Madison Massara is one of our newest company members and a Michigan native. She joined the company as a trainee in 2017 and was promoted to company dancer in 2019. Prior to her time at the ballet, she performed as a Guest Artist in Skye Ballet Center’sThe Nutcracker; competed at YAGP and the Indianapolis International Ballet Competition; and attended various esteemed summer intensives.
“Day 1 in Prague. Got in at 8:30am Prague time and had the whole to day meet tons of new people, settle into the hotel, and explore the gorgeous city all day, witnessing all the beautiful architecture from all around Prague.”
This summer Madison has embarked on a new adventure. Madison spread her wings and soared far from home to Prague where she will be living for two weeks while she attends the International Ballet Masterclasses. The International Ballet Masterclasses in Prague was founded by former prima ballerina, Daria Klimentova. Her goal in creating the summer program was to bridge the gap between professionals and students. She wanted to provide rising stars and young professionals with an opportunity to engage with current artists to benefit from their experience and expertise.
“1st day of classes. I had a day full of dancing, learning, walking around town, and meeting more new people!”
After hearing about the opportunity from a friend, Madison quickly researched the program and filled out an application. Promptly after her submission she heard back with an acceptance. She was going to Prague!
“Ate lunch on the river with a group of friends before our last class of the day.”
But how was she going to get there? Madison was intent on raising the money herself and decided to use the popular online platform GoFundMe as a way to secure funding for the trip. She blasted the GoFundMe through Facebook and with the generosity of her friends and family, Madison was able to fund her trip almost entirely.
“Entrance to the studios. Another fun day of dancing. I had a wonderful class with Thomas Edur (artistic director of Estonian National Ballet) who introduced a lot of ballet philosophy into class which challenged me to reflect and come up with some personal philosophies.”
On July 27 Madison embarked on her first journey across the Atlantic. She said while she was most looking forward to meeting and learning from the esteemed faculty members, she also hoped to have time to explore the beautiful and historically rich city of Prague. She planned to immerse herself in the culture by touring the castles, visiting the medieval Astronomical Clock, attending museums, trying new food, and walking around to soak in the beauty of the city. She giggled when asked if she learned any Czech and replied that she planned on learning some before she left.
“Today was a blast. In the morning I had class with Vladimir, then had another amazing variations class and we worked on the talisman variation.”
Good luck, Madison. Keep up to date with her journey through our Instagram!
“We had a fantastic interview with Thomas Edur (artistic director of Estonian National Ballet) and he discussed his career and philosophy behind ballet. I then went back to the hotel, ate, talked to my brother who is in London doing the Royal Ballets summer intensive, then I went to bed after another tiring yet inspiring day!”
Grand Rapids Ballet School
Summer Intensive
Resident Assistants
Name: Liz
Hometown: East Lansing, Michigan
Dance experience: 29 years. Received a BFA in dance from Oakland University and a master’s in Arts Development from University of Denver. Danced for various contemporary companies. Performed as a B-girl and a backup dancer.
Favorite movie: Some Like It Hot
Favorite food: Sushi
Best season: Fall
If you could go anywhere, where would you go: Maui
Brian Enos stands in the front of the studio, dressed head to toe in black. His focused gaze is directed on the three girls learning Alice, waltzing across the center of the room.
“Good, good,” he declares softly. Approaching one of them, he asks her to stretch her leg farther in the arabesque pique and turn her pirouette more quickly. He demonstrates with fluid agility and she follows his lead, moving farther and with more dynamic range after incorporating these corrections.
Enos himself is a study in contrasts. Soft-spoken but direct. Kind but demanding. Even his succinctly styled mohawk hair is the opposite of what one would expect from a ballet choreographer. In essence, this makes him the perfect choice to choreograph Grand Rapids Ballet’s production of the classic story Alice in Wonderland, returning May 3-5 and 10-11, 2019, after it’s triumphant 2017 premiere.
Enos’ choreographic style draws on classical ballet technique, but the steps you will see on stage are a far cry from Swan Lake. The Mad Hatter and March Hare tango, the Cheshire Cat slinks jazzily across the floor, the White Rabbit spins neurotically with ferocious abandon. The score arranged by Brendan Vincent keeps with this fresh and modern feel. The story is taken out of the Victorian age and into a more abstract, timeless place. While the production has elements of the Disney version and is assuredly family-friendly, the ballet is modernized and complex.
Enos began his conception of the production by reading the original Lewis Carroll story. Despite the story’s original reception as “sheer nonsense,” Carroll’s puzzling world has persevered over time, appealing to both children and adults alike. Enos determined the ballet would follow the book more closely than the movie, incorporating some of the darker elements of the story and keeping with his sensibilities as a person.
Originally from San Francisco, Brian began studying ballet at 16. After his training at the Maria Vegh Ballet Centre and Houston Ballet Academy, he joined Houston Ballet at 18. He went on to dance for the acclaimed Hubbard Street Dance Chicago for eight years, before retiring from the stage in 2010. He is currently the artistic director of The Big Muddy Dance Company in St. Louis, Missouri.
LUIS GRANÉ: MEET THE VISUAL ARTIST BRINGING OUR WONDERLAND TO LIFE
Born in Argentina, Luis Grané studied medicine and worked in a human anatomy laboratory at Buenos Aires University before studying ine arts and graphic design. Following his true passion, Grané moved irst to London where he worked in advertising for almost four years, and then to Mexico, where he worked in visual arts and advertising and became strongly influenced by Mesoamerican Art.
