While a global pandemic may have changed the way we celebrate the holidays this year, some traditions remain sacrosanct, even essential, to the Christmas season.
So when the Grand Rapids Ballet was determined to produce a virtual staging of The Nutcracker, they turned to local creative production studio, SALT, to help them create a uniquely intimate experience that would delight viewers from ballet aficionados to newcomers.
In this special installment of Made in Frame, we’ll peek behind the curtain to see how SALT used Blackmagic cameras, the beta version of Resolve 17, Adobe Premiere Pro, and Frame.io to deliver some much-needed holiday magic to the ballet company—and to a community challenged by the events of 2020.
A shared creative vision
SALT, the production company founded by director Sloan Inns and his wife, producer Jenna Inns, are neither strangers to dance films nor to rallying around their community.
In 2017, they created a new style of dance movie with Dust. Their lead dancer performed tirelessly throughout the 18-hour shoot, and in the following year of post-production, Sloan carefully retimed the performance to a new musical score. The result? A mind-bending viewing experience as the dancer appears to dance in both real time and slow-motion while staying on beat.
The artistic vision for the film was intended to inspire those struggling through life. That’s why it’s no surprise that when the pandemic hit Grand Rapids hard, SALT, along with Cre8gency, jumped in to document the community’s heroic response in a film they called GR Strong. Brewers went from making beer to hand sanitizer. West Michigan companies like Whirlpool manufactured ventilators instead of kitchen appliances. Restaurant owners fed the many people who were out of work while church volunteers delivered food to the elderly. And Sloan and Jenna armed themselves with masks and hand sanitizer to capture the historic effort.
The Grand Rapids Ballet website succinctly states a similar mission: Michigan’s only professional ballet company is committed to lifting the human spirit through the art of dance. That’s why it’s also no surprise that GR Strong contains clips of the dancers demonstrating their appreciation for the many frontline workers by creating uplifting performances delivered via Zoom.
The Ballet had already committed to keeping the season going in some form, and Jenna and Sloan had previously worked with them on one performance. “Then, in May or June, they contacted us to discuss how we could do The Nutcracker,” Sloan says. “We had to figure out not just how to create a show that would be fresh and new for at-home viewers, but also how to stay true to the essence of the ballet without being able to have all the dancers together on stage.”
Sloan and Jenna, both dance lovers, were familiar with the way shows like So You Think You Can Dance and The World of Dance take the approach of showing not just the performances but also going behind the scenes to document the dancers’ lives, their practices, their challenges. “You get to know the dancers as people,” Jenna says, “and you form a connection with them that goes beyond dance.” “It makes you feel like you’re rooting for them,” Sloan adds.
Partnering with Artistic Director James Sofranko, the like-minded creatives settled on a similar performance/documentary approach for this production, going backstage with everyone from the dancers to the choreographers and stagehands and wardrobe people. But the biggest challenge was creating the illusion that all the dancers were on stage together, performing a large-scale ballet while remaining safely distanced.
As a director-editor who actively seeks out new creative challenges, Sloan worked with Sofranko to devise an ingenious approach. There was no real way to prepare for this extraordinary production, but the Ballet had a recording of a 2019 rehearsal that they shared with SALT to help them work through the methodology.
The stage was divided into distinct zones, and the dancers were grouped into “pods” of four or five dancers each, with each pod bubbled separately throughout the rehearsal period and the shoot. Each pod performed their portion of the dance in their delineated zone, never interacting with others. After all the pods performed their parts, they would be composited together to create the illusion that they were all dancing together on stage.
Using Blackmagic Design 4K cameras, Sloan and Jenna captured five different views and angles. One camera was mounted directly over the stage to capture the bird’s eye view; one was locked down in the auditorium to capture the wide master shot; one captured a medium shot; one was attached to a slider; and one was set up for the close angles.
