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.
Next, we meet Mrs. Helen Alving from the 1881 three-act play Ghosts which premiered in Chicago, Illinois.
Like many of Ibsen’s plays, Ghosts was the subject of great controversy, especially because of its inclusion of sensitive topics including religion, venereal disease, and infidelity. While Nora in A Doll’s House deals with breaking the standing moral code, Ghosts illuminates the tragic consequences of conforming.
You’ve journeyed a long way out of town to call upon Mrs. Alving (played by company dancer Alexandra Meister-Upleger), and nothing about her home lends a sense of ease after your extended travels. There is a chill in the air and the cold rain soaks through your overcoat as you hurry down the path to the front door.
You’re welcomed in by Regina—the young maid Mrs. Alving has always treated as a member of her own family. As you warm your hands by the fire, Mrs. Alving arrives, her image wearier than your memory of her: The lines around her mouth are deeply creased and a droop interferes with the proud posture of her youth. She is the portrait of a woman who has spent years holding herself together.
She places a book in your hand: It is not a text you would ever be caught reading.
“I admire your curiosity and thirst for information, Mrs. Alving, but really, I couldn’t possibly read a piece of literature that deals with—”
“Now, I know that Pastor Manders would never approve,” she interjects, “But I’ve found all sorts of information in this tome that I resonate with…”
She carries on talking about the radical novel, but you find yourself distracted by the smile dancing on her lips as she refers to Pastor Manders. It was rumored they were quite fond of each other and that she fled to him for refuge from her tumultuous marriage to the Captain, who is now deceased. But prior to his death, their son, Oswald (played by company dancer Isaac Aoki), was born and she and the Captain moved out here and the rumors were quelled.
“Oh! Oswald is doing beautifully!” She proclaims with a positivity that seems out of place in this dreary estate. “You should see the latest painting he’s been working on; it’s just wonder—”
She seems to have lost her voice, as well as her cheery air; Oswald is an artist who is now suffering due to the sins of his father.
“I have to tell you,” she whispers hoarsely. “All is not well. Oswald is contaminated. He’s been so tired, listless, since he’s returned home from abroad. He can’t work on his art. His joy for life has been infected. His doctor told him there is no chance of recovery. I tried so hard to save him, to keep him away from the influence of his degenerate father. I spent my life covering up my husbands’ infidelities and loose affairs. I had heard the talk of—was Nora her name?—the vile rumors about that woman who left her family. People would have spoken of me that way! I had to maintain order, uphold the law of my marriage, protect my son and our family’s reputation.”
“You chose nobility,” you offer, attempting to assuage her obvious distress.
“I chose cowardice,” Mrs. Alving refutes. “And for what? Devotion to duty did not result in devotion from my Captain. Now, Oswald has the sickness. This is my last chance to be brave. I must choose whether to hold my son to the duty of life or to help him towards freedom.”
A silence falls between the two of you. Is she hinting at the unspeakable? You’re not quite sure you understand her. You don’t know what to say.
“And now, I must ask you to take your leave. Regina will escort you back to town. Oswald, come say goodbye to our guest!”
Regina and Oswald appear at the staircase. For a moment, standing in the gloomy shadows of the hallway, their resemblance is striking. Regina steps out of the darkness with your jacket; she seems eager for you to leave.
“Goodbye Mrs. Alving, Oswald,” you nod to the mother and son who stand on the stoop, waving to you. You take one last look at the eerie estate, and when you turn back for a final wave the two have vanished.
For tickets to Extremely Close, call 616.454.4771 x10 or tap or click here.
Now that we’ve met the author, Henrik Ibsen, let’s meet his famously strong female characters that appear in Val Caniparoli’s Ibsen’s House in Extremely Close April 12-14 at Peter Martin Wege Theatre.
First up is Nora Helmer (played by company dancer Yuka Oba) from his 1879 three-act play, A Doll’s House, which premiered at the Royal Theatre in Copenhagen, Denmark on December 21.