Grané then moved to Toronto, where he won the Dick Friesen/Zlatko Grigic Award for Excellence in Animation at Sheridan College in 1996, and was recruited by DreamWorks Animation SKG. This meant relocating to Los Angeles, where he worked as an animator, visual effects artist, and character designer for DreamWorks, Pixar, Disney, Laika, Sony Pictures, Aardman, and Warner Brothers.
His credits include films as diverse as The Prince of Egypt, Spirit, Spiderman 2 (Academy Award Winner for Best Visual Effects), The Matrix, The Aviator, Ratatouille (Academy Award Winner for Best Animated Feature), Hotel Transylvania, Diary of a Wimpy Kid, and The Boxtrolls. He has also collaborated with numerous renowned directors such as Sam Raimi and Richard Linklater.
While pursuing his career in Hollywood, Grané attended Peter Liashkov’s painting workshops for two years and studied painting with Bonita Helmer at Otis College of Art. Grané’s original work as an independent artist has been featured in group exhibits at the Pozzi Gallery in Buenos Aires, the Cartoon Museum in London, and the Enisen Gallery in Los Angeles, and worldwide as part of the Sketchtravel Book art project.
His work was also selected as the cover of the Totoro Forest Project book, an artistic venture that gathered prominent artists from around the world to save a forest in Japan. Grané currently works in his studio in the Arts District in Downtown Los Angeles and recently published his first solo book, Sad Stories.
We continue our series of introductions to the famously strong female characters of playwright Henrik Ibsen that appear in Val Caniparoli’s Ibsen’s House in Extremely Close April 12-14 at Peter Martin Wege Theatre.
Here we are introduced to Hedda Gabler from the 1890 four-act play. Hedda Gabler is among Ibsen’s most famous works. It would be diminutive to describe this play as a drama about a housewife: The title alone demonstrates Hedda’s reluctance to assimilate into her husband’s family. Instead she clings to her aristocratic background. Hedda appears powerful but has little true agency. She strives, through manipulation and desperate acts, to influence the other humans in her midst. The play examines the struggle for existential meaning within societal boundaries as well as explores the neuroses of the human psyche.
The sound of gunshots catches you off-guard as you approach the newly purchased, stylish manor of Professor Tesman (played by company dancer Steven Houser). You don’t often come to this refined part of town, but he had asked you to meet him to go over a recent homework assignment. You wonder how he affords this home on the modest salary of a research fellow. Not to mention his recent six month extravaganza of a honeymoon. Rumors say his wife Hedda Gabler (played by company dancer Cassidy Isaacson) – now Hedda Tesman – demanded the trip. Perhaps as a reparation for marrying below her means? Some had believed the daughter of the famous general would never settle on a husband. You’ve spent many hours snickering with your peers over the absurdity of the match between Tesman’s earnest but exasperating bluster and Hedda’s class and glamour.
Another gunshot snaps you out of your reverie. The door to the manor swings open and the maids ushers you in to the expansive and beautifully decorated drawing room where Hedda herself sits, polishing a pistol, surrounded by fragrant bouquets.
“The professor will be down shortly. Hedda will entertain you as you wait,” she informs you, and scurries off.
“Welcome,” Hedda says, fixing you with a piercing gaze. “Please sit down.” You make a move towards the chair furthest from the gun she still holds.
“Oh, not there, please. Sit closer to me.” She pats the sofa next to her. You sit, tentatively, close enough to notice that every ten seconds or so her placid profile is marred by a twitch of the eye.
“So, Tesman tells me you’ve been incredibly helpful in his latest research. You may even be part of the reason he has nearly secured his promotion. I suppose I must thank you for your contribution to my husband’s work.” You nod, mutely.
“Well, I expect you used all your words on the research paper.” Hedda sighs disdainfully and rises to place the gun back in its display case. She stays by the window, gazing blankly out.
“The flowers you have here are beautiful,” you babble nervously to fill the silence. “Gifts, I expect? To celebrate the marriage of two souls newly in love?”
“HA!” Hedda snorts, and then regains her composure so quickly you are left wondering if you imagined the exclamation.
“Some do call it love…” she responds vaguely. “But lets talk about you. What do you busy yourself with? Riding? That was a favorite past time of mine as a child. The freedom of it! Or perhaps shooting? Another favorite.”
“No, no. I don’t care for that at all.” You shrink from her, hoping it’s imperceptible.
“Nonsense!” She says cheerily, her eyes suddenly gleaming. “You’ll love it. Here!” She retrieves the gun and places it in your hands, standing over you. “See? Do you feel the sense of control? Doesn’t it feel powerful?”
“Hedda!” The professor’s voice rings from the corridor. “What are up to with our guest?” You breathe a sigh of relief as Hedda removes the gun from your grip.
“We were just experimenting, George. Something a little out of the ordinary. Something of interest. For once.”
“Ahh, my Hedda. Isn’t she lovely, uh?” He moves to kiss her cheek and misses as she pulls away and returns to her post at the window. “Ah, well… Now, come to my study, we’ll talk about that paper.”
