Dance Victoria Footnotes 33

8/7/2019 Dance Victoria Footnotes 33

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PacificNorthwestBalletdancersArianaLalloneandBatkhurelBold.P

hoto:AngelaSterling

Pacific Northwest Ballet

Dynamic Short Worksfrom 20th Century

Masters

ROYAL THEATRE

October 5 + 6 7:3 pmRunning Time: hour minutes

__________

Daniel Lveill Danse

The Modestyof Icebergs

MCPHERSON PLAYHOUSE

November 5 + 6 7:3 pmWarning: Danced Nude

SEASON SPONSOR

FOOTNOTES OCT 201#33sponsored by

14TH SEASON


2/12

FOOTNOTES2

Tis will be Seattles Pacifc Northwest Ballets frst tour to Victoria, and while it is not PNBs ul

company o 45 dancers, it is a large contingent, and some o the companys best 15 principals

soloists, and two members o the corps de ballet. Tere are several highlights in the program, bu

chie among them will be the Romeo et Juliette balcony pas de deux perormed by Carla Krbes

and Lucien Postlewaite and choreographed by Jean-Christophe Maillot.

Maillot is currently the Artistic Director o Les Ballets de Monte Carlo and his version oR&J

which premiered in 1996, has been perormed over 100 times by Monte Carlo and has entered

the repertoire o a number o prestigious companies around the world. Pacifc Northwest Balle

presented it frst in 2008. Te partnership o PNB principals Krbes and Postlewaite generated

accolades rom critics and audiences alike. Krbes was commended or her expressiveness and

total absorption into the role.

Part o the popularity o this work has been in the approach Maillot took to staging R&J. Using

the Prokofev score, he stripped away all o the baroque elements and removed the corps de bal-

let (which he elt extraneous); as well, he de-emphasized the power struggle and enmity

between the two amilies, leaving it as just an undercurrent in the piece. Instead, he ocused on

the impetuous, impulsive character o the two young lovers. He interpreted these classic charac

ters to be ourteen- or fteen-year-olds (as Shakespeare originally intended) who are in love

with love and as a result act irrationally. Tis approach allowed or a richer, wilder emotiona

throughline. With no corps de ballet and a minimalist approach to set and costume, the arc o

the tragedy is accentuated. It becomes even more vivid and proound.

In general all the works well see in PNBs Victoria perormance are simple in their construc

and presented without complicated sets.

O the other our works, three are choreographed by contemporary giants. While this may

read like hyperbole, its simply true. Te program includes signature works by Jiri Kylian (Czech

born, retiring choreographer at Nederlands Dance Teatre), Nacho Duato (ormer Artistic

Director, Danza Nacional dEspana), and George Balanchine (ather o neo-classical/contemporary ballet). Te ourth work in this group is choreographed by Ulysses Dove, an

Pacific Northwest BThe Best of Contemporary Ballet

Dance Victoria is a non-profit charitable

organization dedicated to dance presentation

and education. Our Mission: To enhance the

appreciation of dance in the Capital Region by

presenting and developing excellent profes-

sional dance and engaging the community.

Dance Victoria is governed by a Board of

Directors that includes:

President Colleen Gibson

Vice President Dr. Jennifer Charlesworth

Secretary Jane Tice

Treasurer Valerie Clarke

Directors: Joan Athey

Carlos MacDonald

Helen McAllister

Jean McRae

Staff:

Producer Stephen White

Development Tony Cheong

Manager

Administrator Bill Hamar

Community Elise Wren

Relations

Manager

If youd like to volunteer for Dance Victoria,

call 250-595-1829.

Office Location: Suite 111 2750 Quadra

Street, 10 am to 4 pm daily

Mailing Address: 2236 Hampshire Tce.,

Victoria, BC V8S 3G9

Footnotes is written by Stephen White

(unless otherwise noted) and proofed by

Robert Moyes.

PacificNorthwestBalletdancers.(top)PacificNorthwestBalletprincipaldancerJonathanPorrettainUlyssesDovesRedAngels.P

hotosAngelaSterling


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FOOTNOTES 3

et

Arican-American artist who worked as a dancer with Merce Cun-

ningham and Alvin Ailey beore enjoying a very successul career as a

choreographer in Europe. He returned to the US in the 1990s. Unor-

tunately, he died in 1996, but had he lived and continued to create,

chances are his place among these other giants would be frmly

entrenched.

Overall, the program is strong in that it displays the many dimen-

sions o the company while also showcasing important works by

masterul choreographers: Balanchines neo-classical chaikovsky

Pas de Deux, which borrows its construction rom classical ballet;

Duatos earthy, sensuous, danceJardi ancat(Hidden Garden) shot

through with Catalan character; and Kylians inventive and visually

surprising Petite Mort, which requires precise unison rom its dozen

dancers.