“We had five cameras rolling over the course of seven days,” Sloan says. “It took a long time, because when each pod was done we had to take a 15-minute break to ventilate the air before the next pod could come in. The Nutcracker is all about having a lot of people on stage for the big numbers, and we were only able to do small groups at a time.”
Because of the need to keep the pods separate, there are whole dance numbers that had to be broken up across several days of shooting, meaning that post-production would require meticulous choreography, as well. And then there was the behind-the-scenes component, directed by Jenna, which they shot with a Blackmagic Pocket 4K and a GoPro 7. “There are moments when the dancers are coming off the stage, breathing heavily, and we wanted to be able to capture that immediacy and get a snippet of how they’re feeling,” Sloan says. Jenna also felt it was important to capture the love and respect the dancers share with one another, and how it imbues their artistry with magic. “Those bits really added some gold in the edit,” Sloan says.
You can’t have a ballet without music, so the team also needed to film the Grand Rapids Symphony. “The only way we could do it safely was without the dancers so that the orchestra could spread out onto the stage [rather than in the close quarters of the pit] and we filmed them for two days and captured two takes of the entire score. In the final program, we cut back and forth between the dancers and the orchestra, so that they’re a part of the performance, as well.”
An athletic process
The first challenge was to organize the nearly 9 TB of footage. Sloan had editor Chad Kramer working remotely on Adobe Premiere Pro to focus on the BTS footage, while he concentrated on building the performance. Because they’d shot in 4K RAW 5:1 (to give themselves the ability to reframe or zoom in) and the files were so massive, Sloan decided to work with the beta version of Resolve 17 for its new support of proxy workflows during the offline, and then graded and mastered HD deliverables for the 60-minute show.
As Sloan assembled the performance segments, he’d upload them to Frame.io for Chad so that he could then build the narrative around the performance. “It’s not just a continuous block of dancing. For example, we have one section where the men are warming up for the Russian dance,” Sloan says. “They’re pushing their bodies and jumping and lying on the floor and we really get a sense of the amount of effort and training it takes—because when you just see them performing it, you can’t fully appreciate how incredibly athletic it is.”
“Essentially, we built the whole show in Frame.io”
Which, in a way, describes the painstaking process of editing this program. Sloan shared all the performance footage with Sofranko and the Ballet through Frame.io so they could pick the best bits. “Frame.io has been incredibly helpful with this,” he says. “I’m not able to be there with the Ballet, but I can share every single take with them. They’re able to leave very specific comments on the actual performance. Things like, ‘This doesn’t quite work because her arm isn’t in the proper position.’ Working on the snowflake dance, for example, we had 110 notes on just that sequence. They’re very particular about the way the dancers are edited, so it’s been a really good system for us.”
That sequence also required a lot of compositing, which Sloan was able to easily achieve in Resolve without having to do any frame-by-frame rotoscoping. “We used Power Windows and feathering to isolate and track, say, a foot that may have crossed over into another pod’s, and just by moving the window around it worked out really well.”
Sloan never actually sat in the room with Chad, and only had one in-person edit with Sofranko during the post-production process, so they relied heavily on the Resolve and Premiere integrations in Frame.io to exchange everything from assets to cuts. “Essentially, we built the whole show in Frame.io,” he says.
A storybook ending
It almost, but not quite, goes without saying that staging one of the most elaborate ballets in a company’s repertoire during COVID is a monumental undertaking. But what Sloan and Jenna also wanted to convey was just how high the stakes were for the Ballet as a company and for the dancers as individuals.
“There are bigger companies than the Grand Rapids Ballet who shut down the whole season,” he says. “A lot of people don’t know this, but The Nutcracker is the biggest single source of ticket sales for most ballet companies, so it’s essential to funding the rest of the season.”
Another reason why the Grand Rapids ballet wanted to be able to keep their dancers fit and working is that the career of a dancer is short, and losing out on a full season (or potentially more) could be devastating to them professionally. “These are elite athletes who had to find ways to stay in peak form during quarantine,” Sloan explains. “Without having the ability to go to the studio for classes or to gyms they had to stay in shape by having classes over Zoom, basically, in their living rooms.”