He ushers you into his room. Before the door closes you turn to catch a glimpse of this stunning and frightening woman. She stands straight and poised, a picture of elegance apart from her arms, crossed in front of her chest, fingers clenched and nails digging into the flesh beneath her fine dress, as though fighting against a visceral scream.
For tickets to Extremely Close, call 616.454.4771 x10 or tap or click here.
We continue our series of introductions to the famously strong female characters of playwright Henrik Ibsen that appear in Val Caniparoli’s Ibsen’s House in Extremely Close April 12-14 at Peter Martin Wege Theatre.
Here we are introduced to Rebecca West from the 1886 four-act play, Rosmersholm.
Rosmersholm was almost titled White Horses, to represent the ghostly specters referenced throughout the play whenever disaster threatens. Indeed, Ghosts would also have been appropriate if Ibsen had not already used that title in his previous work. Much of this play deals with the influence previous actions and people from the past have on one’s present. Rosmersholm further explores ethics and morality and questions whether they can exist outside a highly codified structure such as religion.
You sit in Johannes Rosmer’s (played by company dancer Josue Justiz) grand living room under the gaze of the stern family portraits lining the walls. You are struggling to keep your own gaze from darting to the mill-race just visible outside the window on your right. The whir of the mill and the splashing water threaten to conjure an image of the story you read in the papers nearly a year ago: Mrs. Beata Rosmer, in her fragile mental state, jumping over the railing in a last terrible exercise of agency.
In spite of your best efforts, Rebecca West (played by company apprentice Madison Massara) notices your straying eyes and rises to gently close the curtains. You shudder suddenly: The lack of sunlight combined with the morbid theme of your thoughts casts an eerie gloom over the room.
“We miss Beata dearly, Johannes and I both,” Rebecca states in a matter of fact manner.
“May she find peace in heaven,” you offer, embarrassed by your inability to hide your distraction.
A non-committal “Mm,” is all you receive in return from Rebecca.
“So, you’ve lived at the Rosmer residence for a while now?” You ask, to break the uncomfortable silence.
“Yes, indeed. Beata was so unwell, another lady of the house was a necessity. And Johannes and I have become quite close. He is a great thinker, a man of upstanding character. We have been following the debates happening in town with great interest. In fact, the papers just declared his alignment with the liberal cause. And, you know, he has left the church after his many years as a pastor. The laws of religion no longer govern his life. Nor do they govern mine, but I grew up in the passionate embrace of life, in the whirlwind of secular pleasures. And indeed, I’ve mellowed under the influence of the Rosmer rationality and nobility. But I’ve influenced him Johannes in return. His abandonment of the church went against the values the Rosmers have held for centuries. The existence of God has been unquestionable throughout the generations that live in this house. But times are changing now, rapidly, and we must look for the ultimate truth. The world is vast and quickly moving towards an era of free thought.”
“Ahhh…” you respond, struggling to process this speech. Women in town rarely put forth their opinions so blatantly, especially such heretical notions. You grapple for a response.
“You say and Johannes are close? Is there a celebration to be had?”
“Oh no. No no, nothing like that.” For the first time Rebecca’s unflappable nature seems shaken. “We have lived together as close friends, with great affection. If you must know – he recently proposed. But I couldn’t accept. No no. It’s not for me to take that role. Even if I do love- Even if I do respect him dearly.”
“Mm, well. I see. So…” The conversation is officially out of your realm of comfort. “Would you be so kind as to allow me to take a walk? I could use some fresh air.”
“Of course. Please, take your time. You can leave your coat and things here if you like.”
You exit to the garden and feel a rush of emotions flood over you as you step into the now blindingly bright sun. Laughter at the absurdity of Rebecca’s radical notions. Then tears of confusion at the emotionless calm around Beata’s death. It’s as though the house, steeped in the composure of Rosmer tradition, had suppressed your ability to feel this deeply. Shaking your head to clear your mind, you realize you have no desire for re-entry, not even to gather your belongings, and hurry away from the home, leaving behind the whir of the mill.
A few weeks later a knock on your door interrupts your work. The Rosmer’s maid, Madam Helseth stands on your steps, jacket and briefcase in hand.
“Oh how kind!” You exclaim. “I’m so sorry to have inconvenienced you, I truly meant to-”
Madam Helseth bursts into tears.
“Gone!” She sobs. “Gone like Beata. They both jumped over the- Oh I can’t even speak it! I can’t. If they had just married. They were so in love. I heard them whisper of it. But it would have been a marriage based on guilt. After Rebecca urged Beata to end her own misery she could never have taken her place in good conscience. And Johannes would have been haunted by the disapproval of his ancestors. But is death better? Is it better? Perhaps the truth is that peace is only found in that final rest. Yes! YES!”
You grab her shoulders, trying to calm her down.
“They had such IDEALS,” she screamed, hysterical.
“Shhh… shhh…” you whisper soothingly.
“They couldn’t do them justice. And now – NOW! The dead wife has taken them,” she gasps, and faints in your arms.
For tickets to Extremely Close, call 616.454.4771 x10 or tap or click here.
We continue our series of introductions to the famously strong female characters of playwright Henrik Ibsen that appear in Val Caniparoli’s Ibsen’s House in Extremely Close April 12-14 at Peter Martin Wege Theatre.
Here we are introduced to Ellida Wangel from his 1888 five-act play, Lady from the Sea.
