many notable achievements include: starring in Herbert Ross’ “Dancers” in 1987 and Nicholas Hytner’s “Center Stage” in 2000; the Canadian Erik Bruhn Prize in 1993 and the Russian Prix Benois de la Danse in 2000; receiving an Honorary Doctorate of Performing Arts from the University of North Carolina School of the Arts in 2012; and earning a “Lifetime Achievement Award” from Dance Magazine, also in 2012.

Kent has served as Artistic Director of The Washington Ballet since 2016. While there, she has been applauded for bringing important classical and contemporary masterworks into the repertoire—including her and Associate Artistic Director Victor Barbee’s own critically acclaimed staging of The Sleeping Beauty, described by New York Times former chief dance critic Alastair Macaulay as “one of the world’s finer Sleeping Beauties.” During her tenure, she has also commissioned 26 world premieres by 17 different choreographers.

Kent is married to The Washington Ballet’s Associate Artistic Director Victor Barbee and has two children. They will relocate to Houston in the summer of 2023, after concluding their tenures in Washington, D.C.

For more information about Houston Ballet’s 2022-2023 artistic staff, please visit houstonballet.org.

Houston Ballet closed its 2022 holiday season on a high note, with record-breaking numbers in terms of sales and attendance. HB performed 33 public and 3 student matinees that were sold to an average of 92% capacity, translating to over 15,000 households who experienced the magic of Stanton Welch’s sixth season of The Nutcracker. 

_{Photo by Lawrence Elizabeth Knox (2022). Houston Ballet Principals Beckanne Sisk as the Sugar Plum Fairy and Chase O’Connell as the Nutcracker Prince with Artists of Houston Ballet and Students of the Houston Ballet Academy in Stanton Welch’s The Nutcracker. Courtesy of Houston Ballet}

“This year had a spectacular run,” Jim Nelson, Houston Ballet’s Executive Director exclaims. “One of the best in our history, way above what we would expect and what we’ve seen historically. We had 78,000 come through the Wortham Theater Center. That’s a lot of people and a lot of joy!”

How wonderful was this year’s production of The Nutcracker? Oh let us count the ways…

• We held 36 performances
• Were awed by 61 company dancers,
• 190 Pre-Pro students and 59 Pro Program students,
• Riveted by 95 Houston Ballet Orchestra musicians
• Used 4,000 yards of netting to create tutus and petticoats
• Fitted over 400 costumes
• By 24 dressers, hair & makeup crew members
• Gasped at 450 square feet of synthetic rat hair!
• Got sprinkled on by 75 lbs of faux snow
• All without ever seeing the 36 stagehands behind the scenes

_{Photo by Lawrence Elizabeth Knox (2021). Houston Ballet Principal Charles-Louis Yoshiyama as Drosselmeyer and Soloist Chandler Dalton as the Nutcracker with Students of Houston Ballet Academy}

Also, this season of The Nutcracker we said so long and best wishes to:

Charles-Louis Yoshiyama as he moves onto his next chapter. Yoshiyama joined the Houston Ballet in 2008 after having won a contemporary award at the Prix de Lausanne in Switzerland. His broad range includes a number of portrayals in Sir David Bintley’s Aladdin, Sir Kenneth MacMillan’s Mayerling, John Neumeier’s A Midsummer Night’s Dream, Stanton Welch’s Giselle, Ben Stevenson’s The Sleeping Beauty, Stanton Welch’s La Bayadère, Ben Stevenson’s Don Quixote and in both Stanton Welch’s and Ben Stevenson’s The Nutcracker. 