The play is significant for the way it deals with the fate of a married woman, who at the time in Norway lacked reasonable opportunities for self-fulfillment in a male-dominated world. It aroused a great sensation at the time, and caused a “storm of outraged controversy” that went beyond the theater to the world newspapers and society.[Wikipedia]
Nora invites you into her immaculate sitting room, not too expensively furnished, but neat and orderly. She appears on first glance as the ideal nineteenth-century wife: dainty and saccharine-sweet like the macaroons she offers you. However, as you chat longer, you notice something is amiss. The doll-like existence she lives doesn’t fully suit her; her husband, Torvald (played by company dancer Nathan Young), treats her delicately, as though she is a child, without any agency. He draws attention repeatedly to her beauty and talks endlessly about their happiness. Stealing bites of macaroon as he looks away seems to be the only way she exercises her own power.
As her husband leaves the room, Nora leans in closely in confidence. Her previous smiles have vanished and a fire burns behind her eyes. She confesses she has recently taken out a secret loan to help pay for her husband’s medical treatment. At this point in history, women can’t partake in such financial endeavors so she cunningly forged a signature and she’s dealing with the fallout of it: blackmail.
“Something glorious is about to happen,” she whispers. Her husband is about to learn she has been performing “tricks” with other men in an attempt to pay off the debt ensued for his health. She believes he will sacrifice his reputation to protect her. You nod slowly, not wanting to mar her optimism, but leave with a queasy feeling about the matter.
No word comes from Nora over the next few weeks until a neighbor asks if you’ve heard of the Helmer’s scandal. “She just left,” your gossiping neighbor whisper-yells. “Walked out on him and the children. Can you even begin to fathom….?”
But you can. You have seen the fire in her eyes, you know of her defiance. Her husband failed her expectations, sacrificing his devotion and integrity to the woman he has married for the public theater of happiness and dignity. She was done playing the role of the doll. As the scene ends with the slam of a door, you wonder if you will see her again, free in the wild world outside the doll’s house.
For tickets to Extremely Close, call 616.454.4771 x10 or tap or click here.
Grand Rapids Ballet’s next production, Extremely Close, includes Ibsen’s House, a ballet by Val Caniparoli (the choreographer of our production of The Nutcracker). This piece features a collection of literature’s most dramatic, complex, and emotive female characters including Nora from A Doll’s House, Hedda from Hedda Gabler, Rebecca West from Rosmersholm, Ellida from Lady from the Sea, and Mrs. Alving from Ghosts. But, before we meet these powerful women, we must meet the equally powerful playwright, Henrik Ibsen (1828-1906), himself.
Depending on what year you choose, you could encounter Henrik in Norway, Italy, or Germany. Born Norwegian, Ibsen’s controversial plays led him to self-exile in Italy and Germany from 1862-1891. However, he was welcomed in his home country as a literary hero upon his return.
Ibsen’s plays observe the human condition. Known as the “father of realism,” he wrote pieces of theater that pick apart societal norms and peer inside the perfect Victorian facades to reveal the human struggles, angst, and complication within the living rooms.
If you met him at a party you may try to engage with him on the topic of women’s rights. After all, he was the first male playwright to incorporate female characters that existed on their own merit, rather than as a foil for the male role. Ibsen’s women pursue their own desires and fight for self-realization. However, Ibsen would cringe if you called him a feminist.
“That is not my agenda,” he may respond. “I write with no agenda. I am no feminist, but believe in the individual and their right to live with their personal beliefs and truth. Call me an observer. A realist, if you must.”
Ibsen certainly did pinpoint the uncomfortable, hidden effects of accepted social practices and taboos of the time. He had no problem with controversy. In fact, if you met him on his death bed, you would hear his final words: “Tvertimod (To the contrary)!”
Extremely Close runs April 12-14 at Peter Martin Wege Theatre. Tickets are available at online or by calling 616.454.4771 x10.
Festival of the Arts is excited to announce its honorary co-chairs for the event’s 50th year – Glenn Del Vecchio, Executive Director for Grand Rapids Ballet and James Sofranko, the new Artistic Director for Grand Rapids Ballet. The two were selected to celebrate the link to the very first Festival of the Arts when the Ballet performed on Calder Stage nearly 50 years ago.
“I am excited to collaborate with Glenn and James to create a celebration of Festival’s 50 years that will be memorable and special for the entire community,” said David Abbott, Executive Director for Festival of the Arts. “We have already begun the work of highlighting the relationship during next year’s 50th celebration, and we look forward to sharing something amazing with the region!”
Glenn Del Vecchio serves Grand Rapids Ballet as Executive Director, and serves on a number of executive boards in the community including Vice Chair at Michigan Dance Council and Operations committee of the Convention Arena.
