Of all the changes to come out of the pandemic, having an audience be closer to its performers is not one many dance groups anticipated. But Katie Puder, Avant Chamber Ballet’s artistic director, is thrilled with this outcome for her company.
“For people to see the dancers’ faces so up close and to see the actual effort of dancing—most audience members have never seen dance like this,” she says. “Suddenly it’s not just this perfect glossy thing onstage, but athletic artists actually working right in front of you.”
“We’re planning on using the space in a really theatrical, intimate way,” she says, “with an audience of only about 100 seated on at least three sides of the dancers.”
It’s a non-traditional setting for a world-premiere homage to Serge Diaghilev and his Ballet Russes, a company that changed ballet forever in the early 1900s with groundbreaking commissions of music, score, and design. Puder says The Legacy of Diaghilev is not only a nod to the Russian arts impresario, but also his modern way of storytelling: “It’s so exciting to do something different in a unique space,” she says.
Also in the program is the premiere of Fernanda Oliveira’s Jeux, a ballet described by its composer Claude Debussy as a “danced poem.” It is Oliveira’s second work created for ACB, following Homebound in spring 2019 when she won the company’s Women’s Choreography Project commission.
“The first ballet Fernanda created for us was a one-act ballet that had a clear storyline for the main dancer, so I immediately thought of her when it came to commissioning this work,” Puder says. “She was really excited to do the research of the original ballet and how it was first performed—it’s almost a lost ballet. Even though it has been reprogrammed and choreographed in different ways there weren’t complete films of ballets back then, and at a time when a new work from a female choreographer was completely unheard of. That drew me to it out of all the ballets from Diaghilev’s company.”
Currently a dancer herself with the Philadelphia Ballet, Oliveira has what Puder says is a clear awareness of what looks good on a classical ballet dancer while still creating something entirely original.
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Avant Chamber Ballet’s Eugene Barnes and Caroline Atwell in Legacy of Diaghilev. Photo by Richard Hill.
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Avant Chamber Ballet’s Eugene Barnes in Legacy of Diaghilev. Photo by Richard Hill.
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Avant Chamber Ballet in Brahms Trio. Photo by Sharen Bradford.
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Halle Bauer, Melissa Meng and Madelaine Boyce rehearsing Katie Puder's Brahms Trio. Photo by Sean Sullivan.
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Diego Miranda-Monsman, Sydney May, Madelaine Boyce, Kaylee Skelton, Melissa Meng and Kaila Bryant rehearsing Katie Puder's Bartok Duets. Photo by Sean Sullivan.
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Fernanda Oliveira rehearsing Jeux with dancer Diego Miranda-Monsman, Melissa Meng and Eugene Barnes III. Photo by Katie Puder.
Though The Legacy of Diaghilev closes out ACB’s mainstage season, there are a handful of outdoor family concerts on the docket this spring as well. These concerts are free, and often include audience interaction where children can learn choreography and dance with the dancers after the performance. In addition to pending dates in Southlake and Colleyville, ACB will perform at Klyde Warren Park’s open pavilion. The first is a spring celebration on April 10, and the second is Paul Mejia’s choreography to Sergei Prokofiev’s Peter and the Wolf on May 22.
—LINDSEY WILSON