On a personal level, the lives of dancers can be somewhat isolating to begin with—the long hours of classes, rehearsals, and performances are far from the standard 9-5 job—so the company often functions as a kind of family or community, especially for dancers who come from other countries. “These dancers aren’t from Michigan,” Sloan says. “They’re from Cuba and Japan and the Dominican Republic and San Francisco. To be further isolated by being quarantined or bubbled makes it even harder for them.” And yet, the joy they experienced by being able to participate in this production came through in this piece. “There was one dancer who didn’t know if this would be her final season as a result of COVID, so she was so happy to have this opportunity to perform again,” Sloan says.
In the end, The Nutcracker video production serves as a metaphor for what every ballet company experiences on a daily basis. The dancers look so perfect, the productions so lush. Non-dancers who attend ballets have little idea of how hard the dancers train, the discipline and focus the profession demands, the sacrifices they make for their art.
Watching this Nutcracker, you would have no idea how carefully this was planned, how challenging the performance was to execute, how much material Sloan and the team had to cull down, how he was only once in the same room with his client after shooting concluded, and how seamlessly it all came together.
If there’s anything that 2020 has demonstrated, it’s that creatives will find ways to create—and that innovators will find ways to use technology to create new experiences and establish new traditions.
Grand Rapids Ballet School Director Attila Mosolygo and student Maya Olthouse; photo by Scott Rasmussen
By John Ferraro, Company & Facilities Manager
With our theaters dark this year, we needed to find another way to bring the holiday magic of The Nutcracker to the families of West Michigan. To paraphrase Nelson Mandela: “We never fail; we either succeed or we learn.”
This year we did both.
First, we established protocols for safety and we instituted cleaning and sanitizing regimens for our facilities at Peter Martin Wege Theatre and Meijer-Royce Center for Dance.
We divided the dancers into small, exclusive groups of two to five people and we began to rehearse, in separate studios, via Zoom throughout the day. It was beginning to come together. The dancers learned to perform the beloved choreography of Val Caniparoli wearing masks and everyone was admirably diligent maintaining safety and sanitization protocols.
When it finally came the time to film this unique production with our amazingly talented video partners at SALT Creative Production Studio, it may not have been the same energy that normally accompanies the opening of The Nutcracker, but it was most certainly exciting.
We laid out nearly 1,000 feet of cable connecting computers, four cameras, switchers, and audio. We designed lighting specifically for filming which is very different than lighting for a live performance.
Company dancer Sarah Marley; photo by Scott Rasmussen
The dancers learned how to put themselves in the story and stay in the moment even though the choreography may have been out of order and broken into short little sections they did over and over. As I sat behind a camera for a week of filming, I watched the dancers adapt, adjust, and rise to the challenge—as dancers do—to make the best production possible. Their commitment and determination was inspiring.
With a skeleton film crew, masked and distanced from the dancers, they were able to perform on stage with their pod mates without masks so we could capture all the emotion in their faces. Movie magic brings the scale and splendor of The Nutcracker Experience to life on our small stage.
Through all the trials and challenges, we learned new ways to do things, new techniques, and technologies that will undoubtedly serve us well in the future even when things are ‘”back to normal.” That is the gift of The Nutcracker Experience this year. The things we are learning and the skills we are developing as a company and individually so we can continue to bring ballet, our passion and our mission, to the people who support Grand Rapids Ballet. Enjoy and happy holidays!
“Tickets” are only $15 and you can watch the performance online as many times as you like December 18-27. Purchase access today here.