A bit o commentary on Ulysses Dove will provide important con-

text. He drew rom personal experience and the inuences o his

southern upbringing to shape pieces that are known or their ferce

speed, their sharp, deliberate movement, and their aggression and

strong sensuality. Red Angels is Doves last work, created in 1994 or

New York City Ballet. It eatures our dancers. Each has a solo beore

the work resolves itsel with two tightly choreographed duets. Te

score is composed by American musician Richard Einhorn and or

this perormance, Dance Victoria has engaged violinist Mary Rowell

to accompany. FN

What is contemporary ballet? Go to DanceVictoria.com and click on

Pacifc Northwest Ballet to fnd a defnition o contemporary ballet

and watch video ootage o the company perorming.

Pre-Show Chats

Royal Theatre Lobby : pm

FREE to ticket holders

Join us in the lobby of the theatre 45 minutes prior to theperformance for an interesting and informative conversation witha representative for the company. These lively discussions usuallyinclude a question and answer period and are designed so you canbetter appreciate the performance you are about to see.

Pacific Northwest Ballet (October 5 + 6) Meet ArtisticDirector Peter Boal

Daniel Lveill Danse (November 5 + 6) Meet Company/Tour Manager Marie-Andre Gougeon

Dance Victoria at the

Venice BiennaleDance Victoria was well represented at one of the most important

dance festivals in the world this past spring. Of the five Canadian

dance companies featured, two had strong connections to Victoria

and two others have appeared or will appear on our season.

Crystal Pite/Kidd Pivots Dark Matters (commissioned by Dance Vic-toria, the National Arts Centre and LAgora de la Danse) was performed

as was Unboundby Wen Wei Dance, which was developed in part dur-ing a residency in Victoria. Two other companies, Compagnie MarieChouinard (included in the 2007/08 and 2009/10 DV seasons) andDaniel Lveill Danse (featured in November 2010), were also included.

What is the Venice Biennale?Founded in 1895 to promote Italian visual artists, the Biennale has

grown into one of the premiere international arts events with festivals

in visual arts, theatre, music, architecture, film and dance. Several

countries install pavilions at the event each year and typically each of

the art forms is given a theme or title. The Biennale has been at the

forefront of the avant garde. In the 1950s the focus was abstract

expressionism. The 1960s introduced pop art. The site of many contro-

versies, the Biennale continues to be considered a barometer of artistic

movements.

WenWeiDancesUnbound.P

hoto:StevenLemay


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FOOTNOTES4

Its curious how people respond when they learn that a perormance

will be danced nude. Almost 45 years ater Hairand O Calcutta scan-

dalously premiered on Broadway, nudity in perormance remains

controversial.

Choreographer Daniel Lveill began his choreographic investi-

gation o the nude body when he premiered the frst work in a trilogy

o pieces that includes Utopie (1997),Amour, acide et noix(2001), and

Modesty(2004). Tis spring he had the opportunity to show all three

works together in one program at the Venice Biennale.

In these works, Lveills interest was to strip away unnecessary

adornment. He didnt begin with the intent o asking his dancers toperorm nude, but the more he worked, the more obvious it became

that i he were to truly get to the root o what makes us human, his

dancers needed to be naked. Nudity is the great equalizer. It erases

social hierarchy. It makes us vulnerable. Clothes make a statement o

who we think we are intentional or not.

Te dance that is Te Modesty o Icebergs is composed o raw,

bluntly unadorned movements danced against a sot recording o

Chopins Preludes opus 28, played as i in another room. Te whole o

the work is deliberately unromantic. Te perormers are emotionally

neutral aware, active, engaged but not acting. Te dance lacks

sotness and lyricism. Te dancers walk onto the stage with purpose.

Tey take position. One dancer runs to another and is caught in a sit

ting position, then is carried downstage and deliberately dropped

Te action is repeated. Another dancer extends a leg sideways we

see the muscles employed or her to remain balanced. Were always

aware o the dancers eort. We hear their breath; see the rise and al

o the chest. All o the movement is given the same value. No gesture

becomes more important than another.

Because o the nudity and the spare movement, this is a dance tha

involves us as spectators. Initially, when conronted by the nudity

were sel-conscious. We consider our own responses. Why is

unsettling or me to look at a naked woman or man? Or perhaps itsnot uncomortable at all. Where do my ideas about the appropriate

ness o seeing and displaying the body come rom? Am I prudish? Is

this salacious or serious?