“Grand Rapids Ballet is thrilled to play a part in planning Festival of the Arts’ 50th celebration,” said Del Vecchio. “Our team has had a natural connection with Festival over the years and I am humbled to have been selected as honorary co-chair for such a momentous celebration.”
James Sofranko is the new Artistic Director at Grand Rapids Ballet and has been a soloist dancer with the San Francisco Ballet. He has danced in numerous works and world premieres by world-renowned choreographers. He is a choreographer himself and has founded and produced numerous dance projects during his time in San Francisco. He is excited to bring his experience and expertise to the Grand Rapids Ballet.
“I am honored to be welcomed into the Grand Rapids arts community with such an important appointment,” said Sofranko. “I am excited to share the Grand Rapids Ballet with the city through Festival of the Arts. The arts are all inclusive and should not discriminate against those who cannot afford to pay for it, so bringing high quality artistic performances to this completely free festival is something I strongly believe in.”
The Board of Directors of Festival of the Arts recently decided to follow a new process for honorary co-chairs starting with Del Vecchio and Sofranko in 2019. In order to re-connect with the arts institutions of the region, Festival will look to select leaders from partnering arts institutions in future years. The honorary co-chairs will serve as ambassadors to the community encouraging engagement for the event and also serve as conduit to all the other arts institutions in the region for solicitation of performers and artists.
David Abbott, executive director at Festival of the Arts, joined the organization in April of 2018 in an interim basis and is now charged with leading the vision of the organization into its 50th year and beyond as the organization’s first full-time executive director. He is working to bring the historically all-volunteer run event to a new level, offering consistent leadership year-to-year.
Festival of the Arts takes place the first full weekend of June every year, and is celebrating its 50th anniversary on June 7, 8 and 9 in downtown Grand Rapids.
About Festival of the Arts
In 1969, Alexander Calder’s La Grande Vitesse was installed in front of City Hall in downtown Grand Rapids. The 43-foot-tall, vibrant red stabile, which became known as “The Calder,” inspired a celebration – one that’s grown to encompass most of downtown Grand Rapids.
Festival of the Arts, always the first full weekend of June, will celebrate its 50th year in 2019 on June 7, 8 and 9 in downtown Grand Rapids. The three day event family friendly remains free and features several stages of performances taking place all day, a juried arts exhibition, and dozens of food booths run by local non-profit organizations. Festival also offers creative activities for children and adults to enjoy with opportunities to make your own art or purchase art from many West Michigan artists. For more information visit festivalgr.org or check out Festival of the Arts on Facebook, Twitter or Instagram.
As our 2018-2019 season draws closer, we’d like to introduce you to the newest additions to this growing company. We are so excited to expand our ranks, and continue to bring excellent dance to West Michigan as the stat’es only professional ballet company.
First up we have company member, Alexandra Meister-Upleger from Aurora, Ohio.Most recently she was a company member with Nashville Ballet. A native of Ohio, Alexandra began training at Sharron’s School of Dance. She continued her ballet training under Ana Lobe and various teachers throughout northeast Ohio as well as summer programs at Nutmeg and Houston Ballet. In 2008, she was invited to join Nashville Ballet’s second company, NB2. In September of 2010 she was offered an apprentice contract, and in the same season was promoted to company member. In the summer of 2016, Mrs. Meister-Upleger represented the USA at the 27th International Ballet Competition in Varna, Bulgaria Alexandra. She enjoys traveling and golfing with her husband and family. She loves working with young artists and sharing her passion for art. Fun fact: She owned a small business weeding gardens in Nashville called the Wacky Weeders.
Next up we have company member Emily Reed from Monee, Illinois joining us. Emily began dancing when she was three at Faubourg School of Ballet followed by the Ruth Page Center of the Arts, where she trained under beloved ballet master Larry Long. Emily attended various summer intensives across the country on scholarship and was one of the first trainees for Joffrey Ballet in Chicago. Emily spent 2010-12 in the Milwaukee Ballet II program where she performed a wide range of repertoire with MBII and in the main company productions. She spent six seasons with Minnesota Ballet and danced such roles as Lucy in Dracula, Sugar Plum Fairy in The Nutcracker, Titania in A Midsummer Night’s Dream, Aurora in Sleeping Beauty, in Salvatore Aiello’s Clowns and Others, and in George Balanchine’s Who Cares? and Tarantella. Emily has also performed in the Lake Arts Project in Milwaukee, WI, as well as guested for the St. Lucie Ballet in The Nutcracker as the Sugar Plum Fairy.