Presented by Meijer | Hosted by WOOD-TV eightWest’s Rachael Ruiz & Jordan Carson | Choreography by Val Caniparoli | Set and production design by Chris Van Allsburg & Eugene Lee | Music composed by Pyotr Ilyich Tchaikovsky | Music performed by Grand Rapids Symphony
The Nutcracker is simultaneously the most enjoyable and exhausting part of any professional dancer’s season. Growing up at Pacific Northwest Ballet School, I performed in The Nutcracker for a decade straight. Over those 10 years, I danced in two separate productions: those choreographed by Stowell & Sendak and George Balanchine. I remember performing in my first show and watching the more advanced students dance while I was in the prologue sharing a part with Cassidy Isaacson (now a company dancer at Grand Rapids Ballet). They danced to immensely powerful and joyous music; they got to dance in the Snow Scene! But Waltz of the Snowflakes was my favorite; just hearing the orchestra and the beautiful music was enough to set my eyes on ballet as a career. The violins being plucked, paper snowflakes gently falling, opera singers singing the sweet melody, and ballerinas twirling in frosty blue and white tutus never fail to raise goosebumps on my arms.
After my first experience with The Nutcracker, I set a goal for myself: I would dance the Waltz of the Snowflakes one day. Eight years of hard work later, I finally reached my goal during my second to final year at PNB School as part of the Professional Division program. I twirled in a frosty blue and white tutu and felt the snowflakes fall upon my crown-laden head while listening to the orchestra grow and swell to the sound of the iconic waltz. With stage lights illuminating the expensive stage and the audience still, holding their breath as the even beat of the waltz grew stronger and stronger. Let me tell you, it was awesome!
Waltz of the Snowflakes is hands down the most challenging part in The Nutcracker when it comes to pure stamina and mental strength. For instance, in Grand Rapids Ballet’s production choreographed by Val Caniparoli, I spend less than one minute offstage during the seven-minute run time of Waltz of the Snowflakes. Talk about your daily cardio: my Apple Watch tells me it is almost equivalent to a mile and a half run.
In 2008, when I performed in my first Nutcracker at PNB, I had only one part and performed in just over half of the 45 scheduled shows. As I matured in age and experience, I performed in most of the shows doing multiple parts. My most current tally over thirteen years? Over 500 shows, three different productions, 15 parts, and countless hours of rehearsal.
All of this sounds wonderful and joyous right? And it is. But putting The Nutcracker on stage also includes seven-day work weeks and long nights in the theater. December is the holiday season for most, but for dancers it also includes sewing countless pointe shoes, trying to catch your breath after running the Snow Scene for the third time that day, and eating dinner while icing your feet and nursing your sore muscles. But, the joy that is brought to young children and their families alike in the holiday season makes it all worth it.
The experience of dancing in The Nutcracker remains just as magical to me as it was as a young ballet student. And now, as one of the “big kids,” I strive to make every audience member’s experience as transformative as my own.
Val Caniparoli’s The Nutcracker would not be possible without YOUR support! Become a season subscriber or donate today to help us continue doing what we love. Until next year, happy holidays and thank you for supporting Grand Rapids Ballet!
The countless intricate details in The Nutcracker all come together seamlessly every December to create West Michigan’s favorite family holiday tradition seen by over 50,000 people since its premiere in 2014.
• In each performance, there are 68 Grand Rapids Ballet School students and approximately 40 company dancers—most of whom are doing multiple roles. In fact, any company dancer can do up to five separate roles per show!
• There are 149 original costumes with 58 of those being tutus which require over 5,000 yards of tulle.
• There are three Sugar Plum Fairy tutus, five Marzipan Castle scene tutus, 19 snow scene tutus, 15 Waltz of the Flower tutus, two Spanish tutus, 10 harlequin tutus, and two Dream Clara tutus.
• It takes seven full-size semi-trucks to move the entire production to DeVos Performance Hall.
• It takes seven days to assemble the Broadway-quality sets designed by Tony Award winner Eugene Lee based on the illustrations of The Polar Express author Chris Van Allsburg.
• There are 15 toy soldiers and seven mice in each fight scene including one infamous Mouse King.
