Justin Peck is one of the country’s most sought-after ballet choreographers. Shepard Fairey is one of the most famous street artists in the world. Peck is resident choreographer with New York City Ballet and lives in New York. Fairey lives in L.A. Their first collaboration is happening in West Palm Beach.
Miami City Ballet performs the world premiere of “Heatscape” on Friday, March 27, before taking it to Miami and Fort Lauderdale in April. Hear how it all came together.
Commissioned to create a new dance for Miami City Ballet, Justin Peck ran up against a wall — many, in fact. Lucky for him, these loomed among the ones with vibrant colors and suggestive figures that have turned the streets of Wynwood into an open-air art museum, a source of inspiration for the 27-year-old choreographer whose still brief but notable career includes a cache of critically-acclaimed ballets.
Shepard Fairey’s contribution to Wynwood Walls had a special impact on Peck. He endorsed recruiting the famed muralist to paint the backdrop for Heatscape, the world premiere in “Points of Departure,” MCB’s last program of the season.
“Shepard’s work translates well into a theater setting,” explains Peck. “It helps create a whole stage environment.”
In a season marked by stellar reviews, the Miami City Ballet scored yet again with its 2015 gala, an evening marked by art, dance, music and serious fundraising at Wynwood’s Soho Studios. Plus, muralist Shepard Fairey’s graphic language informs choreographer Justin Peck’s latest collaboration with the Miami City Ballet. “I am interested in the place I am commissioned to create in,” says red-hot choreographer Justin Peck. “The dancers, city, climate, culture and style all play a part in influencing the creative process.”
Miami City Ballet is deeply saddened by the passing of our beloved friend, esteemed Board Member, and tremendous supporter R. Kirk Landon.
His leadership and tenacity, his fearless spirit, and above all, his remarkable philanthropy have shaped the course of Miami City Ballet for decades. Kirk believed in the transformative power of the performing arts, and his love for Miami City Ballet was inspiring to us all.
South Florida has lost a pillar of our community, and we have lost a most cherished member of the MCB Family. We honor Kirk, we salute him, and we will always remember him.
Miami City Ballet might only carry Miami in its name, but the company actually serves South Florida’s tri-county area: Miami-Dade, Broward, and Palm Beach, as well as Collier County (Naples) on Florida’s West Coast. That’s a lot of ground to cover for one classical ballet company, which comes with a lot of responsibility to such expansive and diverse communities. Even so, Miami City Ballet has not only survived, but in the last two seasons has begun to thrive like never before.
Miami City Ballet has announced an ambitious slate of programming for its 30th anniversary season in 2015-2016. It features four company premieres, highlighted by the most significant George Balanchine work the troupe has done in years: the choreographer’s evening-length version of William Shakespeare’s A Midsummer Night’s Dream. A host of major and popular dances from the company’s repertoire are also featured.
Dream, on Program Four, promises to be one of MCB’s most ambitious productions ever. Balanchine choreographed the original 1962 ballet with MCB founding artistic director Edward Villella as the fairy king Oberon, and the cast includes 24 children and six vocalists. MCB will bring in two collaborators to help re-imagine the work in a South Florida context: acclaimed Miami playwright and director Tarell Alvin McCraney, who will do the dramatic direction, with renowned Miami Beach-born visual artist Michele Oka Doner creating new costumes and sets.
Miami City Ballet wraps up its season in style with star choreographer Justin Peck.
Artistic Director Lourdes Lopez’s vision for Miami City Ballet was apparent in the tasteful programming of Saturday’s performance at the Kravis Center, with the de rigueur Balanchine work leading off the evening followed by two company premieres.
Lopez who has been “shopping” for new works that would flatter and challenge the company, has been successful. For Program III: Passion and Grace, she brought a rarely seen contemporary work by avant-garde choreographer Tywla Tharp and a sleek contemporary take on the tale of Carmen by British choreographer Richard Alston. Like Balanchine, both of these dance-makers are known for their extremely musical choreography.
The program, ruled by the Delgado sisters, Patricia and Jeanette, with a welcomed sprinkling of new faces doing lead roles, was appealing, well-balanced and well-danced. The company looked strong and confident. The Opus One Orchestra played with gusto and aplomb and the production values were polished and refined.
Love. Betrayal. A feisty Spanish gypsy woman with a terrible fate. Though perhaps best known as an opera, Carmen CONTINUES to captivate audiences. Now, Miami City Ballet is tackling choreographer Richard Alston’s version of the tale. Before the last leg of performances Mar. 20-22, Pointe spoke with MCB principal Jeanette Delgado about INTERPRETING the title role in the American premiere of Alston’s flamenco-flavored ballet.
Réputé pour ses danseurs surentraînés, rompus aux chorégraphies de George Balanchine, le Miami City Ballet (MCB) revient en force à Ottawa dans un triple programme après plus d’une décennie d’absence.
«Encourager le changement», c’est la raison que Cathy Levy, productrice en danse du CNA nous avait donnée pour justifier ce retour en scène canadienne, dès demain soir et jusqu’à samedi.
L’histoire de sa nouvelle directrice Lourdes Lopez, à la barre du MCB depuis 2012, c’est avant tout celle d’une réussite à part entière dans le monde de la danse. Née à LaHavane, elle n’a pas deux ans quand la révolution cubaine éclate. «Nous sommes arrivés à Miami avec mes proches en tant qu’immigrants, sans argent, rappelle-t-elle. Les États-Unis nous ont permis de repartir de l’avant et de progresser.»