Te deliberate nature o the movement, when each gesture has

equal potential to comort or injure, is very ar rom mainstream

dance where the overlay o eortless movement and ease is

rehearsed and rehearsed again to fnish or clean a work or pres

entation; when that is removed, the dance has the potential to evoke a

poignancy and proundity. How guarded we are as emotional ice-

bergs, our attempts to connect with one another, oten so modest. FN

Daniel Lveill DanseSalacious or Serious?


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Day (Thursday April ):Depart rom Victoria Inner Harbor at 6PM aboard the

Victoria Clipper. rrive in Seattle at 8:45PM and transerto the downtown Crowne laza Hotel. Join us or a

welcome cocktail party.

Day (Friday April )orning Free. ternoon entrance and guided tour atthe S (Seattle rt useum). ttend a production othe hit musical Nine to Five at the beautiul 5th venueTeatre, a short walk rom the hotel.

Day (Saturday April )orning and early aternoon ree to browse the ikelace arket, shop at Westlake Centre, or visit ioneerSquare. ranser to Seattle Centre or a guided tour oacifc Northwest Ballets acilities. Tree course dinnerat en ercer Square, a popular eatery near SeattleCentre. ttend NBs lavish production oA MidsummerNights Dream choreographed by George Balanchine.ranser to hotel.

Day (Sunday April )ranser to Victoria Clipper erminal or 8:00AMdeparture. rrive in Victoria at approximately 10:30AM.

TOUR PRICE: $885 pp (double occupancy)

Single Supplement: $250 our components subject to change $250 deposit due at booking (non-reundable) Final payment required January 1, 2011 (non-

reundable)

$75 pp will be donated to Dance Victoria (charitabletax receipt issued)

Tour includes: Clipper transportation 3 nights accommodation 2 breakasts 1 dinner ours and perormances as listed

Not included: Victoria transers Cancellation or medical insurance

SEATTLE CULTURAL FIXApril 7 10, 2011

Join Dance Victoria Producer Stephen White for 3 nights in Seattle

For more information or to book

your tour contact Bill Hamar at

Dance Victoria 250-595-1829 or

[email protected]


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FOOTNOTES6

To London, With Love

By Anne Moon

Dance Victoria is known or bringing wonderul dance to its audi-

ences.

But every year it also takes some o its audience to the dance,

through terrifc tours to other centres. For the frst time since the tour

programs began in , we dance goers went transAtlantic.

We got o to a shaky start: most o us were booked on British Air

ways, and with its strike and Icelands looming ash cloud, there weresome worried moments.

But on June we jetted into London, a pas de neu created by our

choreographers, Dance Victorias producer, Stephen White, and

administrator, Bill Hamar. First stop was the admirably sited

Citadines Hotel, just down rom Admiral Horatio Nelsons column in

raalgar Square, steps rom the Embankment Underground station.

It oers nonstop coee, ree internet and a cheap phone in the lobby.

Its selcatering rooms eature the worlds smallest dishwasher. And it

is just a grand jet rom two small grocery stores, which meant we

could be reasonably selsucient.

And what a neighbourhood: he hames lapping just eet rom our

door, the pedestrian bridge to the London Eye, the concerts and good

caeteria at St. Martininthe Fields, the National Gallery, the PortraitGallery, Canada House all minutes away. As well, there were the

Embankment Gardens, oering a east o sculpture and owers.

As is traditional with Dance Victoria tours, Bill and Stephen hosted

a welcome reception complete with smoked salmon that somehow

swam rom Canada. hey had brought their own cheese knives, and

those amiliar plastic deli platters rom hritys. Even the paper nap

kins came rom home. And Bill managed to saut some shrimp on the

little kitchen range to serve as appetizers.

Shortly ater we arrived, a ew hardy souls sloshed their way or a

oggy view rom the London Eye tickets included in the tour, which is

a giant Ferris wheel doing a tour en lair, with roomsized compart

ments oering a view clear to Windsor on

a good day.On Wednesday we got over our jet lag

Some jumped on to the Big Bus tickets

included or a hopon, hopo double

decker view o London. Others let money

at Harrods, or visited the Victoria and

Albert Museum. hree theatre ans ound

rush seats or a matinee eaturing

David Suchet o PBS Poirot ame and

Zo Wanamaker in an acclaimed produc

tion o Arthur MillersAll My Sons.

By evening we were in our best clothes

or a packed perormance o the Roya

Ballet at the Royal Opera House ticketincluded. It began with drinks in the glo

rious Floral Hall, a remnant o Coven

Gardens days as a ower market remem

ber Eliza Doolittle?. he perormance

itsel was a mixed show but we loved our seats, upholstered in rega

red, with row and seat numbers embroidered in gold thread. Chroma

choreographed by Britains Wayne McGregor, was a challenge: ast

and urious and totally gripping, as one reviewer put it; it was set to

usion music by White Stripes. ryst was rather lumpen but Balan

chines Symphony in Cshowed o the lyricism and discipline o this

versatile company. here were three conductors, three very dieren

styles, and nine delighted balletomanes.