_{Photo by Amitava Sarkar (2019). Houston Ballet Principal Melody Mennite as Clara and First Soloist Allison Miller with Artists of Houston Ballet}

We also celebrated First Soloist, Allison Miller in her last performance in The Nutcracker. Miller joined the Houston Ballet in 2006 with an extensive repertoire spanning Stanton Welch’s Swan Lake, Giselle, Bob Stevenson’s The Sleeping Beauty, The Nutcracker, Don Quixote, Coppélia, George Balanchine’s Symphony in C, Serenade, Ballo della Regina, Theme and Variations, and Emeralds. Miller’s arsenal also includes a number of roles in performances that were created with her as the inspiration; Justin Peck’s Reflections and Oliver Halkowich’s Following; and Stanton Welch’s Sons de L’âme and Paquita.

Many cheers and until next year…

Ucross, the prestigious residency touted as a research-and-development lab for artists in the wide open spaces of northeastern Wyoming, hosted a ribbon cutting on Saturday, December 17, to celebrate the Lauren Anderson Dance Studio in the Koehler Performing Arts Center at Ucross. Already revered as a creative haven for visual and performing artists, writers and musicians, this marks the momentous addition of a space that will provide an invaluable place for professional dancers.

Made possible through a gift directed by Deborah and Ed Koehler, longtime Houston Ballet and Ucross Foundation supporters, it was insisted that the studio name would be in honor of Lauren Anderson.

“We are so excited to dedicate this beautiful new rehearsal and performance space in honor of our favorite dancer and world class prima ballerina, Lauren Anderson, and announce a new partnership between Ucross and Houston Ballet,” says Deborah Koehler, who previously sat on the Ucross Foundation board. “The Lauren Anderson Dance Studio will provide first class facilities and resources to allow Ucross dance and choreography residents to fully explore and develop their talent and creativity.”

We sat down with Lauren Anderson to learn more about the Lauren Anderson Dance Studio in the Koehler Performing Arts Center at Ucross and her role.

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Houston Ballet (HB):  Ucross has welcomed artists from a multitude of disciplines, primarily writers, visual artists, and musicians. The Lauren Anderson Dance Studio is the first platform for dancers. Were you familiar with Ucross before this collaboration? 

Lauren Anderson (LA): I’d heard of Ucross but when I thought of Ucross I thought of painters, sculptures, and of course I knew about writers, because of course part of some really major books, shows, and films were created at Ucross. 

[Dozens of Ucross Alumni are Pulitzer Prize, Tony, Emmy, Golden Globe, and Academy Award winners and Macarthur Foundation “Genius” Grant recipients, among a number of other accolades.]

HB: Deborah and Ed Koehler have been longtime supporters of Ucross. How did the connection of getting a dance studio at Ucross come into play?

LA: Well, I’m their daughter’s favorite ballerina, which I think is way cool. They donated to the [Houston] Ballet Ball in my honor – because – I was their daughter’s favorite ballerina. That’s how the relationship started. That’s how I found out who they were. I met them and we started talking – and I immediately thought – this woman [Deborah Koehler] is awesome. Her subtlety, her aura, she’s just amazing. 

So then the Lauren Anderson Young Dancer Scholarship Fund happened. We have a lot of the same goals and ideas about things. Deb mentioned Ucross, and I’m like, I need to look that up, and that’s when I really learned what Ucross was all about. 

After visiting the Ucross campus, I learned more about the history and Raymond Plank’s legacy.

It’s just an amazing facility where artists can go and create without that pressure of having to come up with the most fantastic thing in the world and sometimes that just opens you up in a way you’ve never been opened up before. When there’s no pressure you can really let your juices flow and marinate.
^{-Lauren Anderson}

Then, I came to find out that the dedication was going to be the Koehler Performing Arts Center. There wasn’t a space designated for dancers before this. If you want to dance, there has to be a special place to do it. You can’t just go dance on some concrete somewhere, you know. So they created this place for dance. 

There’s a place for visual arts, a special place for writing. There’s a place for this. There’s a place for that. [The Koehlers] said they were going to name it the Lauren Anderson Dance Studio. I was like, ‘Are you kidding me? Are you sure?’ 

Deb’s passion runs so deep for artists – not just the arts but for the actual artists. From a child getting an education in the arts to the actual professional who is DOING THE THING.
It’s huge, it’s wide, it’s amazing, it’s needed for the artists to know they have allies like the Koehlers. 

