Miami City Ballet Blog

Post by Kris Kramer, Corporate Gifts Officer and former MCB dancer

One morning, before the Summer Intensive Program began, I ran into our Production and Lighting Director, John Hall. John was in his normal friendly demeanor and I immediately struck up a conversation with him. Since he had a pad of paper in one hand and a pen in the other, I asked him what he was up to. “I’m counting barres,” he replied. As he filled me in on what he was doing and why he was up to this “barre tab,” I instantly thought, “Our blog followers need to know about this!”

John explained that he was taking inventory of the barres mainly to get prepared for the 211 dance students that would arrive from all over the world for Miami City Ballet School’s Summer Intensive Program. Since there is such an influx of dancers during the five weeks, MCB needs to make sure we have enough equipment for the students.

His tally was up to 50 barres. Fifteen of the 50 were aluminum, light-weight barres that couldn’t be used because they were uncomfortable for the students. As a former dancer with the School and Company, I would never choose these aluminum barres when I took class. On the rare occasion I had to use one, it was always frustrating. If I was doing a hard combination and was relying on the support of the barre, it wasn’t there and that prevented me from getting the most benefits from the exercise. I would say they were mostly a nuisance, as these barres are so light you can pick them up with one hand. I was glad to hear that John was getting rid of them.

Since there was going to be a reduction in the barre tab, John continued to explain to me that they were going to buy 20 new barres. These barres are white and have two parallel bars at the top spaced about a foot apart. This makes it easier to accommodate dancers of different heights and allow them to move more gracefully through different exercises and stretch at different intensities. In addition, they are relatively easy to adjust. Dancers often adjust the height of the barres before their warm up exercises depending on their height so their hands hold the barre at a certain angle, a little less than 45 degrees from their torso. These barres are $200 each. So with 20 new ones, MCB will have to cough up a $4,000 barre tab. Ouch!

John shared this last tid bit with me. The 12 barres that travel with the Company from theater to theater were being brought into the studios as well. This would help accommodate the 211 Summer Intensive students during their training and bring the barre count to 67 in total. Three or four students to a barre is perfect in my book so I think John got his number right.

As I walked to my desk on the third floor administration level, I remembered there was even another type of barre used here. They are big, heavy, metal barres and usually need to be carried around the studios by two dancers. These mostly stay with the professional dancers, but will be used by the students over the Summer Intensive Program and were also figured into John’s 67 count. I sat down at my desk and had a final thought: “Wow! even the barres around Miami City Ballet can be so interesting.”

Here is one of the big, heavy, metal barres. Two dancers have to carry these!

This is one of the light-weight barres John was getting rid of.

This is one of the good barres! See how they have two parallel bars at different heights? Perfect!

Twyla Tharp Repetiteur Elaine Kudo returned to MCB in June to stage the highly-anticipated company premiere Baker’s Dozen. Having worked with us last season on “The Golden Section” as well several other pieces in the past, Elaine is part of the MCB family and we are always happy to have her here. Baker’s Dozen differs from the high energy works you come to expect from Tharp. We chatted with Elaine about what we will see in this ballet.

Baker’s Dozen premieres in Program II. Tickets are on sale now.

Post by Principal Dancer Jennifer Kronenberg

A typical layoff period for MCB dancers can range anywhere between two to three months depending on the season. Though it’s wonderful to have a lengthy vacation after a hard season, it can be difficult to go so long without dancing…and income. Carlos and I typically try to find guest dancing or teaching work during some of our time off, not only to provide for ourselves financially but to keep ourselves busy and in shape.

This year, instead of the long three months off that we had last season, we were lucky enough to have just six weeks between last season’s end and the start of rehearsals for the upcoming season. Carlos and I did dance for the first few weeks, rehearsing for two performances we were invited to participate in at the Virginia School of the Arts for their 25th Anniversary Gala. After that we decided that we needed a break and headed off to the Dominican Republic.