Lady From The Sea diverges slightly from Ibsen’s general attachment to realism, including some folklore and fantasy. Indeed, the story is based on the same tale Hans Christian Anderson derived The Little Mermaid from. The text explores craving and desire and the battle between ego and self in reconciling what one has with what one wants. Unlike many of the women we will meet who leave their husbands, turn away from convention, or regret their lifelong devotion to society’s norms, the free spirit of Ellida eventually chooses to remain with her kind and honest husband, Dr. Wangel.
You are greeted at the Wangel residence with streaming rays of sun and the warm air of summer. You’ve rarely visited in the past: There isn’t much to do here in this small town but admire the flowers that dot the hills.
“We are so glad you’ve come!” Dr. Wangel greets you, welcoming and earnest as always. “Ellida (played by company dancer Connie Flachs) has really been in a terrible state as of late. I hope an old friend can bring my wife back to high spirits. She’ll be right along, she’s just nearly finished her daily bathing.”
Sure enough, a few minutes pass and Ellida wanders up the hill, her hair drying in the breeze, still damp from her ritual swim in the inlet.
You’ve always been a bit jealous of Ellida. Most call her strange, wild even, especially in this provincial area. Yet, you envy the aura of mystery she carries with her and her freedom of spirit.
“Ellida, my dear. It’s lovely to see you, and on such a beautiful day!”
“Lovely. Nothing has seemed lovely to me for a while now.” Her eyes drift over the garden gate, out to the ocean.
You’re a bit taken aback, but the Doctor had warned you she’d been suffering as of late.
“What has been bothering you?” You ask tentatively.
“I am tormented. Oh, my dear friend, it’s terrible! There is so little to keep me busy here in this stifling town. I long for the sea and for that strange, American sailor (played by company dancer Matt Wenckowski) I met long ago. Do you remember how I spoke of him? I told you of our romance right after it occurred. A passion like I had never know, flowing and crashing like the waves of the ocean.”
“But why does it torment you so? I see it as romantic, the young love of two free spirits-”
“You do not understand.” Ellida says, standing and pacing the garden restlessly. “I have no desire to think of this man. I want him out of my mind. I have a wonderful, devoted husband here and duties to his girls. But the obsession infests me, worms its way inside not just my brain but my body.”
“What can you possibly mean by that? Ellida, you’ve always been known to speak of things more intensely than most, but no memory can alter one’s physical being!”
“My son. My son that I lost so quickly. The son of Dr. Wangel and myself. He had… He had…” She swallows hard, composing herself. “He had the stranger’s eyes.”
You feel any envy of Ellida’s mystique receding, leaving with the tide. Instead, a true picture of her torment emerges, just like the boat cutting through the fog on the horizon.
“It’s him!” Ellida screams, noticing the boat. “The sailor is on that ship, I’m sure of it.”
“What—what will you do?” You ask, at a loss.
“I must speak to Dr. Wangel at once. I must talk with the stranger free from any obligations. I know I want to stay here. All of my logic tells me I should. Staying is convenient, sensible, right. But my body has a terrible attraction towards the sea… And I cannot choose freely between the two if I am anchored still to the doctor.”
She exits in a frenzy. You are left to sit with your own struggle between reason and feeling. Because of course, Ellida is mad. That sailor could not have given his eyes to her son. And she would be crazy to throw away the security of her life on this island to be with a man she knows only from memory. But, more deeply, below the logical rationalizing of your brain, you feel how she yearns for freedom to speak with this stranger. Ellida, when you were close to her in your youth, was never one to avoid the ocean on the days when the water was choppy. She would test the water for herself. Here, in her safe, secure life, she has been landlocked. The Doctor must unmoor her if he can ever hope for her to float back to choose a life on dry land.
For tickets to Extremely Close, call 616.454.4771 x10 or tap or click here.
Madison Massara’s European Vacation
Photo by Isaac Aoki
By Katie Aaberg
Madison Massara is one of our newest company members and a Michigan native. She joined the company as a trainee in 2017 and was promoted to company dancer in 2019. Prior to her time at the ballet, she performed as a Guest Artist in Skye Ballet Center’s The Nutcracker; competed at YAGP and the Indianapolis International Ballet Competition; and attended various esteemed summer intensives.
“Day 1 in Prague. Got in at 8:30am Prague time and had the whole to day meet tons of new people, settle into the hotel, and explore the gorgeous city all day, witnessing all the beautiful architecture from all around Prague.”
This summer Madison has embarked on a new adventure. Madison spread her wings and soared far from home to Prague where she will be living for two weeks while she attends the International Ballet Masterclasses. The International Ballet Masterclasses in Prague was founded by former prima ballerina, Daria Klimentova. Her goal in creating the summer program was to bridge the gap between professionals and students. She wanted to provide rising stars and young professionals with an opportunity to engage with current artists to benefit from their experience and expertise.
“1st day of classes. I had a day full of dancing, learning, walking around town, and meeting more new people!”
After hearing about the opportunity from a friend, Madison quickly researched the program and filled out an application. Promptly after her submission she heard back with an acceptance. She was going to Prague!
“Ate lunch on the river with a group of friends before our last class of the day.”
But how was she going to get there? Madison was intent on raising the money herself and decided to use the popular online platform GoFundMe as a way to secure funding for the trip. She blasted the GoFundMe through Facebook and with the generosity of her friends and family, Madison was able to fund her trip almost entirely.