• There are 12 individual snowflakes in the snow scene and 12 pink flowers twirl with one Sugar Plum Fairy in the Waltz of the Flowers.
• In each performance, 30+ crowns and tiaras are worn: 12 snow scene crowns, 1 Dream Clara tiara, two Sugar Plum Fairy tiaras, and three Marzipan Castle crowns. Talk about glamour!
• Clara’s Nutcracker Party is attended by 400 happy children, parents, and grandparents.
• The company and school both spend at least two months rehearsing Val Caniparoli’s gorgeous choreography including two dress rehearsals.
All of this adds up to one spectacular show that you and your family won’t want to miss. Tickets are available at 616.454.4771 x10 or on our website.
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!
GRAND RAPIDS, MI – Grand Rapids Ballethas spent years of dreaming of a new production of “The Nutcracker.”
Years of planning and designing, and months of choreographing and rehearsing its new production of Tchaikovsky’s “Nutcracker” culminated on Friday in DeVos Performance Hall.
It’s simply divine, delicious and delightful.
“The Nutcracker,” conducted by John Varineau, leading the Grand Rapids Symphony, opened to enthusiastic audience acclaim as Grand Rapids Ballet’s first, brand-new production of the holiday ballet in some 30 years.
Tchaikovsky’s beloved score is the same as before. The tale of Clara and her magical nutcracker doll come to life is mostly so as well. After that, everything’s new.
Settings by Chris Van Allsburg and Eugene Lee provide the authenticity of the Stahlbaum home down to shadow silhouette portraits over the fireplace mantle that set the scene in early 19th century Vienna. The meticulously painted drops also supply the whimsy of the imaginary Marzipan Castle in the second act, which Clara and her Prince reach by traveling on a boat pulled by dolphins.
Sumptuous costumes designed by artistic director Patricia Barker reflect the handsome, cutaway jackets and empire waist gowns of Regency Era. Clara’s godfather, the eccentric Drosselmeier, naturally, is something of a throwback in an old-fashioned, 18th century long coat and knee breeches.
Lights, projections and special effects add a touch of 21st century magic to supply falling snow, fireworks and scampering mice. As Clara falls asleep on Christmas Eve, her mesmerizing transformation into a tiny figure, coming face to face with now-gigantic mice beneath the Christmas tree, is a wondrous delight you have to see yourself.
Yet glitz, glamour and production values aside, the essence of the show is new choreography by Val Caniparoli, one of the best-known and best-traveled American choreographers working today.
Caniparoli’s “Nutcracker” is classical ballet at its best. Graceful and elegant, understated at times, Caniparoli fills the stage with deceptively simple yet highly technical ballet steps. Frequently his choreography flows as if the dancers were on ice skates instead of toe shoes. But the sheer athleticism of his lifts and carries cannot be dismissed.
The Stahlbaum’s Christmas party in full flow tells the tale of adults conversing and sharing social dances, children playing with drums and dolls, causing an occasional ruckus until distracted by Drosselmeier’s life-size Sugar Plum and Nutcracker dolls, both of which arrive in delightfully deceptive ways.
The battle scene between the Nutcracker and Mouse King was depicted dramatically with music to match and made a seamless transition into the ravishing Snow scene.
Grand Rapids Ballet’s two most veteran members, Stephen Sanford and Dawnell Dryja danced Friday as the Nutcracker Prince and Sugar Plum Fairy. Yet the two don’t dance the grand pas de deux in Act II.
Among the many changes in the re-imagined “Nutcracker, the young Clara, portrayed by Julia Rudlaff in Act I, becomes a slumbering Clara who dreams of herself as a young adult, danced by Yuka Oba.
Dream Clara dances the grand pas de deux because, after all, a girl who dreams of a handsome prince doesn’t sit back and watch some other girl dance with him.
Enraptured by the wonder of her journey Oba blossomed on stage, partnered confidently by Sanford. The Snow scene was unabashedly romantic, danced with the enthusiasm of newly discovered passion between two young lovers. Building upon that foundation, their grand pas de deux in Act II brought forth even greater technical accomplishments.
