performances

Our Thoughts on Promethean Fire

Post by Rebecca King, Corps de Ballet

In Program III, Miami City Ballet brings you the third of four company premieres, Paul Taylor’s Promethean Fire. I sat down with a few dancers to talk to them about dancing this piece for the first time.

The last Paul Taylor work that MCB performed was Company B last season. For those of you who have seen this spectacular work, you may agree with Jennifer Lauren when she describes it as “playful and lighthearted.” But she mentions that this work is much different than Promethean Fire, not only in energy, but also in style. “Promethean Fire is much more controlled with a specific technique.” This piece is rumored to be Taylor’s choreographic reaction to the tragedy of 9/11. Leigh Esty observed that this piece reflects the sediments of that day, calling it “emotional, almost even dark.”

With a different Taylor style to conquer, Ms. Lauren said, “the steps began to feel good once I became more comfortable and more familiar with the ballet. Until then, it all felt very foreign to me.” Ms. Esty added that this piece is much more “modern” than any Taylor work the company has done in recent history.

“The first movement of Promethean Fire never stops. Getting through until the end was a challenge for me at first,” says Ms. Lauren. Ms. Esty adds that she found herself having difficulties with the steps where she had to gracefully get from a standing position to the floor. “I have never had to do so much crawling around on the floor in my life!” she muses.

The dancers’ favorite moment in this work was unanimous. “The first movement is fast and chaotic,” Ms. Lauren describes, “then all of a sudden everyone slows down moving in unison.” This section is called the “back exercise” as it is similar to an exercise you work on in a modern class. Ms. Esty agrees that she likes this moment adding, “the human pile we create at the end is also a highlight for me. It is a really powerful moment.”

There is always an element that the dancers look forward to most when it comes to dancing Taylor pieces: working with Patrick Corbin. Mr. Corbin danced for Paul Taylor, now has his own company CorbinDances, and comes to Miami to set Taylor pieces on MCB.

When I asked the dancers about Patrick, everyone began to gush. “I love Patrick. I think he has a really amazing way of seeing a dancer for who they are and working with them to develop into better dancers. He just helps you love yourself as a dancer,” says Stephen Satterfield. Ms. Lauren points out his positive and calming energy. Ashely Knox agrees, saying, “He knows that this style of dance is foreign to us and does everything he can to encourage us.” Ms. Esty chimes in saying, “He is just inspiring because you can tell he loves what he does and it makes you want to love what you do.”

Patrick Corbin working with MCB.

The Scotch Girl

You may have seen Leigh-Ann Esty front and center during Program III in George Balanchine’s Scotch Symphony as the “Scotch Girl” soloist. If you haven’t seen her, you won’t want to miss this diverse program which includes Paul Taylor’s Promethean Fire and Twyla Tharp’s Nine Sinatra Songs. And Leigh dances in all three pieces!

We recently chatted with Leigh about the experience of dancing a featured role and dancing in these three, very different works.

Promethean Fire with Patrick Corbin

Over the past five years, Patrick Corbin has been setting Paul Taylor works on MCB. This season he returned for the company premiere of Promethean Fire. We sat down with him for a chat on this powerful, moving piece that will be performed during Program III.

Don’t miss the premiere of Promethean Fire, as well as George Balanchine’s Scotch Symphony and Twyla Tharp’s Nine Sinatra Songs. Click here for tickets.

Jennifer Lauren: First-Time Sleepwalker

Newly promoted soloist Jennifer Lauren will be dancing the role of The Sleepwalker in George Balanchine’s La Sonnambula for the first time this weekend at Broward Center. We asked her a few questions about the role and also threw in a some about what she’s dancing in Western Symphony.

MCB: Congratulations on your recent promotion to Soloist! In what way does it feel different to be at a higher rank?

Jennifer: I see being promoted as a wonderful acknowledgment of my dedication, artistry and hard work. I have enjoyed the past three and a half years the same as I do now. My rank doesn’t make me feel like a better dancer. Ultimately my performances enrich me most as a ballerina.

MCB: You will be dancing The Sleepwalker in George Balanchine’s La Sonnambula this weekend.  What do you think will be the most enjoyable part of this role?

Jennifer: Finally getting to perform it onstage with all the scenery, lights and especially the nightgown. With all these elements coming together, I can truly embrace the role and let myself become The Sleepwalker.

MCB: Will you mentally prepare differently to go on stage for this role as compared to others?