Dance Victoria tours are built around public transit and good eetand no one has to get up too early. he next day ound us at the Monu

ment to the Great Fire, where we joined a tour led by Judy Pulley o

London Walks. It was ollowed by lunch at Cheese, in the Victorian

precinct o Leadenhall Market, where we were ascinated to see our

lunchtime neighbour, the BBCs amed presenter, Jeremy Paxman

doing an item on champagne.

hat night saw us out again, warmly dressed, or an astonishingly

blooddrenched outdoor perormance o Macbeth at the recon

structed Globe. Some orked out or a cushion; others toughed it ou

on the benches. We had superb seats, close to all the action but out o

reach o the blood and other bodily substances ung on to the stand

ing groundlings. he sign outside warned us o the gruesome and

brutal action on stage.

More peaceul pursuits came the next day with a visit to Kew Gar

dens, with its delightul Kew Palace. On Sunday we took a boat tour to

Greenwich and enjoyed lunch in the local crat market. On Monday

we were at Windsor Castle, where the Queen just happened to be in

residence. As has become customary with Dance Victoria tours, our

guides organized an amazing picnic. It wasnt quite Swan Lake, bu

there were swans on the river eyeing our salads and deli delights

Maybe they knew we were enjoying breast o duck and wondered i we

also had a taste or a slightly bigger bird? We also had pain au choco

late and Florentines, washed down with lemonade or something

stronger.


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FOOTNOTES 7

Optional outings included a perormance o Cinderella by the

Royal Ballet and a sequel to Phantom o the Opera, Love Never Dies.Some went to concerts and galleries, others enjoyed dinners together.

Our last ull day in London encompassed three dance styles. It

began with a rehearsal in Londons east end o 7734, a new modern

dance about the Holocaust created by Israeliborn choreographer Jas

min Vardimon.

he second act was a ascinating backstage tour o the Royal Opera

House, which is also home to the Royal Ballet. We watched a class in

session, saw the women dancers scuttle by with their rehearsal tutus

over their arm, and even got a glimpse o Dame Monica Mason, the

acclaimed director o the company.

Finally we enjoyed Insane in the Brain, an inventive hiphop version

oOne Flew Over he Cuckoos Nest, presented by Bounce in the Pea

cock heatre, Sadlers Wells alternate venue.On June most o us headed or home, although some stayed on or

opera or amily reunions.

As with all Dance Victoria tours, this was small, customized and

exible. With a small group there was no sense o being herded. hemore able ones took the ube or walked. We all got a sevenday transi

pass, which worked or the bus, ube and most trains. he three o us

who were especially tottery used taxis when needed. Our leaders were

there or support but the primary advantage was that we enjoyed

group rates or the hotel and or most o our tickets. here was time to

be independent and a time when being part o a group was helpul,

whether that was someone who knew the way, could translate the

Britishisms, or could save a seat.

Finally Bill and Stephen were most welcoming to Londonbased

riends and amily inviting them to the reception, making it easy or

them to join us en route.

And all it cost was a reasonable , or ights, eight night

accommodation and all the rest. In eect, we were the advance partyNext year, Dance Victoria is oering a threecity adventure: New York

Paris, and London. Now that would look great on a shirt. FN

Te question comes up quite oten

actually. Im talking to someone

about ance Victoria and Ill say,

Im expecting a airly modest crowd

or that show, or, Tis one is bud-geted to lose money. I am reerring

to a show like veill anses Te

Modesty of Icebergs or rystal Pites

Dark Matters rom last season.

Well, why did you program it

then?

Its a good question. Its one I

ponder quite a bit. Especially in this

day o drastically reduced public sector unding where another pre-

senters impulse might be to bring in a string o money-making

blockbusters just to guarantee his sta still have jobs on Monday.

But I cant do it.

When I frst started programming dance and going to the nationalmeetings attended by colleagues rom across the country I remem-

ber the surprise when I heard them reer to themselves as curators.

Curator? What does that have to do with presenting dance? Clearly,

I had a lot to learn.

Te more I do this, the more sense that word makes. A curator is a

content specialist who makes decisions about what objects to

collect.

