Helen Daigle: Staging Cold Virtues for a West Michigan Audience
A Q&A with Grand Rapids Ballet’s Marketing Director, Michael Erickson
Helen Daigle photo by Bailee Columber
Our powerful production of Yuri Possokhov’s Firebird is just a part of of what promises to be an exceptional presentation of dance. The show also includes a world premiere from our resident choreographer, Penny Saunders, entitled Again; Artistic Director James Sofranko’s Mozart Symphony for the first time on the Peter Martin Wege Theatre stage; and Adam Hougland’s Cold Virtues. Adam is the Principle Choreographer for Louisville Ballet and Resident Choreographer for Cincinnati Ballet. He is also Artist in Residence at The Meadows School of the Arts at Southern Methodist University in Dallas, Texas.
Adam’s a very busy man, to say the least, and was unavailable to come to Grand Rapids until a week before opening night — this is often the case with in-demand choreographers due to previous commitments and grueling schedules. It’s also true that, regardless of their availability, many choreographers don’t restage their own work and often prefer to bring in someone with that specific skill set. That’s where Helen Daigle comes in.
After 20 seasons with Louisville Ballet, Helen retired and transitioned to the Company’s artistic staff as ballet mistress. One of her myriad responsibilities there includes working with other companies to stage productions from its extensive repertoire. And we were lucky to have her spend time in our studios perfecting Adam’s Cold Virtues on our dancers. Let’s learn more about her and her process, shall we?
Q: Welcome to Grand Rapids Ballet, Helen. Tell our readers a little about yourself.
Q: Have you worked with Grand Rapids Ballet before? If not, what are you finding most surprising about the Company and its dancers?
A: I have not had the pleasure of working here before, and it is a pleasure. The dancers are lovely and very quick to take in the material I am throwing at them every day.
Q: So, you’re here staging Cold Virtues for our production, Firebird, opening October 18. Tell us about this rather deliciously dark work – what does it mean to you and what will the audience take away from it? Is there a “story?”
A: This was the first Ballet Adam created new on Louisville Ballet and it truly holds a special place in my heart. It is a somewhat dark work both in lighting and mood and while it does have a narrative, I feel it is more of a journey both for the dancers and audience. Certainly the two featured women are altered by their experiences during the piece, and I think the audience will be, too.
Photo by Bailee Columber
Q: How do you approach the acting component. I mean, it’s one thing to teach steps, but how do you work with the dancers to pull out the emotion?
A: I talk a lot about the energy or intent of a step. Dancers act with their whole bodies so if they feel the intent of each step then the emotion will be imbued in every step they dance.
Q: What’s the best piece of dance advice you’ve received and from whom?
A: John Magnus, with whom I studied at The Joffrey Ballet School, said to me: “Never bring the outside world into ballet, but always take ballet into the outside world.” I took it to mean I had permission to let everything go when I stepped into a studio and only dance and, in turn, I could dance my way through the rest of my life and that was OK, too. It’s a lovely thought, isn’t it?
Q: It really is. We could all benefit from dancing through life a bit more, couldn’t we? Speaking of dancing through life, what’s next for you?
A: Louisville Ballet has a triple bill October 18-19, so I start work with the stager for George Balanchine’s Serenade first thing on Monday.
For even more information on Helen’s time here, listen to her recent appearance with Artistic Director James Sofranko on WGVU Morning Show with Shelley Irwin.
See Helen’s efforts when Cold Virtues runs as part of Firebird October 18-20 at Peter Martin Wege Theatre. For tickets, call 616.454.4771 x10 or visit grballet.com today!
Staging A Midsummer Night’s Dream is a dream come true for Anne Mueller
A Q&A with Grand Rapids Ballet’s Marketing Director, Michael Erickson
Photo by Bailee Columber
A ballet company’s rehearsal schedule is complex and layered; at any given time, the dancers may be working on as many as four or five different productions. That’s why it’s not at all surprising to see Anne Mueller in Studio A staging the final production of our moving 2019-20 season, associate artistic director of the National Ballet of Canada Christopher Stowell’s A Midsummer Night’s Dream, which will not open until April 24, 2020.
So, when I saw this multi-faceted and amazingly accomplished dance professional taking a rare (and short) lunch break, it seemed as good a time as any to sit down for a lightening-round Q&A to get to know her a little better.
Q: First, welcome to West Michigan. We’re so happy you’re here.
A: Thank you. I’m loving Grand Rapids and Grand Rapids Ballet; the vibe is wonderful in both the city and the studios, which makes my job an absolute pleasure.
Anne Mueller staging Stowell;s A Midsummer Nights Dream; photo by Damion Van Slyke
Q: Speaking of Grand Rapids Ballet, what sets a company like ours apart from others with which you’ve worked.
A: Well, every company has a unique culture, of course, but what I’m loving here is the generosity and openness the dancers have in their work process. They seem excited to receive and apply information, which makes the staging process fun and effective. They are taking on their characters beautifully, which is so important in a story ballet, especially one with a fairly complex plot.
Q: Enough about us. Tell us more about yourself.