Josue Justiz from Cuba is also joining us as a company member. He was born in Cuba where he started studying ballet at the age of nine in his hometown of Santiago de Cuba. When he was 14, he entered the National Ballet School of Cuba in Havana under the guidance of masters Fernando Alonso and Ramona de Saa. During his time there, he was a successful competitor in the International Ballet Competitions of Havana winning one silver and two gold medals. After graduation, he entered the National Ballet of Cuba under the direction of Prima Ballerina Assoluta Alicia Alonso. After only two years with the company, he earned the title of soloist. He came to the United States permanently soon after where he joined the Studio Company of the Washington Ballet. In 2014, he joined the former Ballet San Jose under the direction of ballet legend Jose Manuel Carreño. Jose is a founding member of Dimensions Dance Theatre where he collaborated with well-known choreographers such as Septime Webre, Tara Reid, Vicente Nebrada, and Yanis Pikieris.
Our 4th company member to join us this season is Nathan Young from Little Rock, Arkansas. Nathan began his training at the age of 13 at the Arkansas Academy of Dance under Mark Bush, Melinda Tobian, and Rebecca Miller-Stalcup. In 2013, Nathan graduated from the University of Oklahoma, where he received a Bachelor’s of Fine Arts in Ballet Performance. After college, Nathan moved to Nashville, Tennessee, dancing for the Dance Theatre of Tennessee for one season and Nashville Ballet for four seasons.
Israel Garcia Chenge
Next to join us is apprentice Israel Garcia Chenge from Mexico. Israel began his ballet training when he was 17 years old at Fomento Artístico cordobés – PROVER with Adria Luz Velázquez and Martha Sahagún in Córdoba, Veracruz. In 2010 Israel joined the trainee program at Orlando Ballet School. Israel joined the Milwaukee Ballet II in 2012 where he performed soloist roles and did works by George Balanchine, Michael Pink, Tim O’Donnell, and Petr Zahradnicek. In 2013, Israel had the honor of being invited to perform as a guest artist at the Youth America Grand Prix Gala in Mexico. The following year, he joined the Joffrey Ballet studio company in Chicago, IL, performing a variety of classical roles and was featured in works by Jennifer Archibald, Stephanie Martinez, Christian Denice and Mariana Oliveira.
Nicholas Bradley Gray
Nicholas Gray is joining us this season as an apprentice. He is a recent graduate of Indiana University Jacobs School of Music with a Bachelor of Science Degree in Ballet and an Outside Field in Theatre and Drama. Nicholas grew up in Milwaukee, WI, studying at the First Stage Theatre Academy from 2006-2013 and beginning his classical ballet training at the Milwaukee Ballet School in 2010. Nicholas then moved to Torrington, CT in 2013 to continue his classical training with the Nutmeg Ballet Conservatory. In his three years at IU Nicholas performed in works by world-renowned choreographers including Martha Graham, Jerome Robbins, Twyla Tharp, and Paul Taylor, and studied under ballet legends such as Violette Verdy, Kyra Nichols, Carla Korbes, and Michael Vernon. He had the privilege of performing in featured roles with the IU Opera Theatre and the IU Department of Theatre and Drama.
Finally, William Shearstone from Atlanta, Georgia will be joining Grand Rapids Ballet as a trainee. William began his dance training at 14 years old at the Cobb County Center for Excellence in Performing Arts at Pebblebrook High School where he trained in ballet, jazz, modern, music, acting, and musical theater. He joined Atlanta Ballet Centre for Dance Education Academy’s pre-pro division his senior year. After graduating high school, he earned a Trainee position at BalletMet and spent two seasons dancing there.
Welcome, everyone! We’re all very excited to see how your talents continue to elevate the art of Grand Rapids Ballet. You can learn more about all of your favorite dancers here.
Yuka Oba in George Balanchine’s Allegro Brilliante, photo by Isaac Aoki
A Closer Look at Wild Sweet Love
by Jade Butler
For his inaugural Grand Rapids Ballet rep (short for repertory:a production inwhichacompanypresentsseveral different works in one show), new artistic director James Sofranko thoughtfully selected vastly different masterpieces. Three will be Grand Rapids premieres: Allegro Brilliante by modern master George Balanchine; Ghost Light by our choreographer-in-residence and Princess Grace Award winner, Penny Saunders; and Wild Sweet Love by internationally acclaimed choreographer Trey McIntrye; and a fourth will be a world premiere work choreographed by Sofranko himself. This tour de force is a fantastic way to showcase our versatile, multi-faceted dancers and to open our exciting new season with fresh perspective.