Ive started to see each season as a sort o exhibition that eatures a

spectrum o dance. Tis years exhibition is dominated in one way by

contemporary ballet (Pacifc Northwest Ballet in October, Les

Grands Ballets in January, Royal Winnipeg Ballet in March/April) but

it also has lots o room or its counterpoint both modern dance

(Alvin Ailey in March) and contemporary dance (oronto Dance

Teatre in February, Daniel Lveill Danse in November). Each

inorms the other or puts the other in relie, making both richer. As

you watch the Lveill, or instance, look or its relationship to balletIts there. Primarily its there in its absence the conscious rejection

o ballets refnement and preoccupation with technique. But what is

also interesting is that the work comprised o a series o pas des trios

has reerences to classical ballet. And urthermore, the composition

o the work eels like ballet to me, while the movement the lits in

particular although raw and unadorned, have echoes o ballet.

So why program something you know will lose money and have

less than broad appeal? Because it is important work. Lveill has

been choreographing or decades and has inuenced a generation o

dance artists. Te Venice Biennale recently honoured him with a

small retrospective o sorts the presentation o all three pieces in a

trilogy o works o which Modestyis one.

I am interested in the art orm o dance and want to share that passion. A collection o art works is like a community. A strong

community is built around shared values and ideas, but a great com

munity is replete with contrasts and dierences. Its those textures

the dierent perspectives and approaches to the art orm, that inter

est and challenge me.

Lveill is worth the investment. Modesty provokes a response. I

youre like me, it makes you look inside yoursel. It makes you ques-

tion why you have the response you have. When art can do this, i

needs to be seen.

ony, Elise, Bill dont worry too much. Im pretty sure there wil

still be a job or you next Monday. FN

DANCE SEEN

Photo:BenjaminMoorePhotography


8/12

FOOTNOTES8

Dance Victoria Studios

Were pinching ourselves at Dance Victoria because we cant believe

its true. On September 1, DV took on the management o was Victo-

ria Arts Connection, now called Dance Victoria Studios an

11,800-square-oot venue with oces, three dance studios, a com-

mercial kitchen, and plenty o common area. Elise Wren, our

Community Relations Manager, has chie responsibility or renting

the studios.

Were just getting used to our new role as landlords but were also

looking to the uture and planning or how we can best animate this

new community dance centre. Some o our plans include increasing

the number o residencies or dance companies developing new

work, oering special classes, responding to the needs o the local

dance community, small-scale perormances, and more.ur mission is to establish Victoria as a centre or dance. Big ambi-

tion, but we are certainly another step closer to making it a reality.

The LOLA Projects

Our 2010/11 LOLA Projects have been announced. For those o you

not amiliar with this program, it was established in 2008 when Van-

couver choreographer Lola MacLaughlin and DV Producer Stephen

White met to talk about how DV might support the development o

work by Victoria-based dance artists. Unortunately Lola is no longer

with us, but her spirit o investigation, tenacity, intelligence, creativ-

ity, and humour live on.

Te LOLA Projects invites a Vancouver-based choreographer tomentor Victoria-based dance artists as they create new works. DV

pays the choreographer, provides return transportation and accom-

modation, and oers the studio time. Te guest choreographer this

season is Wen Wei Wang. In May 2010 DV invited local choreogra-

phers/dance artists to submit project proposals. Wen Wei selected

three projects and he will come to Victoria several times this all to be

in the studio with the chosen artists. Te 2010/11 Victoria dancers are:

Constance Cooke (a new group piece)

Lori Hamar (a new group piece)

Leah Wickes (solo)

Tese three works will be presented on Sunday, January 30 at the

Metro Studio as part o 2011 Dance Days.

The Pro-Mentoring Program

Trough its Pro-Mentoring Program, DV has commissioned Vancou-

ver-based choreographer Joe Laughlin (JoeInk) to choreograph a

new 20-minute work or the Victoria-based dance collective CoMO-

ION. CoMOION includes local dancers Kathy Lang, Nicole

McSkimming, Lisa Milloy, and Leah Wickes. Tis new work will be

shown during 2011 Dance Days.

Elev8

Dance Victoria studios welcomes Te Elev8 Youth project as a resi-

dent company in 2010/11. Initiated by Artistic Director Kathy Lang in

2009, Elev8 oers advanced dance students the opportunity to work

in a company atmosphere, honing their technique while also learn-

ing new choreography. Lang brings top proessionals to Victoria to

work with this small group o committed and passionate youn

dancers. Purposely designed to be inclusive o dancers rom across

Victoria regardless o where they are currently taking class, Elev8

meets and rehearses outside regular studio hours. For more inorma

tion about Elev8, go to www.elev8danceproject.ca

Ballet BC in Residence

By the time you read this, its likely all 21 members o the Ballet BC

team will have packed their bags and returned to Vancouver ater

spending two weeks in Victoria while they developed a new choreog

raphy that will be part o their April 2011, 25th Anniversary

perormance at the Queen Elizabeth Teatre in Vancouver.

