When Houston Ballet takes the stage next fall for the Houston premiere of Sir Kenneth MacMillan's Mayerling, Sept. 22-24 at the Hobby Center, it will surely be new for the audience, yet also be a continuation of a storied relationship between the company and the legendary British choreographer.
Watching a rehearsal of Mayerling I witnessed a company in motion in more ways than the splendid dancing in the room.
Entering the lobby at Houston Ballet's Center for Dance for Project REACH on balmy Saturday night felt like going to a club where all of the city's A-lister dance folks had gathered for something big and important.
I’ve always had a pestering curiosity about Anna Sokolow. A great American choreographer who influenced the development of modern dance in America, Israel, and Mexico—to say nothing of the famous actors who credit her as a force in their training, including Faye Dunaway, Julie Harris, Eva-Marie Saint, Jean Stapleton, Eli Wallach, Patti LuPone, and Kevin Kline—Sokolow nevertheless remains at the periphery of the canon.
Now 30, Walsh has spent half of his life in Houston, and over the years, he has become quite the audience favorite.
At first glance, Houston Ballet's 2017/2018 Season can look like a crash course in ballet, with something for everyone, including ballet connoisseurs, contemporary enthusiasts and those completely new to the art form.
Snow, a Sugar Plum Fairy and a gigantic Christmas Tree are three things we all expect from any production of The Nutcracker.
Houston Ballet is throwing a little holiday get-together, at least that's what it looks like from my seat at the front of the rehearsal room as the company enacts the famous party scene from the Nutcracker.
In traditional versions of Giselle, the worlds of the living and the dead are separated by an intermission, each confined to its own act. In Houston Ballet’s brand new version, at Wortham Theater Center by Artistic Director Stanton Welch, the worldly and the ethereal overlap to come full circle.
On a sunny May afternoon, I found myself spellbound, watching Houston Ballet principals Yuriko Kajiya and Connor Walsh rehearse the very first meeting between Giselle and Albrecht.
I always expect to be dazzled when I walk into a Houston Ballet rehearsal, but watching this talented company sing as well as dance raised the thrill factor.
The Sleeping Beauty is one of the classical ballet’s most technically difficult yet visually dynamic works — a ballet by which ballet companies are judged.