Some may find it strange that we enjoy vacationing in tropical places when we live here in Miami and are at an arm’s length from the beach every day. The fact is though, that we just don’t have the time to take advantage of it…and can never really relax when we’re so close to home; there is always something to do or take care of! So, we ran away to hide…from friends, family, commitments…from life itself, and it was AMAZING!

We had such a fantastic time on our honeymoon four years ago, that it set the standards pretty high for us as far as vacations go. I never really expect to have as great a time as we did then…but this time I was pleasantly surprised. This resort was not nearly as fancy, we didn’t venture out on any excursions, and we didn’t have the “butterfly” tummies of newlyweds, but we simply forgot about the universe and enjoyed each other’s company.

Every day began with a trip to the gym (to work off all of the food we ate!). We then spent the rest of each morning and afternoon lounging on the beach — talking, laughing, sleeping…whatever. It was so nice to be stress free, with no agendas to keep to, no schedules to follow. We shared a terrific couple’s spa treatment one day…massage, rose petal Jacuzzi, champagne, the works! We just talked and talked, and I was reminded how very much in love I am with the man I married. We spend so much time together day after day in the studio that sometimes I forget what he’s like as Carlos the person, separate from Carlos the dancer. Well, this summer I remembered, and I’m so glad that I did. He’s definitely my Romeo…dancing or not.

Recently our dance studios were transformed into photography studios! In preparation for our 25th Anniversary Season, Lois Greenfield, renowned dance photographer, visited once again to take photos of the ballets MCB will perform in the upcoming season, such as Fanfare, Baker’s Dozen, and Romeo and Juliet. Having collaborated in the past, the dancers and the photography team felt very comfortable with each other and the shoot was incredible. Then, Miami-based fashion photographer Gio Alma had his shot at photographing the troupe. They shed the tutus and pointe shoes and instead sported their everyday clothes, and let their personalities shine. Needless to say, both shoots were a blast and made our anticipation for the 2010-2011 Season grow more and more.

Check out a behind-the-scenes video of the shoots.

Select pictures from the shoots are featured in our 25th Anniversary Season brochure. If you didn’t yet receive one, e-mail boxoffice@miamicityballet.org for your copy.

Miami City Ballet dancers exercise in other ways, outside of ballet, to keep in shape. One popular option is Gyrotonic, an exercise that guides users to simultaneously stretch and strengthen muscles and tendons while also articulating and mobilizing the joints. Lucky for MCB dancers, they don’t have to go too far…we have a Gyrotonic room right here in our building!

We recently caught up with principal dancer Jeanette Delgado during one of her sessions to learn more about this specialized exercise routine.

Post by Michael Sean Breeden

The layoff period between seasons is a much-needed time in a dancer’s life. We are able to sit back and reflect on the past season now that the demands of performing are over. Best of all, perhaps, the time off allows us to take vacations that will leave us refreshed and mentally ready to come back for another season.

For the second consecutive year, myself and fellow corps de ballet members Ezra Hurwitz and Neil Marshall have embarked on an extensive European vacation. We began in London, went to Paris and then on to the Cote D’Azur and Provence in the south of France and are presently in Barcelona. One great thing (among the many) about being on vacation in Europe is that it is so rich in art and steeped in its long-held traditions. We often miss out on other art during the season due to our hectic schedule and there is no better time to get our fix than during the layoff.

In addition to seeing major sights, we’ve been spending hours in many, many museums — small and large — with art work ranging from the Renaissance to Surrealism. We wandered through Monet’s gardens and had new-found appreciation for his work when we later saw it in various museums. We stopped in at Dali’s bizarre and stunning house in Figueres, Spain, full of huge-scale works that have impeccable attention to detail. Presently, we’ve been running through Barcelona taking in all the revolutionary Gaudi architecture that seems light years ahead of its time, or any time really.

While architecture and painting are art forms that differ very greatly from ballet, one can still learn much through appreciation. The skill and dedication necessary to have created these masterworks is more than admirable and these are lessons than can be applied to any trade.