HB: Your job is inspiring Houston’s youth on the daily as the Houston Ballet’s Associate Director of the Education and Community Engagement program. How do you see the Lauren Anderson Dance Studio in the Koehler Performing Arts Center creating a connection between Houston and the broader world of dance?

LA: It already has. Next year I will have been here 40 years. I’ve been affiliated with Houston Ballet for 50 years. Houston Ballet is a part of my DNA – that’s how people see me – they know Houston Ballet before they know me. I’m honored to be able to be an ambassador for Houston Ballet. I feel like I’ve always been a connector to the community – so my role as Associate Director of Education and Community Engagement, and being a huge part of this department since it started; this is where my passion lies. This is what I am supposed to be doing. This is a calling. I can’t imagine doing anything else. I am supposed to connect the Houston Ballet with the rest of the world. 

HB: You’ve been cited as an inspiration to people like Solange and more recently Houston Ballet Apprentice – Eric Best. Who were some of your mentors as you were coming of age as a dancer? 

LA: I’ll put it this way – between 1972 – 1983 – anyone who taught in the school shaped me for sure. Carmen Mathe. Clara Cravey.

Ben Stevenson put his HANDS on me and molded me into the dancer I never thought I could ever be. And now the teacher. He has a big impact on my teaching. Whoever I teach is being touched through Ben Stevenson’s knowledge through me. One thing that impressed me and kept me dancing is that he makes anything possible in the dance studio. Because anything is possible in the dance studio. Whether you want to be a dancer or not. You find yourself in a dance studio.

~

To find out more about the Ucross Foundation, visit here.

Houston Ballet Academy will present My First Ballet: Coppelia in the Dance Lab at the Margaret Alkek Williams Center for Dance April 15 & 16. The My First Ballet program features abridged performances that are under an hour long. This year’s program is Coppélia, the comic love story of Swanilda and Franz and their adventures in Dr. Coppélius’ toy shop. Using actual sets and costumes from Ben Stevenson’s Coppélia, this ballet production is designed to inspire Houston’s youngest generation with a love and appreciation for performing arts. 

A special look at the Sensory-Friendly Performance

On Sunday, April 16, 11:00 AM, the performance will be adapted for a neurodiverse audience. 

The Sensory-Friendly performance is a specially designed experience that has been modified for neurodiverse audience members that includes interactive pre- and post-performance activities, and an opportunity to meet the cast! Everyone can experience ballet in a way that is comfortable for all. 

What you can expect at a Sensory-Friendly performance:

• A Social Story that helps audience members prepare for the performance and understand what to expect;
• Specially trained volunteers who staff the event ensuring a positive experience;
• Hands-on activities and fidget toys;
• Adjustments to sound, light and other performance elements;
• House lights remain on to enable movement in and out of the theater during the performance;
• Livestream of the performance to the Center for Dance lobby for audience members that want to leave the theater; 
• Opportunity to meet the cast after the show

A history into Sensory-Friendly performances at Houston Ballet

Sensory-Friendly performances are increasingly common throughout the US and UK. The CDC estimates about 1 in 36 children are diagnosed with Autism spectrum disorder (ASD) – a developmental difference in the brain that may affect how people communicate, interact, and react. With the prevalence of sensory sensitivity in youth, Houston Ballet strives to provide an inclusive environment that is welcoming to a neurodiverse audience.

In 2014, former Houston Ballet dancer, Kim Stafford, who has a child with ASD, requested to take her son to a dress rehearsal of The Nutcracker because she was reticent about taking him to a performance. She spoke with Executive Director Jim Nelson about starting a sensory friendly performance, who was immediately on board as inclusion is one of Houston Ballet’s Core Values.  Stafford worked with Houston Ballet Academy Director, Jennifer Sommers and other members of the neurodiverse community to plan and present the inaugural performance in May of 2015 in the Margaret Alkek Williams Dance Lab.

