Miami City Ballet Blog

Principal dancer Jennifer Carlynn Kronenberg tells all about being a new mom and professional ballerina! Talk about a balancing act!

We can’t believe that its already our final program of the 2012-2013 Season!  While we feel like the year has just flown by, many of us have been anxiously awaiting the opening of Program IV: Broadway and Ballet — especially our dancers who can’t wait to get onstage.  Find out why!

Emily Bromberg

Emily Bromberg, Corps de Ballet, on Program IV: Broadway and Ballet – I’ve been looking forward to Program IV since last July [2012] when we started rehearsing for both ballets!  I was overjoyed when I saw that I would be learning the “mauve” girl in Dances at a Gathering.  For me, this part has a lot of meaning. From what I understand, her character is portrayed as a bit internal and full of thought.  Finding my own way of portraying this has been my favorite part of the rehearsal process because everyday I get to go into the studio and experiment with how I want to feel, while dancing each movement.  This experimentation along with the personal molding of each of the difficult, but liberating steps is such a fulfilling process.  I couldn’t look more forward to performing such a role!  Slaughter on Tenth Avenue is so much fun to perform with the audience! We use their energy, applause and reactions to fuel our every step!  I’m happy to get the chance to be a part of it!

Bradley Dunlap

Bradley Dunlap, Corps de Ballet, on George Balanchine’s Slaughter on Tenth Avenue –  For the first time I am performing a pre-dominantly, comically-driven “character” role.  This new experience has given me a chance to take a break from my technique and just have fun. Without Slaughter I wouldn’t have realized the satisfaction of an audience responding to my work with laughter.

Callie Manning

Callie Manning, Principal Soloist, on Program IV: Broadway and Ballet – Personally, this program is like visiting old friends.  I’ve performed in both Dances at a Gathering and Slaughter on Tenth Avenue before and have very fond memories of both.  They are roles I love and can’t wait to dance them again. The part I do in Dances, “Green Girl”, is a really special part to me.  She’s a little cooky, flirtatious, reminiscent and quite complex.  I love diving into her character and discovering new things about her.  Every performance I do brings out something different.  Slaughter satisfies me in a completely different way.  Don’t tell anyone, but I always secretly wanted to be a Fosse dancer on Broadway.  The “Strip Tease Girl” in Slaughter, is the epitome of Broadway — high kicks, jazz hands and all!

Jennifer Carlynn Kronenberg

Jennifer Carlynn Kronenberg, Principal, on Program IV: Broadway and Ballet – Slaughter on Tenth Avenue and Dances at a Gathering are ballets that are very dear to me since I’ve had the great opportunity to “grow into” my roles in both — having danced them since the company premiered them years ago.  The “Striptease Girl” in Slaughter is such fun to dance onstage.  I learned it back when it was staged for us by Susan Hendl, and it was very different than anything I had yet danced with MCB – almost more Broadway than ballet!  It was a great chance to let go, have fun and even show a little of my wild side in the jazzy, upbeat second pas de deux.  It was especially fun to dance years later with Carlos [Guerra] as the “Hoofer”!

Dances is another ballet that I learned from Ms. Hendl back when she staged it for the company.  I was originally cast, fittingly, as the “Mauve” girl – a role that seems, to me, much like the older sister.  She is a bit more serious, pensive and mature than the pink, blue and yellow girls.  After dancing that role for years, it seems natural to now move on and transition into the role of the “Green” girl, who has an unusual cameo sort of part in the ballet.  Her solo, originally choreographed for Violette Verdy, is one that portrays an older, nostalgic, maybe even retired dancer reflecting on the joys of her career as a great ballerina.  Though I’m not not yet retired (I’m confident I have more than a few good dancing years left in me), I’m certainly at a point in my career where I can identify with the idea of “reflection”.  With each step of the solo I can really bring myself back to a special moment I had onstage — engaging the audience or getting lost in the steps, the music, the lights and the special perfume of a  ballet. With a flick of the foot, the solo ends with the “Green” girl simply walking offstage with a unique satisfaction.  She seems very proud of what she has accomplished …. not necessarily in that specific moment, but in general throughout her career.  That is something I can definitely relate to.

See Emily, Bradley, Callie and Jennifer  in our final program of the season Program IV: Broadway and Ballet!

Kravis Center: April 5-7
Broward Center: April 26-27
Adrienne Arsht Center: May 3-5

Principal dancer Jennifer Carlynn Kronenberg has certainly kept busy during her pregnancy.  Not only is she a soon-to-be-mom, but she is also staying active, taking ballet classes and raising money for Miami City Ballet’s Toe Shoe Fund.  With the help of Haute Couture fashion designer Ozcar G. and friends, she created the fashionable cause and opening night event Project Pointe.  The chic affair will raise money through a silent auction, which features exclusive, one-of-a-kind items including an original Ozcar G. Couture evening gown, hand decorated and embellished pointe shoes by Ozcar G., himself, original art work and photography, and jewelry.

All proceeds will support the Toe Shoe Fund and help Jennifer achieve her goal.