Allegro Brilliante is a classic “lights and tights” ballet centered around a principal couple, supported by four corps couples. The ballet is set to Tchaikovsky’s Piano Concerto No.3 (listen to it here), originally created from a unique composition intended to be part of Tchaikovsky’s 6th symphony. Choreographed in 1956, Allegro Brilliante is still performed regularly by New York City Balletand other ballet companies worldwide. The demanding choreography paired with a quick tempo is a classic Balanchine trademark everyone has come to love. You can truly “see the music [and] hear the dance” with this brilliant work; it is a thrilling and delightful addition to this diverse mixed bill.
Penny Saunders’ Ghost Light is an alluringly haunting work inspired by the singular light that is often left on stage when unoccupied. Popular superstition holds that it is put out to appease any possible cohabiting spirits in the theater, hence the term “ghost light.” Similar notions are the light provide opportunities for ghosts in the theater to perform onstage. The ghost light in this work magically draws the dancers out of the shadows with masterful light design by Scott Bolman. This is the fifth work by Saunders to be added to our repertoire.
Wild Sweet Love
Trey McIntrye‘sWild Sweet Love is set to hit songs by popular artists such as Queen, Lou Reed, The Partridge Family, and Roberta Flack, with Mendelssohn’s Wedding March thrown in for good measure. Originally created at Sacramento Ballet in 2007, Grand Rapids Ballet is the third company to add Wild Sweet Love into its repertoire. Delightfully quirky and athletic, Wild Sweet Love measures up to be just as brilliant as Allegro Brilliante and just as captivating as Ghost Light.
“Like Balanchine, McIntyre builds an excitingly modern dance upon a very classic foundation. Wild Sweet Love is both wild and sweet. And very, very good.”
—The Sacramento Bee
Get Your Tickets!
This is the perfect show to kick-off our exciting new 2018-19 season—the first under the artistic direction of James Sofranko. It has something for everyone and will showcase your favorite dancers (and introduce you to some new ones, too).
Single tickets don’t go on sale to the public on Monday, June 18 (mark your calendars), but you can purchase season subscriptions now. To do so, call our box office manager, Kelly, at 616.454.4771, x10, email her, or visit our website today.
“It is through art, and through art only, that we can realize our perfection; through art and art only that we can shield ourselves from the sordid perils of actual existence.” —Oscar Wilde
The Happy Prince Oscar Wilde, already an established and beloved poet and playwright, works at his desk as the London streets bustle beneath him. He joins the action on the street, theatrically reading his playful children’s tales to the passing youth. His mother greets him and together they poke fun at Victorian society’s strict conventions, while keeping an eye out for a wife suited to his fashionable lifestyle. Encouraged by his parents, Oscar meets the beautiful, clever, and poised Constance Lloyd. A flirtatious courtship ensues, resulting in a happy and enthusiastic marriage. They are a popular couple, admired for their witty humor and audacious faison. All appears wonderful and satisfactory. Together they give birth to two sons and welcome them to the world with love.
The Selfish Giant After the birth of their second son, cracks emerge in the strength of their marriage and Oscar finds solace in his friend Robert Ross. Through Ross, Oscar is introduced to Lord Alfred Douglas, known as Bosie, who fills the needs Constance can no longer meet. Bosie, well aware of Oscar’s infatuation, leverages Oscar’s devotion to him to convince Oscar to cater to his every need. Bosie gets Oscar acquainted with London’s bawdy underground society. As Oscar sinks deeper into his treacherous relationship with Bosie he becomes further estranged from his family, absorbed in his new, alternate life. A beautiful linnet emerges: Can this hopeful bird help him to overcome his selfishness? Or perhaps it is the society that is selfish, determined to define devotion in a specific way rather than acknowledge the complexities of relationships and the sentiment that, ultimately, love is love.