Ballet BC is Dance Victorias resident company this season. For

the past six years, DV has been inviting companies like oronto

Dance Teatre (2010), Crystal Pites Kidd Pivot (2009), Wen Wei

DANCE FUTURESDance Victorias investment in the future of dance

Dance Victoria is very pleased to welcome a number of

returning sponsors to our 2009/10 season as well as a

couple of brand new companies:

SEASON SPONSOR erma Spa

DANCE DAYS Yam agazine

PRESIDENTS CIRCLE hintz & o.

DANCE FUTURES

RESIDENCY PROGRAM Jawl & Bundon, Barristers & Solicitors

PROMENTORING mbrosio

YOUTH PASS Il errazzo istorante

NEWSLETTER astrac ail Service

TORONTO DANCE THEATRE Smart olphins

GOH BALLETS

THE NUTCRACKER ayair Shopping entre

NUTCRACKER LOCAL ENSEMBLE oes N aps ance Shoppe

MEDIA imes olonistCFAX1070/KOOL FM

ACCOMMODATION Hotel Grand Pacifc

TRANSPORTATION Helijet irways International

VENUE AND BOX OFFICE oyal & cPherson Teatres Society

PUBLIC SECTOR epartment o anadian Heritageanada ouncil or the rtsB rts ouncilCRD rts evelopment2010 egacies Now

FOUNDATION FUNDING Te Hamber oundation


9/12

FOOTNOTES 9

Dance (2006) and others to come to Victoria or two or three weeks.

While theyre here we provide them with accommodation and studio

time so they can concentrate on a new choreography. We also give

them a week in the McPherson Playhouse, where, without the pres-

sure o a perormance, they can add lights and sound to their work at

an early stage. Tis helps everyone imagine the potential o the fn-

ished work.

But its not just about giving a resident company the space and

time to do their work. We also require that they connect with our local

dance community and audience. In the frst week o the residency,

the company must open their morning class (or warm-up) to local

dancers so that Victoria-based dancers get the experience o training

inside a leading company. Tis year, we brought Ballet Victoria

dancers into Ballet BCs class, establishing a nice connectionbetween the two organizations.

On Monday, January 31, Ballet BC will be back to share sections o

the work they developed while in Victoria. As a DV subscriber, youll

be invited to see this inormal showing at the McPherson.

Tis program has been generously supported by the Canada

Council or the Arts and Jawl & Bundon, Barristers and Solicitors.

DanceVictoria.com

Weve spent a lot o time revamping our website this season, packing

it ull o inormation on dance genres, linking perormance pages to

video samples and updating our comprehensive list o dance studios.

We invite you to check us out online. We think youll fnd our site is

easy to navigate and ull o the kind o inormation you want abou

our shows and the visiting artists.

Whats Up with Ballet BC?

Last most people heard, Ballet BC was in big fnancial trouble, laying

o dancers, suspending or cancelling shows. Tat was two years ago

Happily, they have pulled themselves back rom the brink. New Exec

utive Director Jay Rankin (Formerly o oronto Dance Teatre)

joined newly appointed Artistic Director, Emily Molnar, in Novem

ber 2009. Fiteen dancers have been hired and ater an inaugura

season that saw the company perorming a variety o works in

unusual venues, as well as a spring perormance called Re:Naissanc

at the Queen Elizabeth Teatre, they are roaring back with an ambi

tious new season in 2010/11.

For years, Ballet BCs lithe, athletic, exquisitely trained company

o dancers were avourites on the Dance Victoria season. Our long

time audience members will remember Molnar as a dancer

especially her turn as the Puck character in John Alleynes Te Faerie

Queen (2001). Molnar has articulated a strong vision or the uture o

the company that should see it touring internationally within the

next fve years. And i the work Ballet BC presented at the QE last

spring is any indication o what theyre capable o, the skys the limi

or this newly re-invigorated company. FN

BalletBCdancersMartinLindingerandMarianneBauer-Grobbelaar.PhotoChrisRand

le


10/12

Day (Thursday, May ) NEW YORKDepart Victoria (early morning) and arriveNY Laguardia. ranser to the WellingtonHotel, steps away rom imes Square. Tatevening, join us or a welcome cocktailreception.

Day (Friday, May )See the sights o anhattan aboard aHop-On/ Hop-O bus tour. Tat evening,enjoy a perormance o Balanchines ormercompany, New York City Ballet at LincolnCentre. Beore the show, meet a dancer or abackstage tour o the theatre.