Dryja, leading 12 little fairies, was radiant in her solo with dainty feet and captivating presence that filled the stage even when dancing alone.
Grand Rapids Ballet last year launched a $2.5 million capital campaign to retire debts, build and endowment, and create a new production of “Nutcracker.” Realizing that vision led the company to expand by one-third this season. No fewer than 32 dancers are on the roster. Thirteen are newcomers this season.
The payoff in the Snow scene and in the “Waltz of the Flowers” was extraordinary with a corps de ballet of 16 snowflakes and 12 flowers, all professionals, apprentices, trainees or guests, who danced with nimble assurance and supple cohesion.
The Arabian Spice divertissement, with Ednis Gomez as a snake charmer and Monica Pelfrey as an asp, was sinewy and sensuous. Kyohei Yoshida’s spellbinding spins in the Chinese Tea divertissement, pursued by a new Chinese dragon, were electrifying.
Therese Davis, Connie Flachs and Laura McQueen Schultz danced with polished poise in the French Pastilles variation. The Russian Caviar divertissement had Isaac Aoki, Steven Houser and Nicholas Schultz exploding across the stage with powerful leaps as the audience clapped along to the Trepak rhythm.
Grand Rapids Ballet’s new production, as likely as not, will have its naysayers.
A prologue that has Drosselmeier, portrayed magnetically by Attila Mosolygo, planning Christmas surprises for his godchildren, as well as an epilogue that returns Clara to her home, safe and sound, are entirely new to DeVos Hall.
The enormous Mother Ginger is no more, though her masked Harlequin children still appear in the show. Overall, there are fewer students and children on stage.
But the new version of “The Nutcracker,” which the company plans to tour in future years, surely will elevate Grand Rapids Ballet’s reputation as a professional troupe of consequence while entertaining a new generation at the holidays with the magic of dance.
All in the Family: ‘Nutcracker’ includes sibling youth dancers from Kentwood
By K.D. Norris (firstname.lastname@example.org)
When the annual run of the Grand Rapids Ballet’s “The Nutcracker” hits the stage Friday, Dec. 9, it will include staring rolls by the company’s professional dancers and, as always, often a stage full of youth dancers.
Again this year, Kentwood sisters Grace and Micah Jones will be among those lending their talents to the production a part of the ballet’s youth dance program — one sister because she sees dance as a possible future career and the other because it is just “so much fun.”
The classic family holiday tradition returns to DeVos Performance Hall for two weekends — Dec. 9-11 and Dec. 16-18 — with four evening shows and four matinees. Live orchestra music is provided by Grand Rapids Symphony.
Grace, a 16-year-old junior at Grand River Preparatory High School, has been dancing at Grand Rapids Ballet for 11 years and has been a member of the Junior Company since its inception. This year will be her 8th Nutcracker appearance.
“I started dancing when I was 2, my parents saw that I loved movement and loved dancing,” Grace said last week, prior to a rehearsal. “My parents saw I needed something to get my energy out so they said ‘Let’s put her into dance.’ I really didn’t get into ballet right away. I was into jazz and tap and hip hop, but at about 5, I went into ballet because I loved the movement.”
She also loved The Nutcracker, thanks to her father, Ronald.
“I remember going to The Nutcracker every year, when I was younger,” she said. “My dad would take me every year, starting at 4 and then every year until I was 8, when I got to be in it for the first time.”
Seven productions later, she is still excited about the annual holiday production.
“I have always loved being in front of the audience,” Grace said. “I love sharing, I love exposing the audience to something new. For me, when I first watched it, it was so beautiful, to watch those beautiful dancers, the beautiful colors and costumes and shapes they make on the stage. I said ‘Wow. I want to do that.’ … Now I want to give some other girl that feeling, the feeling I felt when I was younger.”