The Nightingale & The Rose Constance and Oscar attend an extravagant ball. They are still the talk of the town but suspicions have arisen that all is not rosy between them. Indeed, as the party cedes to the privacy of the Wilde’s home, Constance can no long turn a blind eye to her husband’s infidelities. She withdraws with the children, determined to maintain her honor. Oscar is disgracing the family name. This Happy Prince has fallen from his pedestal. The public, who loved him so much, turns on him and Oscar is cast into exile. With his reputation, finances, and career in ruin, he is left to reflect on his life, career, and lovers. From this bleakness a nightingale emerges, singing a sweet and beautiful birdsong that lingers as all else fades.
The Happy Prince & Other Wilde Tales runs May 4-6 and 11-12 at Peter Martin Wege Theatre in downtown Grand Rapids. For tickets, call 616.454.4771 x10 or visit grballet.com/happyprince today.
written by Connie Flachs; costume and character illustrations by Sadie Rothenberg
Oscar Wilde – The Happy Prince
A talented playwright, poet, and author with a penchant for flowery language, gaudy fashion, and witty humor. At the height of his career he is a beloved figure in London society. He values beauty in art above utility or deeper meaning and strives to create “art for art’s sake.”
After the birth of his second son, Wilde loses his strong attraction to his wife and is tempted by newfound affections. He spends few nights at home, living in lavish hotels with his lover, Bosie, and sees his children rarely. His inflated ego convinces him to bring a court case of libel he has no chance of winning and this naive pride lands him in jail, his family broken and the name of Wilde disgraced.
“I am so clever that sometimes I don’t understand a single word of what I am saying.” – Oscar Wilde
Constance Lloyd – Oscar’s Wife
A clever writer and artistic persona herself, Constance and Oscar are fully and authentically in love as newlyweds. She shares his love of unusual (for the Victorian era) dress and helps to design their London home in the most progressive fashion and together they have two children, Cyril and Vyvyan.
“The air is full of the music of your voice, my soul and body seem no longer mine, but mingled in some exquisite ecstasy with yours.” – Oscar Wilde to Constance
Robert Ross – faithful friend, literary executor
A precocious art critic and dealer, Ross is a pivotal figure in London’s art scene, as well as a fan of Oscar’s work. Ross is openly gay and makes no secret of his attraction to Wilde, introducing Oscar to love. They remain close while Oscar struggles between his Happy Prince and Selfish Giant sides, Ross offering financial and emotional support throughout. Ross is instrumental in the protection and distribution of Wilde’s work after his death.
“He was never quite sure himself where and when he was serious.” – Robert Ross, on Oscar
“Friendship is far more tragic than love. It lasts longer.” – Oscar Wilde
Lord Alfred Douglas (Bosie) – lover
Handsome, spoiled, and utterly reckless, Bosie is in his undergraduate studies when he first meets Oscar. They quickly become passionate, tumultuous lovers. Oscar does his best to satisfy any and all of Bosie’s materialistic and romantic desires. Bosie does little to repay him, dragging Wilde deeper into an illicit world, acting incredible rude towards Constance, and antagonizing those who disapprove of the two men’s relationship.
“[Oscar], when you are not on your pedestal, you are not interesting.” – Bosie to Oscar
“The basis of character is will power, and my will became utterly subject to yours.” – Oscar to Bosie
A hopeful bird who is a harbinger of good news, around to help the Selfish Giant locate his gratitude and reconnect with the youthful innocence of children.
“The birds sat on the trees and sang so sweetly that the children used to stop their games in order to listen to them. “How happy we are here!” they cried to each other.”
Jane & William Wilde – mother and father
Jane Wilde is a writer herself, involved in many progressive political movements, advocating for better education and more rights for women. She passes this critical attitude towards established society onto her son and supports even his far-fetched endeavors. William Wilde is a remarkable eye and ear surgeon who earned his knighthood in Ireland.
“My mother and my father had bequeathed me a name they had made noble and honoured, not merely in literature, art, archaeology, and science, but in the public history of my own country, in its evolution as a nation.’ – Oscar Wilde
This brave, idealistic bird values love over all else. She will go as far as to give her own life to ensure that the beauty and hope of true love may have a chance to flourish.
“Be happy, be happy; you shall have your red rose. I will build it out of music by moonlight, and stain it with my own heart’s-blood. All that I ask of you in return is that you will be a true lover.”
The Happy Prince & Other Wilde Tales runs May 4-6 and 11-12 at Peter Martin Wege Theatre in downtown Grand Rapids. For tickets, call 616.454.4771 x10 or visit grballet.com/happyprince today.