Day (Saturday, May )Begin the day with a walking tour o Chelseaculminating in a stroll through Te High Line,NYs newest park planted on an elevatedtrain track. Enjoy our signature picnic on apier overlooking the Hudson. Tat evening,

join us or a Broadway show (optional).

Day (Sunday, May )Entrance and a guided tour o Frank Lloyd

Wrights masterpiece Te Guggenheimuseum. In the aternoon, tour the amazingart deco landmark, Radio City usic Hall.

Day (Monday, May )orning visit to a dance studio, to watch acompany class. Enjoy a Foods o NYleisurely walking tour o Greenwich Village enough tastings to constitute lunch(optional). ranser to Lincoln Center or the

merican Ballet Teaters Spring Season

Opening Night Gala at the etropolitanOpera House. ost show dinner at a amousNY eatery across rom the theatre (optional).

Day (Tuesday, May ) LONDONranser to Laguardia or a morning ight toLondon (via oronto). rrive London lateevening and transer to Citadines Hotel inraalgar Square, an apartment-styleproperty each room with a ull kitchen.

Day (Wednesday, May )Free day. In the late aternoon, join us or ascotch tasting. terwards, a West End show(optional).

Day (Thursday, May )orning walking tour Old ayair thebest address in London. ternoon ree.erormance at Saldlers Wells dance theatre

with dinner at St Johns, a renowned Britishbistro (optional).

Day (Friday, May )Backstage tour o the Royal Opera House

ollowed by lunch in the mphitheatreRestaurant. In the evening, attend aperormance at Shakespeares Globe Teatre.

Day (Saturday, May )Free day. In the evening attend aperormance o the Royal Ballet.

Day (Sunday, May )orning tour o Hampton House. ternoonand evening ree.

Day (Monday, May ) PARISravel via train and the Chunnel to aris.ranser to the Citadines partment Hotel St. Germaine, close to Notre Dame. Join us an aternoon wine and cheese reception.Evening ree.

Day (Tuesday, May )rain to Giverny to visit onets home andgardens, inspiration or his amous WaterLilies. Evening ree.

Day (Wednesday, May )Entrance to usee DOrsay and usee delOrangerie, homes to a huge collection oImpressionist artworks. In the evening,attend a perormance o world-amous ariOpera Ballet.

Day (Thursday, May )Learn to cook like the French. ttend amorning cooking class and then enjoy theruits o your labour with a glass o wine.

ttend an evening perormance o the Oper(optional).

Day (Friday, May ) Fashion Walking our Chanel & the Rue SHonore. Join the group or a fnal nightdinner on Lile St. Louis, at the historic (andgothic) La averne du Sergent Recruteur.

Day (Saturday, May )ranser to dOrly airport and return to

Victoria.

TOUR PRICE: $5,500 pp (double occupancy)

LAND ONLY: $3,650 Single Supplement: $1,700 rice will vary or departure points outside Victoria our components subject to change $750 deposit due at booking (non-reundable) Final payment required January 15, 2011 (non-reundable) $100 pp will be donated to Dance Victoria (charitable tax receipt

issued)

Tour includes: irline tickets Chunnel to aris irport ransers 16 nights accommodation ll breakasts in NY 3 lunches, 1 dinner NY 48 hr Hop-On, Hop-O NY & aris etro asses, London ravelcard Receptions (NY Welcome, London Scotch, aris Wine & Cheese) ours and perormances as listed

Not included: Victoria airport transers Optional tours Cancellation or medical insurance

BROADWAY,BIG BEN & BRIENew York London Paris

May 12 28, 201116 nights in three exciting world capitals,personally escorted by Dance Victoria Producer, Stephen White




[email protected]


11/12

Interested only in New York?

BIG APPLEDANCE TOURNew York City

May 12 17, 2011Join us for Days 1 to 5 from the Broadway,Big Ben & Brie Tour.

Fly home to Victoria on Tuesday, May 17

TOUR PRICE: $2,475 pp (double occupancy)LAND ONLY: $1,775

Single Supplement $770 rice will vary rom departure points outside Victoria our components subject to change $750.00 deposit due at booking (non-reundable) Final payment required January 15th, 2010 (non-reundable) $100 per person will be donated to Dance Victoria Charitable

tax receipt will be issued

Tour includes: Not included: irline tickets Victoria airport transers irport transers Optional tours

5 nights accommodation Cancellation insurance Full merican breakasts edical insurance 1 lunch 48 hr Hop-On/Hop-O ass Welcome reception ours and perormances as listed

Prefer to join us for the European leg only?

FROM THE WEST ENDTO THE LEFT BANKLondon & Paris

May 16 28, 2011Join us for Days 6 to 17 from the Broadway,Big Ben & Brie Tour.