© YOBE Photography

“Pointe shoes are singularly the most significant tool that dancers rely on to perform at our best.  They are deceivingly fragile and no two pairs are exactly the same.  Miami City Ballet’s Toe Shoe Fund initiative raises critical funds to ensure that our dancers are equipped with a shoe supply abundant enough to match the ever increasing demands of our rehearsal and performance schedules.  Since we each wear our pointe shoes out differently, pointe shoes inevitably become a part of a dancer’s unique “footprint.” Every “dead” pair has served a ballerina in its own special way, and has helped to create countless inspiring moments.  There is no better way to make a ballerina smile than to give her a brand new pair of shoes — crafted to her own specifications, helping to keep her feet protected, supported and injury free. Please help to keep us smiling and on our toes!  Your support of MCB’s Toe Shoe Fund is personally appreciated by each and every one of us.”

Jennifer Carlynn Kronenberg
Principal Dancer

Project Pointe takes place at Adrienne Arsht Center’s Peacock Rehearsal Studio on Friday, October 19, 2012 — opening night of the 2012-2013 Season.  Those who place bids will be invited back to the Peacock Rehearsal Studio for a VIP cocktail and dessert reception after the performance, to make their final bids and claim their prizes. Click here to see the auction items.

Congratulations to principal dancers Jennifer Kronenberg and Carlos Guerra!
The two love birds (and dance partners) are expecting their first child in November!

Jennifer and Carlos met and fell in love at Miami City Ballet. Two years ago we sat down with the couple for our Valentine’s Day love series and asked them when we would hear the pitter-patter of little ballet shoes — their answer was one to two years. And here they are in 2012 with a baby on the way! Click here to see their charming Valentine’s Day interview.

Giselle is the story of a young peasant girl who dies of grief and madness after being betrayed by her lover, Albrecht. “The mad scene” takes place right before her death when the truth is revealed. Principal dancers Tricia Albertson and Jennifer Kronenberg give their perspectives on “the mad scene” in Giselle and how they prepare for the deeply emotional part.

MCB performs Giselle at Adrienne Arsht Center on February 17-19, Broward Center February 24-26, and at Kravis Center March 9-11. Click here for more information.

Jennifer Kronenberg was interviewed for the August/September issue of Pointe Magazine about stepping off the stage and into a teaching role.

“I’ve always liked deciphering and explaining things. When I get an idea across to my students, I’m amazed at how much clearer it becomes in my own mind.” – Jennifer Kronenberg

TO READ THE ENTIRE STORY, CLICK HERE.

Post by Principal Dancer Jennifer Kronenberg

What a great honor it was to dance the role of ‘Juliet’ for MCB’s premiere of the historic ballet Romeo and Juliet, and for our silver anniversary – celebrating the company’s great accomplishments over the last twenty five years. I have not felt such excitement and sheer anticipation at the idea of a performance in a very long time. It seemed like the buzz was everywhere, not only between dancers and staff, but out on the street as well. The public was amazingly enthusiastic over us dancing Romeo and Juliet; anxious even, which of course only added to my own exhilaration!

For weeks I dreamt of opening night. My expectations were very high, and I couldn’t wait to get on stage and dance. When the moment finally arrived I was ridiculously emotional. I was nervous, giddy, excited, and so sad to think that in three short hours, before I even knew what hit me, it would all come to an end.

Would performing this iconic ballet be all that I had expected? Could I really do it justice? I had built it up so much in my mind, though I tried my hardest not to. Would the audience appreciate how much I love and respect the role of ‘Juliet’? Could they understand how much hard work went into preparing for it, how special this all was to me? Did that even really matter?  I hadn’t thought so, but I suddenly found myself worrying about it. So many thoughts were going through my head and I wanted to run away from them.

My first couple of entrances went by like a whirlwind. I yearned to feel something magical, yet it was all moving so fast, and not as smoothly as I had hoped. There were traffic issues backstage, costume changes weren’t going smoothly, and I was sweating all of my makeup off… What happened to the fairytale that I had dreamed about? So far I was way too connected to harsh reality.

But before I could get too disappointed, things changed. In the ball scene, when Carlos’ eyes met mine for the first time, everything slowed down. Time stood still in just that instant, and I felt an overwhelming calm come over me. This was it! This was the feeling that I had been waiting for – the high that I feared would get drowned out by adrenaline and frenzy, and escape me in the performance. I felt overwhelmingly relieved at seeing my Romeo. In that moment, I knew that nothing else mattered. We were in the midst of achieving something great, and infinitely special. I knew it was a performance that I’d remember and treasure always, and one that never had to be, nor could be replicated. I decided in that instant to commit myself to enjoying the ride for as long as it would last.

We’ve danced a number of “R&J’s” since opening weekend, and no two have been exactly alike. I’ve been trying to appreciate how unique and distinctly different each one is from the last. I am so happy, and eternally grateful, to have been given the opportunity to dance ‘Juliet’, and I hope that I’ll be able to grow and evolve with each performance to come.

Photos © Kyle Froman

Welcome to 2011! It’s a new year and a fresh start! The first few days of the year is about the time when most of us are starting on our New Year’s resolutions…and the MCB dancers are no different. Principal dancer Jennifer Kronenberg ventured into the theater with the Flip camera to find out what the rest of the dancers’ New Year’s resolutions are!

Happy New Year! And good luck with those resolutions!

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.