Tricia Albertson in Glass Pieces.
Miami City Ballet will present Program II in its upcoming performances at the Adrienne Arsht Ziff Opera House in a program featuring powerhouses of choreographic voices. What is a powerhouse of a choreographic voice? Though it can often be subjective, it usually means a choreographer who has created pieces of choreography that are timeless and unique, pieces that are established throughout the world and mostly, works that have been performed by larger professional organizations.
Martha Graham, Jose Limón, Merce Cunningham, in the contemporary dance world, were and are considered powerhouses. Each had a specific drive and style that separated their creations from others. There are powerhouses of today such as Alvin Ailey Director Robert Battle, Christopher Wheeldon, Azure Barton and Jessica Lang. These are just a fraction of the people who have pushed the envelope in dance to open new perspectives and grow the range and technical ability of what the human form can create. There is always the challenge of maintaining the artistic component when striving for anything physical so it doesn’t become gymnastic, but this is an on-going conversation and debate. The four pieces on MCB Program II have a fine balance of artistry, edginess and structure. Yet, another reason that these are powerhouse choreographers.
In the weekend’s offerings, there will be the timeless signature ballet, "Serenade," choreographed by George Balanchine, who created over 400 works as Ballet Master in Chief of the New York City Ballet, for the Ballets Russes, Broadway, Hollywood and throughout the world. There will be the charming pas de deux from the Broadway show, "Carousel," choreographed by Sir Kenneth MacMillan who was former director of the Royal Ballet in England and then became its principal choreographer until his death in 1992. The effusive Jerome Robbins worked in ballet, Broadway, film and television. Well known for the choreography of "West Side Story" among other Broadway shows, he was a staple choreographer for New York City Ballet having created many classical and neo-classical ballets for them. In this program, MCB premieres Robbin’s 1983 "Glass Pieces" to the brilliantly structured score of Philip Glass. Then, leaning a little more to the now, the company premier of "Calcium Light Night" will be presented, choreographed by the present Ballet Master in Chief of the New York City Ballet, Peter Martins. Each piece on the program is highly demanding stylistically and individual in its characteristic needs.
Jordan-Elizabeth Long, Glass Pieces.
Jordan-Elizabeth Long, now in her third season as a soloist with Miami City Ballet gave her thoughts and perspective on what it’s like to be dancing such an array of demanding choreography and how dancers of today are challenged to be true to each type of style. I was able to speak with her as well as watch her in rehearsal for "Glass Pieces."
She danced in Europe prior to coming to MCB. While she worked with a very diverse group of choreographers, coming to work with MCB was a new world.
“Yes, it was very different for me coming from Europe," says Long. "The awesome thing is that the way we train in class, the staff, working with Lourdes ( Artistic Director Lourdes Lopez) I was prepared to dance these ballets. It wasn’t a huge shock.”
As a young dancer, one aspires to certain roles that might be a perfect fit physically and artistically. In this program, Long is performing her dream role of the Dark Angel in the iconic ballet, "Serenade."
“I thought maybe one day I’ll get to dance this role and now I am. I’m able to dance in the ensemble on some nights and the Dark Angel on others, so I get a rather crash course in dancing 'Serenade.' This is my first time, so it’s really special and sentimental for me.”
In this very diverse world, dancers have to be prepared and willing to execute all types of technical styles. While Long is tall and willowy and tends to be categorized as a more “classic” dancer, she enjoys dancing and watching all types of dance. This was especially true in Robbin’s "Glass Pieces," where Long is carrying a lead role.
Simone Messmer in Calcium Light Night.
Long mused that MCB is well known for doing Twyla Tharp’s "In the Upper Room," which is also set to Glass's music.
“It’s really cool that we are using a similar flavor of music with a totally different style of dance. 'Glass Pieces' uses a huge majority of the company. It is about teamwork and some parts have a very athletic feel. The third movement has all the guys dancing together. You normally see all of the girls!”
A program with Balanchine, Robbins, Martins and MacMillan is a very diverse mix. Asked if it was challenging to switch roles, styles and be true to each choreographer, Long was quick to reply.
“Dancers need to be an open book. This is what I’m doing now in this moment. Anytime you’re dancing it’s an artistic experience!”
Whenever possible, one should attend a rehearsal. The public is invited to MCB to see rehearsals. Open Barres is an opportunity to see the dancers behind the scenes. The sense of community and camaraderie is astounding. Each highly skilled individual is determined, working on every detail, while completely being in support of the unity necessary to bring a work to fruition. Director Lopez says that each piece brought into the repertory plays a part in strengthening this community.
Performances are Friday, Jan. 13 and Saturday, Jan. 14 at 8 p.m. Sunday, Jan. 15 at 2 p.m. at the The Adrienne Arsht Center for the Performing Arts of Miami-Dade County, 1300 Biscayne Blvd. Miami, FL 33132 Tickets at Arsht Center Box Office 305-949-6722 www.arshtcenter.org. Information at www.miamicityballet.org.
