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.
A + C editor in chief Nancy Wozny visited with Houston Ballet principal and Dallas native Sara Webb about Stevenson's beloved ballet and the challenges and joys of the role.
The Sleeping Beauty, the big hit of 19th century czarist ballet, continues to be performed all over the globe. When Ben Stevenson created his lavish version for Houston Ballet in 1990, the company also had a hit.