A: <laughs> Sure. I live in Boise, Idaho with my husband, Lars, and dog, August. I work for Ballet Idaho as Artistic Associate, which is a fancy way of saying I spend a lot of time in the studio with the company dancers teaching class, running rehearsals, staging ballets, assisting visiting choreographers and stagers, and supporting the work of our artistic director, Garrett Anderson. Before my current job, I was co-artistic director of The Portland Ballet, was managing director for a theatre company, and held several positions on the artistic staff of Oregon Ballet Theatre (OBT), where I also danced for 15 years. At OBT, I worked for many years with Christopher Stowell who was artistic director there from 2003 to 2012. Christopher brought an amazing repertoire of ballets to OBT and also choreographed a number of original works. He and I enjoyed working together a great deal on new works, so I frequently danced in his ballets and sometimes assisted him as his choreographic assistant. I was also a co-founder of Trey McIntyre Project and danced for the company during the summers of 2005 to 2007. I’ve staged ballets for McIntyre, Stowell, and Nicolo Fonte and have worked recently with the National Ballet of Canada as an assistant to choreographer Guillaume Côté and as a guest rehearsal assistant on The Second Detail and on Karen Kain’s Swan Lake.
Yuka Oba-Muschiana and Steven Houser in Stowell’s A Midsummer Night’s Dream; photo by Bailee Columber
Q: You mention the term “staging” which you’re doing for our production of A Midsummer Night’s Dream. Can you tell our readers what that means exactly?
A: Of course. In terms of my work here now, I’m responsible for teaching the dancers in certain roles all of the steps that they’ll do as they portray these roles; this includes musical, spacing, and qualitative information, as well as elements of storytelling and character. I’m tasked with re-creating the choreography in a way that’s as true to the choreographer’s intent as possible. Sometimes small adjustments can be made to make things “fit” better with the current cast of dancers, but these changes are generally small tweaks rather than major changes.
Q: How interesting! So in addition to teaching the actual dance steps, you’re also an acting coach. Which makes me wonder: What do you enjoy most about dance personally and professionally?
A: At this point in my career — being almost ten years past my performing career — what I love most is connecting with dancers artistically and passing on information to them that I’ve gained throughout my journeys in dance. I love to help them find ways to do things better and to improve. I find it very satisfying.
Q: That’s a perfect segue to my next question: What’s the best piece of dance advice you’ve received and from whom?
A: I’ve received a ton of great advice from many brilliant teachers and coaches through the years, but one that sticks out was, coincidentally, from Christopher Stowell. Early in my time with him, he was coaching me on Balanchine’s Duo Concertant which is one of my favorite roles; he observed I really felt my dancing in my legs rather than my upper body. When he told me this, it shifted my thinking dramatically; in the years that followed, I enjoyed a whole new and different way of exploring movement, and it helped me grow considerably as an artist.
See Anne’s efforts when A Midsummer Night’s Dream runs April 24-26 and May 1-3 at Peter Martin Wege Theatre. For tickets, call 616.454.4771 x10 or visit grballet.com today!
For those of you tuning in to keep up with Company dancer Madison Massara’s journey abroad, we have an update! Please read our previous blog post for more information on the program, how she applied, and how she funded her trip.
As you know, she has flown far from home this summer to Prague to attend the International Ballet Masterclasses. Today marks her tenth day abroad, almost the end of her journey. Soon she will be returning home to join us for the 2019-20 season, but until then check out what she has been up to in Europe.
“I had class this morning and variations. In pas de deux class I was living my best life. I danced with a student from Royal Ballet, who was such a pleasure to work with and was very kind. After classes for the day Isabelle Ciaravola (Etoile from Paris Opera Ballet) had an interview with us and it was so fascinating to hear her story and to watch videos of her dancing. A large group of us dancers went out for Pho after class and we had a fun evening of talking and laughing. Excited for another day tomorrow!”
“After dance I walked back to the dorms and came across some more gorgeous architecture then ate and got ready to go out for a fun night.”
“After classes for the day we all went out to this adorable restaurant to celebrate our friend Sophie’s birthday, I had a quinoa avocado salad with pomegranate and grilled veggies (so good). Had a productive fun day and am excited to have some new teachers tomorrow.”
“Today started out great. I had the most amazing technique class with Daria Klimentova and she pulled me aside and asked where I was from and complemented my dancing, and after class had me do a photo of me jumping and her correcting me in the back.”
In total, he danced for over 20 memorable years, all while refining and developing his costume-design skills. Unlike other performers, Ron simultaneously worked in the studio and in the costume shop. During his time as a performer he created countless costumes for short dance works and full length ballets. While in New York, he worked with costume designer Barbara Matera Ltd. to create costumes for Broadway musicals such as Beauty and the Beast, Sunset Boulevard, Damn Yankees, Carousel, Crazy for You, and A Christmas Carol.
Photo by Katie Aaberg. “I am thrilled to be working with a ballet company I have observed for years.”
He received his Masters Degree in Dance from Ohio State University and joined the faculty and staff at the University of Nebraska at Kearney in 2017. During his time in Nebraska, he worked as the costume shop manager for theater and dance, and taught costume design, costume technology, costume history, and ballet technique classes.
Ron’s unique background of both being a performer and costume designer will be valuable in the upcoming season. He states that he has “great empathy for the dancers – having been one myself – and recognize the importance of functionality in a costume. I want the dancers to feel good and comfortable in what they are wearing.”
Welcome, Ron! We are excited to present his work to you in our upcoming season.
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
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.