“Entrance to the studios. Another fun day of dancing. I had a wonderful class with Thomas Edur (artistic director of Estonian National Ballet) who introduced a lot of ballet philosophy into class which challenged me to reflect and come up with some personal philosophies.”
On July 27 Madison embarked on her first journey across the Atlantic. She said while she was most looking forward to meeting and learning from the esteemed faculty members, she also hoped to have time to explore the beautiful and historically rich city of Prague. She planned to immerse herself in the culture by touring the castles, visiting the medieval Astronomical Clock, attending museums, trying new food, and walking around to soak in the beauty of the city. She giggled when asked if she learned any Czech and replied that she planned on learning some before she left.
“Today was a blast. In the morning I had class with Vladimir, then had another amazing variations class and we worked on the talisman variation.”
Good luck, Madison. Keep up to date with her journey through our Instagram!
“We had a fantastic interview with Thomas Edur (artistic director of Estonian National Ballet) and he discussed his career and philosophy behind ballet. I then went back to the hotel, ate, talked to my brother who is in London doing the Royal Ballets summer intensive, then I went to bed after another tiring yet inspiring day!”
Meet Your Grand Rapids Ballet School Summer Intensive R.A.: Keenan Kangas
Photo by Katie Aaberg
Grand Rapids Ballet School
Summer Intensive
Resident Assistants
Name: Keenan Kangas
Hometown: Lansing, Michigan
Dance experience: 10 years of musical theater and 5 years of ballet
Favorite food: Fettuccine alfredo
Favorite movie: Titanic
Favorite toppings on a pizza: Chicken barbecue
If you could go anywhere, where would you go: Middle Earth
Favorite dance company: Les Ballets Trockadero de Monte Carlo
Follow Keenan on Instagram
Meet Your Grand Rapids Ballet School Summer Intensive R.A.: Rebecca Levin
Photo by Katie Aaberg
Grand Rapids Ballet School
Summer Intensive
Resident Assistants
Name: Rebecca Levin
Hometown: Los Angeles, California
Dance Experience: 15 years with an emphasis on ballet. Currently studies at Butler University.
Favorite movie: Monsters University
Favorite food: Mangoes and avocados
Best season: Summer
Favorite toppings on a pizza: Pineapple
Favorite ballet: Giselle
Follow Rebecca on Instagram
Meet Your Grand Rapids Ballet School Summer Intensive R.A.: Liz Walker-Kreutziger
Photo by Katie Aaberg
Grand Rapids Ballet School
Summer Intensive
Resident Assistants
Name: Liz
Hometown: East Lansing, Michigan
Dance experience: 29 years. Received a BFA in dance from Oakland University and a master’s in Arts Development from University of Denver. Danced for various contemporary companies. Performed as a B-girl and a backup dancer.
Favorite movie: Some Like It Hot
Favorite food: Sushi
Best season: Fall
If you could go anywhere, where would you go: Maui
Favorite choreographer: José Limón
Meet Your Grand Rapids Ballet School Summer Intensive R.A.: Nigel Tau
Photo by Katie Aaberg
Grand Rapids Ballet School
Summer Intensive
Resident Assistants
Name: Nigel Tau
Hometown: Savannah, Georgia
Dance experience: 13 years. Trained at Next Generation and BalletMet. Currently dances with Grand Rapids Ballet as a company member.
Favorite food: Donuts
Favorite movie: Imitation Game
Favorite toppings on a pizza: Mac and cheese
If you could go anywhere, where would you go: Japan
Favorite choreographer: Penny Saunders
Follow Nigel on Instagram
Meet Brian Enos Choreographer of Alice in Wonderland
By company dancer Connie Flachs
Brian Enos stands in the front of the studio, dressed head to toe in black. His focused gaze is directed on the three girls learning Alice, waltzing across the center of the room.
“Good, good,” he declares softly. Approaching one of them, he asks her to stretch her leg farther in the arabesque pique and turn her pirouette more quickly. He demonstrates with fluid agility and she follows his lead, moving farther and with more dynamic range after incorporating these corrections.
Enos himself is a study in contrasts. Soft-spoken but direct. Kind but demanding. Even his succinctly styled mohawk hair is the opposite of what one would expect from a ballet choreographer. In essence, this makes him the perfect choice to choreograph Grand Rapids Ballet’s production of the classic story Alice in Wonderland, returning May 3-5 and 10-11, 2019, after it’s triumphant 2017 premiere.
Enos’ choreographic style draws on classical ballet technique, but the steps you will see on stage are a far cry from Swan Lake. The Mad Hatter and March Hare tango, the Cheshire Cat slinks jazzily across the floor, the White Rabbit spins neurotically with ferocious abandon. The score arranged by Brendan Vincent keeps with this fresh and modern feel. The story is taken out of the Victorian age and into a more abstract, timeless place. While the production has elements of the Disney version and is assuredly family-friendly, the ballet is modernized and complex.
Enos began his conception of the production by reading the original Lewis Carroll story. Despite the story’s original reception as “sheer nonsense,” Carroll’s puzzling world has persevered over time, appealing to both children and adults alike. Enos determined the ballet would follow the book more closely than the movie, incorporating some of the darker elements of the story and keeping with his sensibilities as a person.