Fly to London on Monday, May 16

Fly home to Victoria on Saturday, May 28

TOUR PRICE: $4,150 pp (double occupancy)LAND ONLY: $2500

Single Supplement $950 rice will vary rom departure points outside Victoria our components subject to change $750.00 deposit due at booking (non-reundable) Final payment required January 15th, 2010 ( non-reundable) $100 per person will be donated to Dance Victoria Charitable

tax receipt will be issued

Tour includes: Not included: irline tickets Victoria airport transers irport transers Optional tours Chunnel to aris Cancellation insurance 11 nights accommodation edical insurance 2 lunches & 1 dinner 48 hr Hop-On/Hop-O ass Receptions (Scotch, Wine & Cheese) ours and perormances as listed




[email protected]


12/12

FOOTNOTES12

WELCOME TO DANCEVICTORIAS 4TH SEASON

Were very happy to have you join and/or

rejoin us. Its gratiying to have a circle o sub-

scribers who have more than a passinginterest in dance. People who are truly inter-

ested in the art orm in both its present

practice and uture potential.

I youre new to Dance Victoria there are a

ew things you should know:

All evening perormances begin at 7:30pm.

Tere is a Pre-Show Chat a conversa-tion with a member rom the visiting

company (sometimes the choreogra-

pher, sometimes a dancer, etc.) in the

lobby o the theatre 45 minutes prior tocurtain time.

We can exchange or replace your ticketsor you although we do ask that you

give us at least 72 hours notice. (Were a

lightly staed organization, and as a per-

ormance draws near we become

preoccupied.)

You can purchase additional tickets toany perormance throughout the year

and receive the subscriber discount.

When you phone the box oce to

arrange or additional tickets, tell them youre a Dance Victoria subscriber and

ask or the discount.

Watch or Dance Days in lateJanuary/early February 2011. We will be

inviting you to see reshly minted work by

local dance artists mentored by seasoned

proessionals or FREE. In act, there will

be a ew times this season when well let

you know about ree open rehearsals or

lecture demonstrations that introduce

you to dance in progress.

Are you getting the run-around at the boxoce? PLEASE call us directly at 250-595-

1829 and well sort it out.

About This Newsletter

Te purpose oFootnotes is to provide a orumor us to give you some background and some

ideas about the work youll see. Dance itsel is

a orm o dialogue, and we hope this newslet-

ter will provoke conversation, both with your

riends and with us.

A bit o housekeeping: we may not have

spelled your name correctly, or there could be

a slight error in your address, or maybe you

bought subscriptions or your riends and

their names and addresses arent on the list to

receive this newsletter. I any o these circum-

stances apply to you, please contact us with

the correct inormation and well adjust ourdatabase.

Nutcracker Kids

Each year we ask our supporters to help us

bring kids rom fnancially challenged amilies

to see Te Nutcracker, thereby giving them an

opportunity that would otherwise be out o

reach. Every $50 contribution to the Nutcracker

ids program is matched by ance Victoria,

thus resulting in two tickets to the opening

night perormance on riday Nov. 26, 2010. ast

year we provided 130 tickets to Big Brothers/Big

Sisters. ter the perormance, the kids are

invited on stage to meet the dancers and get up

close to the sets, costumes, and props. Te let-

ters we receive rom the kids themselves each

year are a testament to how much this frst

experience seeing a live perormance with ull

orchestra has meant to them.

We invite you to join us again this year.

Please make your contribution beore

November 15 to allow us the time to confrm

numbers and distribute tickets. Make cheques

payable to Dance Victoria Society, Suite 111-

2750 Quadra Street, Victoria, BC, V8 5E8 Or

call 250-595-1829 or more inormation.

Remember: $50 buys two admissions.

COMING UPPlease note: Single tickets are now

on sale for all performances except

for Alvin Ailey American Dance The-

ater. Ailey single tickets will be

available December 1.

Goh Ballet (Vancouver)Victoria SymphonyThe Nutcracker

Royal Theatre

November + : pm

November + : pm

Les Grands BalletsCanadiens de MontralFour Seasons + Cantata

Royal Theatre

January + : pm

2011 Dance DaysMultiple Venues

January through February

Free classes, open rehearsals,

performances of new works, lecture

demonstrations, and more.

Toronto Dance TheatrePteros Tactics

McPherson Playhouse

February + : pm

Alvin Ailey AmericanDance TheaterMixed Program

Royal Theatre (TWO NIGHTS ONLY!)

March + : pm

Royal Winnipeg BalletWonderland

Royal Theatre

Mar , Apr + : pm

More information is available at

DanceVictoria.com

Documents

Dance Victoria Footnotes 33