We hope you’re as excited as we are about our amazing new season! Without further ado, here we go…
WILD SWEET LOVE
Photo of company dancer Yuka Oba in Allegro Brillante by Isaac Aoki
Enjoy four passion-filled works in one spectacular performance featuring Allegro Brilliante by the father of American ballet, George Balanchine, and music by Tchaikovsky; Trey McIntyre’s fun-filled epic musing on romantic rituals, Wild Sweet Love featuring an eclectic mix of popular music from Queen, The Partridge Family, Roberta Flack, and more; and the hauntingly alluring Ghost Light by our choreographer-in-residence, Penny Saunders. The evening will also include the first piece created specifically for Grand Rapids Ballet by new Artistic Director James Sofranko. And you won’t want to miss the black-tie gala on Thursday, October 18, welcoming James to Grand Rapids!
Photo of Ghost Light by Dane Wayne courtesy OwenCox Dance Group
Photo of Wild Sweet Love by Peter Mueller courtesy Cincinnati Ballet
Illustration by Chris Van Allsburg
It isn’t the holidays in West Michigan without The Nutcracker. The world-famous design of Chris Van Allsburg, Broadway-quality sets by Tony Award winner Eugene Lee, festive choreography by Val Caniparoli, and the live music by your Grand Rapids Symphony all come together to create pure magic you and your family will remember for a lifetime! Clara’s Nutcracker Party will take place on Sunday, December 18 at 11am at Amway Grand Plaza Hotel, too.
Photo by Tim Motley
Photo by Scott Rasmussen
Photo of company dancer Cassidy Isaacson by Scott Rasmussen
Created for you by Princess Grace Award winner and our choreographer-in-residence Penny Saunders, Joffrey Ballet’s Nicolas Blanc, and the talented dancers of Grand Rapids Ballet, our contemporary dance series returns with works from the heart and soul that show a completely different side of their unique talents. This is personal— and hands down one of the most poignant productions you’ll see from us all season.
Photo by Todd Rosenberg courtesy Hubbard Street Dance Chicago
See things from an unexpected angle with the mystical Extremely Close by Hubbard Street’s internationally renowned resident choreographer, Alejandro Cerrudo; Val Caniparoli’s, Ibsen’s House—a portrayal of strong female characters from Norwegian playwright Henrik Ibsen’s most well-known plays including A Doll’s House and Hedda Gabler, set to a live performance of Dvorak’s compelling Piano Quintet No. 2; and a second new piece by James Sofranko.
Photo of company dancer Connie Flachs in Ibsen’s House by Isaac Aoki
ALICE IN WONDERLAND
Photo of company dancers Cassidy Isaacson and Levi Teachout by Eric Bouwens
Go down the rabbit hole for the triumphant return of the dizzyingly beautiful Alice in Wonderland from choreographer Brian Enos and visual artist Luis Grané. No collaborative effort more fully captures the surrealist and symbolic possibilities of this beloved tale with such exquisite beauty and extravagant imagination. Revue Magazine called it “A modern masterpiece!”
So there it is: A season filled with classics and new works that you won’t want to miss. Single ticket sales start Monday, June 18 so stay tuned for more details!
We’re happy to announce Elizabeth McCarthy Musil as been appointed our new Director of Development. Elizabeth will join us February 19, 2018 to lead fundraising efforts and mission advancement of the 47-year-old institution.
Elizabeth comes to us from Disability Advocates of Kent County where she served as Development Director since 2015. There she provided leadership and management of mission advancement and philanthropic giving. As a member of the senior leadership team she shared in responsibilities of the organization’s strategic initiatives and community engagement. Prior to her tenure at Disability Advocates, she held previous development roles in arts and culture organizations including Frederik Meijer Gardens & Sculpture Park and Gilda’s LaughFest.
“I am thrilled and honored to join one of the greatest performing arts institutions in Michigan,” said Musil. “It is a privilege to work with staff and stakeholders to further enrich the Grand Rapids Ballet’s outstanding reputation and support in our community through sharing the joy of beauty and creative expression through dance and incredible performances with lasting social impact.”
Elizabeth is from Grand Rapids, Michigan and earned her B.A. in Communications from Grand Valley State University. She is a member of Association of Fundraising Professionals, The Economic Club of Grand Rapids, GVSU Women’s Center Advisory Council, and Inforum.