Originally from San Francisco, Brian began studying ballet at 16. After his training at the Maria Vegh Ballet Centre and Houston Ballet Academy, he joined Houston Ballet at 18. He went on to dance for the acclaimed Hubbard Street Dance Chicago for eight years, before retiring from the stage in 2010. He is currently the artistic director of The Big Muddy Dance Company in St. Louis, Missouri.
Don’t be late for this very important date! Get your tickets to Alice in Wonderland today.
Meet Alice in Wonderland Visual Artist, LUIS GRANÉ
LUIS GRANÉ: MEET THE VISUAL ARTIST BRINGING OUR WONDERLAND TO LIFE
Born in Argentina, Luis Grané studied medicine and worked in a human anatomy laboratory at Buenos Aires University before studying ine arts and graphic design. Following his true passion, Grané moved irst to London where he worked in advertising for almost four years, and then to Mexico, where he worked in visual arts and advertising and became strongly influenced by Mesoamerican Art.
Grané then moved to Toronto, where he won the Dick Friesen/Zlatko Grigic Award for Excellence in Animation at Sheridan College in 1996, and was recruited by DreamWorks Animation SKG. This meant relocating to Los Angeles, where he worked as an animator, visual effects artist, and character designer for DreamWorks, Pixar, Disney, Laika, Sony Pictures, Aardman, and Warner Brothers.
His credits include films as diverse as The Prince of Egypt, Spirit, Spiderman 2 (Academy Award Winner for Best Visual Effects), The Matrix, The Aviator, Ratatouille (Academy Award Winner for Best Animated Feature), Hotel Transylvania, Diary of a Wimpy Kid, and The Boxtrolls. He has also collaborated with numerous renowned directors such as Sam Raimi and Richard Linklater.
While pursuing his career in Hollywood, Grané attended Peter Liashkov’s painting workshops for two years and studied painting with Bonita Helmer at Otis College of Art. Grané’s original work as an independent artist has been featured in group exhibits at the Pozzi Gallery in Buenos Aires, the Cartoon Museum in London, and the Enisen Gallery in Los Angeles, and worldwide as part of the Sketchtravel Book art project.
His work was also selected as the cover of the Totoro Forest Project book, an artistic venture that gathered prominent artists from around the world to save a forest in Japan. Grané currently works in his studio in the Arts District in Downtown Los Angeles and recently published his first solo book, Sad Stories.
MEET HEDDA GABLER FROM VAL CANIPAROLI’S IBSEN’S HOUSE
Cassidy Isaacson as Hedda Gabler in Val Caniparoli’s Ibsen’s House
By company dancer Connie Flachs
We continue our series of introductions to the famously strong female characters of playwright Henrik Ibsen that appear in Val Caniparoli’s Ibsen’s House in Extremely Close April 12-14 at Peter Martin Wege Theatre.
Here we are introduced to Hedda Gabler from the 1890 four-act play. Hedda Gabler is among Ibsen’s most famous works. It would be diminutive to describe this play as a drama about a housewife: The title alone demonstrates Hedda’s reluctance to assimilate into her husband’s family. Instead she clings to her aristocratic background. Hedda appears powerful but has little true agency. She strives, through manipulation and desperate acts, to influence the other humans in her midst. The play examines the struggle for existential meaning within societal boundaries as well as explores the neuroses of the human psyche.
The sound of gunshots catches you off-guard as you approach the newly purchased, stylish manor of Professor Tesman (played by company dancer Steven Houser). You don’t often come to this refined part of town, but he had asked you to meet him to go over a recent homework assignment. You wonder how he affords this home on the modest salary of a research fellow. Not to mention his recent six month extravaganza of a honeymoon. Rumors say his wife Hedda Gabler (played by company dancer Cassidy Isaacson) – now Hedda Tesman – demanded the trip. Perhaps as a reparation for marrying below her means? Some had believed the daughter of the famous general would never settle on a husband. You’ve spent many hours snickering with your peers over the absurdity of the match between Tesman’s earnest but exasperating bluster and Hedda’s class and glamour.
Another gunshot snaps you out of your reverie. The door to the manor swings open and the maids ushers you in to the expansive and beautifully decorated drawing room where Hedda herself sits, polishing a pistol, surrounded by fragrant bouquets.
“The professor will be down shortly. Hedda will entertain you as you wait,” she informs you, and scurries off.
“Welcome,” Hedda says, fixing you with a piercing gaze. “Please sit down.” You make a move towards the chair furthest from the gun she still holds.
“Oh, not there, please. Sit closer to me.” She pats the sofa next to her. You sit, tentatively, close enough to notice that every ten seconds or so her placid profile is marred by a twitch of the eye.
“So, Tesman tells me you’ve been incredibly helpful in his latest research. You may even be part of the reason he has nearly secured his promotion. I suppose I must thank you for your contribution to my husband’s work.” You nod, mutely.
“Well, I expect you used all your words on the research paper.” Hedda sighs disdainfully and rises to place the gun back in its display case. She stays by the window, gazing blankly out.
“The flowers you have here are beautiful,” you babble nervously to fill the silence. “Gifts, I expect? To celebrate the marriage of two souls newly in love?”
“HA!” Hedda snorts, and then regains her composure so quickly you are left wondering if you imagined the exclamation.