Houston Ballet strives to present dance to the largest audiences possible, having a commitment to adapted dance programs, with Dance for Parkinson’s established in 2009, and its weekly Adapted Dance classes in partnership with the Down Syndrome Association of Houston which started in 2012. Adding sensory-friendly performances in 2015 was a welcome addition to expand accessibility efforts in our programming. 

My First Ballet: Coppélia, Synopsis

The ballet opens with a young village girl named Swanilda and a boy named Franz celebrating their love during the town festival. They dance the mazurka folk dance with all of their friends.

Swanilda notices that Franz is distracted by what she believes to be a beautiful girl in Dr. Coppélius’ house. Swanilda and her friends decide to sneak into his house only to find the beautiful girl is actually a doll inside an enchanting toy workshop.

Franz is asleep in the workshop, but he is awakened by the doll coming to life. Swanilda is pretending to be the doll so Franz will love her. Dr. Coppélius is frustrated and confused, and he banishes Franz and Swanilda from the toy shop.

They leave the toy shop and find their love for one another is still strong. The ballet finishes with the wedding and a celebration of their love.

~

More information about the program can be found here: https://www.houstonballet.org/about/ece/my-first-ballet/ 

Special thanks to our partner KNOWAutism, and to our sponsors, Houston Methodist, Bank of America, KPRC Channel 2, Chevron, and Texas Commission on the Arts, for helping us share the joy of dance with thousands of children and adults each season!

After 32 years as Music Director of Houston Ballet, Ermanno Florio will step down from his position at the end of the 2023 – 2024 season. Since joining Houston Ballet in 1992, Florio has been the Principal Conductor for every production – from the classics of Tchaikovsky, Prokofiev, and Stravinsky to the many world premieres by Artistic Director Stanton Welch AM and other world-renowned contemporary choreographers.

“It has been a privilege and an honor to have led so many fine performances with the Houston Ballet Orchestra and to have accompanied the wonderful dancers of the Company for more than three decades. I will always treasure the many beautiful and memorable productions we have created together, and I am very proud to have played a part in the musical development and growth of our Orchestra. I feel fortunate to have worked closely with so many dedicated, talented colleagues. Although I’m stepping down as Music Director of Houston Ballet, I will continue with my international conducting career and look forward to the possibility of guest conducting with the Company in the years ahead.”

-Maestro Ermanno Florio

Florio was appointed Music Director of the Houston Ballet in 1992. From 1998 to 2001, he also held the position of Music Director of the American Ballet Theatre. From 2004 to 2012, Florio was Music Director of Het Nationale Ballet in Amsterdam and continues as principal guest conductor with the Company. The highly versatile Florio has impressed both audiences and critics in the world’s major centers and maintains an active conducting schedule which has included extensive engagements with major ballet companies all over the world, including New York, London, Paris, Tokyo, Vienna, Berlin, Amsterdam, Milan, Rome, Zurich, and Geneva. 

“Under his extraordinary musical leadership, Ermanno has been able to bring dancers and musicians closer together and thrill Houston’s audiences with his artistry. His collaboration with all has resulted in continuous wonderful performances and contributed greatly to our company’s artistic success, all while helping to build the reputation of Houston as one of the greatest cities in the world for art. He is an exceptional musician, conductor and collaborator. I am forever grateful for having had the opportunity to work with him over the last two decades.”

 – Artistic Director Stanton Welch AM

Florio’s extensive discography includes video releases of critically acclaimed performances of Don Quichotte with L’Orchestre de L’Opera National de Paris, which won the Cannes Classical Music Award for Best DVD in the category of Concert and Ballet Recordings, and Le Corsaire with American Ballet Theatre, which won an Emmy for Outstanding Classical Program in the Performing Arts.  Florio’s numerous music arrangements include Houston Ballet’s very own Marie and La Bayadère choreographed by Stanton Welch.