Jennifer: Yes. I will try to feel as if I cannot see with my eyes, but with my body.  It is a completely different way of dancing than I am used to.

MCB: The Sleepwalker wears her hair down.  Does this offer you a sense of freedom or a new challenge?

Jennifer: I have a lot of hair, so dancing with it down at first was a little overwhelming. After several rehearsals I began to feel naked with out my hair down. The hair adds so much to the flowing movements in the choreography.

MCB: You stay “on pointe,” gliding around stage on the tips of your toes for much of the role.  Is it hard to be in this constant position for so long?

Jennifer: Yes it is hard when you first start to rehearse the role. After a few painful rehearsals my toes went numb.  But the hard part is when we wouldn’t rehearse for a while and then come back to it. Or even just a week of no rehearsals would soften my toes again. Prior the show I walk around on pointe to prepare my toes.

MCB: At the end of the ballet, you carry the dead Poet off stage in your arms walking slowly backwards.  Carrying a limp man must be hard enough let alone while walking backwards.  Did this take a lot of practice or is it not that hard?

Jennifer: This did not take a lot of practice. You either can carry your partner or you can’t. I just had to do it! I also go up a slight ramp walking backwards with the Poet in my arms. This is something I never imagined myself doing but am proud to say that I can.

MCB: You will also be dancing the second movement of George Balanchine’s Western Symphony.  In your opinion, why are you the only girl in the whole ballet who wears pink tights (although you later put black ones on)?

Jennifer: I’m new to the role, but I think she appears in pinks tights because she needs to be a beautiful vision to lure the man into falling for her. She is a pure ballerina in the man’s mind.

MCB: What do you like about this role?

Jennifer: I like how she mimics quite a few gestures from classical ballets such as Swan Lake and Giselle, which I have performed. It is also a comical piece that is fun to dance with my partner. It’s an Adagio with some cute moments, but also some very dramatic moments.

MCB: When you are dancing special roles, do any of your friends or family come to watch?

Jennifer: My parents have always been there for every step of my career. My husband has always been just as supportive.

MCB: Does it make you more or less nervous knowing they are in the audience?

Jennifer: They are always there when possible, so I am not nervous at all. I enjoy sharing the end result of my hard work and dedication with those who have been instrumental in helping me get to this “pointe.”

All About Snow – Part 2

Patricia Delgado’s snow series comes to an end as she uncovers the trick to getting those beautiful snow crowns on and talks to the dancers about their most memorable snow performances. Plus, she gives you a peek at the backstage action during the ever-so-special snow scene!

All About Snow

Although snow is unusual in our part of the country, MCB has the ability to make magical things happen! That’s why every Nutcracker season, it snows on the stage of four special theaters in South Florida.

Patricia Delgado, principal dancer and snow alumni, breaks through the blizzard to uncover all the secrets of George Balanchine’s snow scene in The Nutcracker. You don’t want to miss the first of this two-part snow series!

Party Children, Angels and Soldiers, Oh My!

One of the best parts of MCB’s production of George Balanchine’s The Nutcracker™ is that the children in the cast are students at Miami City Ballet School! Every year these talented young dancers take on the roles of the Party Children, Soldiers, Angels, Candy Canes, Tea, and of course the Little Prince and Little Princess (Marie). They all work extremely hard during their rehearsal period and at the end of it all get to perform onstage with the company during this loved family tradition.

We talked to a few of the cast members to find out their thoughts about The Nutcracker.

MCB will perform George Balanchine’s The Nutcracker™ at Adrienne Arsht Center from December 17-19 and 21-23.

Behind The Nutcracker with Leigh-Ann Esty

We are two weeks into our Nutcracker run, which started off in Naples on November 26. Leigh-Ann Esty took the Flip camera with her across Alligator Alley and gave us a glimpse into the backstage happening at the Naples Philharmonic Center.

MCB will perform George Balanchine’s The Nutcracker™ this weekend at Broward Center and December 17-19 & 21-23 at Adrienne Arsht Center.

Following Fanfare – Backstage at Broward Center

Post by Rebecca King, Corps de Ballet

Half an hour before the curtain rises on a Miami City Ballet performance, the audience members are probably just arriving at the theater, or in route. But what are the dancers up to? As I continue to bring you behind-the-scenes of Fanfare, this week I bring you backstage at Broward Center for the Performing Arts, at half hour call on Friday night.