“Some do call it love…” she responds vaguely. “But lets talk about you. What do you busy yourself with? Riding? That was a favorite past time of mine as a child. The freedom of it! Or perhaps shooting? Another favorite.”
“No, no. I don’t care for that at all.” You shrink from her, hoping it’s imperceptible.
“Nonsense!” She says cheerily, her eyes suddenly gleaming. “You’ll love it. Here!” She retrieves the gun and places it in your hands, standing over you. “See? Do you feel the sense of control? Doesn’t it feel powerful?”
“Hedda!” The professor’s voice rings from the corridor. “What are up to with our guest?” You breathe a sigh of relief as Hedda removes the gun from your grip.
“We were just experimenting, George. Something a little out of the ordinary. Something of interest. For once.”
“Ahh, my Hedda. Isn’t she lovely, uh?” He moves to kiss her cheek and misses as she pulls away and returns to her post at the window. “Ah, well… Now, come to my study, we’ll talk about that paper.”
He ushers you into his room. Before the door closes you turn to catch a glimpse of this stunning and frightening woman. She stands straight and poised, a picture of elegance apart from her arms, crossed in front of her chest, fingers clenched and nails digging into the flesh beneath her fine dress, as though fighting against a visceral scream.
For tickets to Extremely Close, call 616.454.4771 x10 or tap or click here.
MEET REBECCA WEST FROM VAL CANIPAROLI’S IBSEN’S HOUSE
Madison Massara as Rebecca West in Val Caniparoli’s Ibsen’s House; photo by James Sofranko
By company dancer Connie Flachs
We continue our series of introductions to the famously strong female characters of playwright Henrik Ibsen that appear in Val Caniparoli’s Ibsen’s House in Extremely Close April 12-14 at Peter Martin Wege Theatre.
Here we are introduced to Rebecca West from the 1886 four-act play, Rosmersholm.
Rosmersholm was almost titled White Horses, to represent the ghostly specters referenced throughout the play whenever disaster threatens. Indeed, Ghosts would also have been appropriate if Ibsen had not already used that title in his previous work. Much of this play deals with the influence previous actions and people from the past have on one’s present. Rosmersholm further explores ethics and morality and questions whether they can exist outside a highly codified structure such as religion.
You sit in Johannes Rosmer’s (played by company dancer Josue Justiz) grand living room under the gaze of the stern family portraits lining the walls. You are struggling to keep your own gaze from darting to the mill-race just visible outside the window on your right. The whir of the mill and the splashing water threaten to conjure an image of the story you read in the papers nearly a year ago: Mrs. Beata Rosmer, in her fragile mental state, jumping over the railing in a last terrible exercise of agency.
In spite of your best efforts, Rebecca West (played by company apprentice Madison Massara) notices your straying eyes and rises to gently close the curtains. You shudder suddenly: The lack of sunlight combined with the morbid theme of your thoughts casts an eerie gloom over the room.
“We miss Beata dearly, Johannes and I both,” Rebecca states in a matter of fact manner.
“May she find peace in heaven,” you offer, embarrassed by your inability to hide your distraction.
A non-committal “Mm,” is all you receive in return from Rebecca.
“So, you’ve lived at the Rosmer residence for a while now?” You ask, to break the uncomfortable silence.
“Yes, indeed. Beata was so unwell, another lady of the house was a necessity. And Johannes and I have become quite close. He is a great thinker, a man of upstanding character. We have been following the debates happening in town with great interest. In fact, the papers just declared his alignment with the liberal cause. And, you know, he has left the church after his many years as a pastor. The laws of religion no longer govern his life. Nor do they govern mine, but I grew up in the passionate embrace of life, in the whirlwind of secular pleasures. And indeed, I’ve mellowed under the influence of the Rosmer rationality and nobility. But I’ve influenced him Johannes in return. His abandonment of the church went against the values the Rosmers have held for centuries. The existence of God has been unquestionable throughout the generations that live in this house. But times are changing now, rapidly, and we must look for the ultimate truth. The world is vast and quickly moving towards an era of free thought.”
“Ahhh…” you respond, struggling to process this speech. Women in town rarely put forth their opinions so blatantly, especially such heretical notions. You grapple for a response.
“You say and Johannes are close? Is there a celebration to be had?”
“Oh no. No no, nothing like that.” For the first time Rebecca’s unflappable nature seems shaken. “We have lived together as close friends, with great affection. If you must know – he recently proposed. But I couldn’t accept. No no. It’s not for me to take that role. Even if I do love- Even if I do respect him dearly.”
“Mm, well. I see. So…” The conversation is officially out of your realm of comfort. “Would you be so kind as to allow me to take a walk? I could use some fresh air.”
“Of course. Please, take your time. You can leave your coat and things here if you like.”
You exit to the garden and feel a rush of emotions flood over you as you step into the now blindingly bright sun. Laughter at the absurdity of Rebecca’s radical notions. Then tears of confusion at the emotionless calm around Beata’s death. It’s as though the house, steeped in the composure of Rosmer tradition, had suppressed your ability to feel this deeply. Shaking your head to clear your mind, you realize you have no desire for re-entry, not even to gather your belongings, and hurry away from the home, leaving behind the whir of the mill.
A few weeks later a knock on your door interrupts your work. The Rosmer’s maid, Madam Helseth stands on your steps, jacket and briefcase in hand.