We did, however, find time to go to the ballet. In London, we saw the Royal Ballet perform a mixed bill of contemporary and new works. Even though they were working with new choreography, one can still see the great English training and style vividly in almost all of the dancers. It is especially fascinating because it is an almost 180-degree difference in style from the way we dance at Miami City Ballet. They are all about elegant placement and soft poetry whereas we love physical strength, attack and freedom of movement. Even the musicality is different. They often ‘coast’ through the music, gently dancing along the surface of it, while the Balanchinean way is to directly inhabit and reflect it.

Before we jetted off to Europe, I also had the chance to see the New York City Ballet gala, an evening of two premieres by Benjamin Millepied and Alexei Ratmansky. Having worked with Benjamin for my SAB (School of American Ballet) workshop and gone to school with two of the ballet’s principals and many of its corps, it was a particular pleasure to see how much all these artists had grown. While it is nearly impossible to keep up with your peers during the season, it is always wonderful during layoff to see what directions their careers have taken.

While I am sad that my trip is coming to an end, and I’ve enjoyed experiencing the arts and cultures of several different countries, I always come out of a layoff looking forward to coming back to class and rehearsals. This trip has left me feeling refreshed, invigorated and ready to be back in the studio.

With Ezra and Neil at Notre Dame

On a boat ride in Cote D'Azur

Pont du Gard in France

Neil enjoying the view

Since the dancers went on layoff at the beginning of May, it’s been pretty quiet here at 2200 Liberty Avenue. Luckily, some of them will be blogging and keeping us updated on their whereabouts throughout the summer. The troupe will be back in June for a brief rehearsal period, but have had plenty of time for fun and relaxing before returning to the studios.

First at bat – Brad fills us in on what he’s been up to during his time off.

Post by Bradley Dunlap

Over the past couple of years I have on-again off-again taken yoga classes. The practice offers great relief to an overworked body. As ballet dancers we spend a lot of time over-rotating our hips and yoga helps to alleviate a lot of that stress. After taking yoga, I would come in to work the next day feeling free, powerful, and ready for anything. I noticed a stronger breath and looseness, especially in my above average tight hips. It was awesome. I was looking forward to a break from dancing so I could spend some time to further my education in the practice. And here it is! It has been wonderful. I spend my time at Miami Yogashala, which is only a few steps from the ballet’s home. Great teachers have gotten me into positions I never knew were possible and I am pushing my body to new boundaries. Along with my yoga, I have been taking Gyrotonic classes from our ballet mistress Crista Villella. Her effort in the class to bring me new awareness is marvelous. I have also been rolfing, which is an intense form of massage to help realign the body. My IT bands [iliotibial bands] did not want to be messed with but David, my rolfer, had no mercy. The effects have been wonderful.

Along with taking time to work on preparing my body for the next season, I also think it is important to relax. To achieve that…..Disney World!!!! Besides one quick day trip, I have never experienced the Disney experience. Dreams really do come true! I felt like a kid and it was great. My biggest worry was which ride was next and deciding if I wanted a corn dog or pizza. I have to say, Epcot was my favorite park with Hollywood Studios in at a very close second. I spent it with my lovely lady Leigh, her sister Sara and my best friend. MCB dancers Callie, Didier, Stephen, and our friend Alan were also in attendance. The trip was perfect — even down to the weather. With three weeks left of vacation and no excuse to procrastinate, I hope to get some stuff done around the apartment like painting and putting pictures on the walls. However Roland Garros (Tennis French Open) does start in 5 days so we will see…

Post by Principal Dancer Jennifer Kronenberg

I can only imagine how very excited our patrons and audience members were to learn that Miami City Ballet has been awarded a grant from the John S. and James L. Knight Foundation (as part of its Knight Arts Challenge) that will allow us to perform with orchestral accompaniment for the next three seasons. But they should know how thrilling this news is for me and the other dancers as well! The elated feeling that most dancers get when performing to live music is almost indescribable. For as much as it enhances a performance from an audience member’s perspective, the experience that it gives performers is immeasurable. It truly brings the ballet to life…it is the last piece of the puzzle…the missing link that adds a fourth dimension to the performance for everyone.