According to her mother, Sandra, Grace hopes to dance in college while pursuing professional opportunities. But she sees dance as a means to other career paths as well.
“I love teaching, maybe teaching dance, “ Grace said. “I would love to show others the joy I found in dance.”
One of the people she has shown the love of dance to is her sister.
Micah, age 13 and a 7th grader at Cross Creek Charter Academy, says music is her first love — she has been playing the piano for 8 years, and her mother says she has talked about assisting with her college expenses by playing piano for ballet companies.
But Micah has been with working with the Grand Rapids Ballet youth program for four years and will be in the Nutcracker for the third year.
“I saw saw my sister, and other people, in dance and it looked so fun,” Micah said, explaining why she wanted to dance. “It is so free, you get to move how you want to move.”
She also said she receives plenty of advice and encouragement from her older sister.
“Since she is such a good dancer, she really helps me when I need help, with technique or how I am supposed to move,” Micah said.
And as far as her first time in front of the usually large crowds watching the Nutcracker, any advice from her older sister?
“She told me not to think of the crowd, just remember your choreography, remember what you are there to do.”
While the two sisters will be dancing different rolls this season, the thing they have in common is an affinity for the famous battle scene. “It is a giant battle scene,” Grace points out, while Micah simply says the scene is “so much fun.”
Anybody who has seen the production knows what they are talking about; those how haven’t have two weekends worth of opportunity.
For more information, call 616-454-4771 or visit grballet.com
A Grand Rapids Ballet dancer tells the tale of how The Nutcracker comes to life.
As the air gets cooler and twinkling lights emerge to illuminate the city, ballet dancers across the country prepare themselves to audition for one of the most beloved ballets of the holiday season. The Nutcracker is performed at almost every ballet company in the country, and the Grand Rapids Ballet is, once again, bringing this classic tale to the stage at DeVos Performance Hall throughout December.
Seeing The Nutcracker during the holiday season brings many enjoyments for audience members: It serves as a family-friendly night out with a timeless story performed in marveling movements, a celebration of the holiday spirit and a chance to lose oneself in the beauty and nostalgia of the production. We are joined by the Grand Rapids Symphony performing the unforgettable score with incredible talent, giving you the opportunity to experience two of Grand Rapids’ best performers for the price of one ticket.
If you manage to pull your eyes away from the grace and finesse of the awe-inspiring choreography by Val Caniparoli, you will also notice the stupendous stagecraft of GR Ballet’s production. Conceived in 2014 through a collaboration with Patricia Barker (GR Ballet’s artistic director), Chris Van Allsburg (Grand Rapids native and author of The Polar Express), Eugene Lee (award-winning set designer of Candide, Sweeney Todd: The Demon Barber of Fleet Street and Wicked), the production value rivals that of Broadway shows.
Even more important than the re-imagined set design and the mesmerizing dancers is that GR Ballet’s production of The Nutcracker manifests from the city and people of Grand Rapids; the talent you see onstage lives, works and plays within our city. The dancers you see may pass you later in the grocery store and your child may take ballet class from the ballerina doll or learn how to do a pirouette from the Mouse King. There are many companies performing beautiful productions of The Nutcracker throughout America, but GR Ballet is West Michigan’s home team.
Nick Schultz (Nutcracker Prince) and Yuka Oba (Clara)
Dive into the full experience of a night at the theater by dressing up in your favorite holiday attire, taking a photo in the lobby with the Nutcracker himself, bringing your glasses or binoculars to see the dancers’ expressions up close, and hanging out after the show by the stage door to catch an autograph from Young Clara or The Nutcracker Prince.
You can buy tickets for this unique holiday performance by calling (616) 454-4771 or visiting GRBallet.com.
What: Grand Rapids Ballet’s production of The Nutcracker Where: DeVos Performance Hall, 303 Monroe Ave. NW When: December 9-11 & 16-18 (showtimes at GRBallet.com) Tickets: Starting at $34