“Oh how kind!” You exclaim. “I’m so sorry to have inconvenienced you, I truly meant to-”
Madam Helseth bursts into tears.
“Gone!” She sobs. “Gone like Beata. They both jumped over the- Oh I can’t even speak it! I can’t. If they had just married. They were so in love. I heard them whisper of it. But it would have been a marriage based on guilt. After Rebecca urged Beata to end her own misery she could never have taken her place in good conscience. And Johannes would have been haunted by the disapproval of his ancestors. But is death better? Is it better? Perhaps the truth is that peace is only found in that final rest. Yes! YES!”
You grab her shoulders, trying to calm her down.
“They had such IDEALS,” she screamed, hysterical.
“Shhh… shhh…” you whisper soothingly.
“They couldn’t do them justice. And now – NOW! The dead wife has taken them,” she gasps, and faints in your arms.
For tickets to Extremely Close, call 616.454.4771 x10 or tap or click here.
Meet Ellida Wangel from Val Caniparoli’s Ibsen’s House
Connie Flachs as Ellida Wangel in Val Caniparoli’s Ibsen’s House. Photo by James Sofranko.
By company dancer Connie Flachs
We continue our series of introductions to the famously strong female characters of playwright Henrik Ibsen that appear in Val Caniparoli’s Ibsen’s House in Extremely Close April 12-14 at Peter Martin Wege Theatre.
Here we are introduced to Ellida Wangel from his 1888 five-act play, Lady from the Sea.
Lady From The Sea diverges slightly from Ibsen’s general attachment to realism, including some folklore and fantasy. Indeed, the story is based on the same tale Hans Christian Anderson derived The Little Mermaid from. The text explores craving and desire and the battle between ego and self in reconciling what one has with what one wants. Unlike many of the women we will meet who leave their husbands, turn away from convention, or regret their lifelong devotion to society’s norms, the free spirit of Ellida eventually chooses to remain with her kind and honest husband, Dr. Wangel.
You are greeted at the Wangel residence with streaming rays of sun and the warm air of summer. You’ve rarely visited in the past: There isn’t much to do here in this small town but admire the flowers that dot the hills.
“We are so glad you’ve come!” Dr. Wangel greets you, welcoming and earnest as always. “Ellida (played by company dancer Connie Flachs) has really been in a terrible state as of late. I hope an old friend can bring my wife back to high spirits. She’ll be right along, she’s just nearly finished her daily bathing.”
Sure enough, a few minutes pass and Ellida wanders up the hill, her hair drying in the breeze, still damp from her ritual swim in the inlet.
You’ve always been a bit jealous of Ellida. Most call her strange, wild even, especially in this provincial area. Yet, you envy the aura of mystery she carries with her and her freedom of spirit.
“Ellida, my dear. It’s lovely to see you, and on such a beautiful day!”
“Lovely. Nothing has seemed lovely to me for a while now.” Her eyes drift over the garden gate, out to the ocean.
You’re a bit taken aback, but the Doctor had warned you she’d been suffering as of late.
“What has been bothering you?” You ask tentatively.
“I am tormented. Oh, my dear friend, it’s terrible! There is so little to keep me busy here in this stifling town. I long for the sea and for that strange, American sailor (played by company dancer Matt Wenckowski) I met long ago. Do you remember how I spoke of him? I told you of our romance right after it occurred. A passion like I had never know, flowing and crashing like the waves of the ocean.”
“But why does it torment you so? I see it as romantic, the young love of two free spirits-”
“You do not understand.” Ellida says, standing and pacing the garden restlessly. “I have no desire to think of this man. I want him out of my mind. I have a wonderful, devoted husband here and duties to his girls. But the obsession infests me, worms its way inside not just my brain but my body.”
“What can you possibly mean by that? Ellida, you’ve always been known to speak of things more intensely than most, but no memory can alter one’s physical being!”
“My son. My son that I lost so quickly. The son of Dr. Wangel and myself. He had… He had…” She swallows hard, composing herself. “He had the stranger’s eyes.”
You feel any envy of Ellida’s mystique receding, leaving with the tide. Instead, a true picture of her torment emerges, just like the boat cutting through the fog on the horizon.
“It’s him!” Ellida screams, noticing the boat. “The sailor is on that ship, I’m sure of it.”
“What—what will you do?” You ask, at a loss.
“I must speak to Dr. Wangel at once. I must talk with the stranger free from any obligations. I know I want to stay here. All of my logic tells me I should. Staying is convenient, sensible, right. But my body has a terrible attraction towards the sea… And I cannot choose freely between the two if I am anchored still to the doctor.”
She exits in a frenzy. You are left to sit with your own struggle between reason and feeling. Because of course, Ellida is mad. That sailor could not have given his eyes to her son. And she would be crazy to throw away the security of her life on this island to be with a man she knows only from memory. But, more deeply, below the logical rationalizing of your brain, you feel how she yearns for freedom to speak with this stranger. Ellida, when you were close to her in your youth, was never one to avoid the ocean on the days when the water was choppy. She would test the water for herself. Here, in her safe, secure life, she has been landlocked. The Doctor must unmoor her if he can ever hope for her to float back to choose a life on dry land.
For tickets to Extremely Close, call 616.454.4771 x10 or tap or click here.