Dancing to live music really keeps us “on our toes,” so to speak. We are forced to be completely present, aware and “in” the moment at all times; listening carefully for any changes in tempi. We are not at all permitted to function on “automatic,” as we sometimes do subconsciously, simply dancing to a recording that we rehearse to everyday. We adore the challenge presented when with an orchestra — we are forced to dance with the music-as one would dance with a partner. It certainly makes our performing experience all the more alive and enjoyable. For me, there is nothing more satisfying than being able to connect with and really feel the music that is accompanying me. It is a great partnership that exists between the musicians, the conductor, and the dancers, providing a uniquely whole and fulfilling performance for everyone. Having an orchestra for our upcoming seasons will be a gift for all of the dancers, as well as for the audience, and I, for one, am glad that we’re being given our missing link back!

Jennifer Kronenberg in La Sonnambula. Choreography by George Balanchine © The George Balanchine Trust. Photo © Joe Gato.

See La Sonnambula in Program II of the 25th Anniversary Season. Don’t miss out on what promises to be an extraordinary year — complete with the return of Opus One Orchestra! Get your season tickets now to make sure you have the best seats in the house. Click here for more information.

Post by Toby Lerner Ansin, Founder of Miami City Ballet

Since the age of 6, when I put my hand on the ballet barre and did my first plié, I have had a passion for the art form.  I studied seriously until the age of 12, when I realized I had neither the talent nor technique for a professional dance career and decided I had better start thinking about going to college!

But even after I earned my bachelor’s degree, dance remained in my heart and I continued to study ballet and take class for my own enjoyment until the age of 40.  Although I no longer don pointe shoes, I still feel a special connection to all students who work hard every day to express themselves–and touch the hearts of others–through the medium of dance.  Ballet was, and always will be, one of the greatest loves of my life.  In my soul, I am a ballerina.

It gives me such pleasure to provide an opportunity for young people who share my passion for dance, and possess both talent and a good work ethic, to train with a world-class ballet school like Miami City Ballet School.

My greatest joy is watching the dancers with the School become members of the Company, like Jeannette and Patricia Delgado. I remember when they started at the school I said to myself, “keep an eye on those two, they are going to be special!”

Now, they are principals with the Company. Jeannette’s performance at City Center was named by The New Yorker as one of the top ten cultural events of 2009 and they have been photographed by Bruce Weber for W Magazine.  I want to be a part of making sure that others with talent like theirs have the means to reach their goals and make their dreams come true. My inner ballerina will continue to dance through the students.

My family knows me very well, and they gave me the most wonderful gift by creating this scholarship to honor me.  Nothing could have made me happier! The entire Ansin family is especially proud to follow the rising careers of Miami City Ballet School’s talented dancers.

I also want to give a special shout out to Andrei Chagas, the first Toby Lerner Ansin Scholarship recipient. Congratulations and keep up the great work!  I look forward to watching you on stage.  Bravo!

“A wealth of fresh talent is emerging… Numerous dancers who made impressions in solo roles included several who have graduated (from the company’s school and then its apprentice ranks) into the corps de ballet.” The New York Times, 2010

It’s that time of the year again when parents and friends from all over the world visit our studio theater to watch their favorite students in the Miami City Ballet School Student Showcase. With a program that includes George Balanchine’s Serenade and The Four Temperaments, the School is buzzing with excitement about the performances!

Dancers, who are now members of the Company, remember feeling the same rush as they prepared to dance in the Showcase.  Here are some faces you may recognize from our stage  — check them out in their MCB School days!

Rebecca King, Corps de Ballet

Ashley Knox, Corps de Ballet

Sara and Leigh-Ann Esty, Corps de Ballet

Elizabeth Smedley, Corps de Ballet, with MCBS faculty member Geta Constantinescu

Nicole Stalker, Corps de Ballet

Patricia Delgado, Principal Dancer

Jeanette Delgado, Principal Dancer

Bradley Dunlap, Corps de Ballet, with Sara Esty

Zoe Zien, Corps de Ballet