Balance, an ability vital for a dancer en pointe or leaping from earth to air, is equally necessary for an artistic director programming a new ballet season. And this is especially true for a company as large as the Houston Ballet with its rarity of two artistic directors, Stanton Welch and Julie Kent.
With more than 615 performances, featuring artists from over 42 countries, and 180 debut events since its founding in the 1980s, TITAS/DANCE UNBOUND continues to redefine what it means to experience dance in North Texas.
Step into Sons of Hermann Hall this April 24 and 25, and you won’t just watch a dance performance — you’ll dodge bullets, outrun outlaws, and untangle a Wild West mystery as Bombshell Dance Project turns Dallas’s oldest saloon into a living, breathing frontier town.
I would wager that anyone familiar with Texas dance would say that it was only a matter of time before Jennifer Mabus initiated her own creative platform.
When the English National Ballet first commissioned international superstar choreographer Annabelle Lopez Ochoa to create the ballet that would become Broken Wings, the original concept was to create a dance about “a woman from literature or history that was damned and doomed.”
Time is a precious commodity, and as we move further away from the standstill of the pandemic years, many of us are finding that we have far less than we would like.
Making dances can be an unrelenting cycle of creative ideation, talent management, and administrative multitasking; finding a platform to show the work once it is complete can be just as unforgiving.
Indefatigable Alexa. That’s the only way to describe Austin’s Alexa Capareda, whose professional artistic engagements include dancing, choreography, teaching, film, drawing, arts administration/organization, and now additionally, acting.