This month, companies across the country are proving that February isn’t just for Romeo and Juliet. From Alexei Ratmansky’s newest commission to a 1980s twist on The Little Mermaid, read on to learn what’s hitting the stages.
Book of Esther and Carmen Suite: Carolina Ballet
Carolina Ballet presents two world premieres in its Carmen Suite program, running February 5–22 at Raleigh’s Martin Marietta Center for the Performing Arts. First on the bill is artistic director Zalman Raffael’s Book of Esther, a collaboration with the North Carolina Museum of Art. The ballet takes inspiration from the museum’s exhibition “The Book of Esther in the Age of Rembrandt,” which centers artwork from the Dutch Golden Age depicting the Biblical figure Queen Esther. Then, resident choreographer Amy Hall Garner presents a world-premiere Carmen Suite, set to music from Georges Bizet’s 1875 opera. For her interpretation, Garner tells the story through Carmen’s point of view, focusing on themes of autonomy and freedom.
The Little Mermaid: Diablo Ballet and Ballet Fantastique
Two new versions of The Little Mermaid hit the West Coast this month. In Walnut Creek, California, Diablo Ballet’s production premieres February 6–7 alongside Paul Taylor’s Company B and George Balanchine’s Donizetti Variations. Choreographed by Julia Adam, The Little Mermaid is a one-act ballet based on the original Hans Christian Andersen fairy tale, but set in the 1930s. Company dancer Amanda Farris has designed the costumes, and the score combines pieces ranging from Louis Armstrong to George Frideric Handel.
Then, February 28–March 1 in Eugene, Oregon, Ballet Fantastique puts a fun twist on the mermaid story. Artistic director Donna Marisa Bontrager and executive director Hannah Bontrager’s Little Mermaid: The 80s Pop Ballet weaves together ballet, dance theater, and 1980s pop music performed live by Los Angeles–based band Neon Revival. (Principal Gustavo Ramirez, BFan’s new associate choreographer, has provided additional choreography.) The costumes, designed by Allison Ditson and Donna Marisa Bontrager, reference ’80s couture.
Tulsa Ballet and Sacramento Ballet: The Sleeping Beauty
Another beloved fairy tale has inspired two world premieres, in Oklahoma and California. At Tulsa Ballet, artistic director Marcello Angelini shares his take on The Sleeping Beauty, which combines Petipa’s original choreography with his own new material. Angelini has condensed the ballet into two acts, and he has also updated Carabosse’s character so that she dances extensively. Featuring new scenery and costumes by Emma Kingsbury and live accompaniment by the Tulsa Symphony Orchestra, the production premieres February 12–15 at the Tulsa Performing Arts Center.
Sacramento Ballet’s new Sleeping Beauty premieres that same weekend, February 13–15, at the SAFE Credit Union Performing Arts Center. Sac Ballet rehearsal directors Stefan Calka and Elise Elliott have collaborated on the original choreography, which will be performed to live music from the Sacramento Philharmonic & Opera. Also condensed into two acts, the ballet features new children’s roles that showcase students from the School of Sacramento Ballet.
Ballet Arkansas: Cinderella
In Little Rock, Ballet Arkansas premieres a new full-length Cinderella. Running February 20–22 at Robinson Center, the ballet features all new sets and costumes, with choreography by artistic director Michael Fothergill. In this version, Fothergill focused on developing the depth of the characters, especially the Stepmother and the Prince, as well as the relationship between Cinderella and her father. Ballet Arkansas will use its own sets and props, but will rent costumes from Atlanta Ballet.
Miami City Ballet: Roses from the South: Three Waltzes for Toby
From February 20 through March 1, Miami City Ballet will perform a triple bill ending with a world premiere by Alexei Ratmansky. Following George Balanchine’s Serenade and Tarantella, Ratmansky’s Roses from the South: Three Waltzes for Toby honors MCB’s founder, Toby Lerner Ansin. The work is set to three waltzes by Johann Strauss II, arranged by Arnold Schönberg.
Grand Rapids Ballet: Swan Lake
Grand Rapids Ballet artistic director and choreographer James Sofranko has created his second full-length for the company, Swan Lake, which will be performed February 27–March 1 at the DeVos Performance Hall. In his version, Sofranko has re-created sections of Acts I and III while paying tribute to Marius Petipa and Lev Ivanov’s original choreography elsewhere. The Grand Rapids Symphony will provide live accompaniment, and San Francisco Ballet principal Misa Kuranaga will appear as a guest artist in the role of Odette/Odile for select performances.
Ballet Tucson: Desert Voices
Ballet Tucson performs Desert Voices February 27–March 1 at the Temple of Music and Art. The triple bill includes the return of Chieko Imada’s Himiko and the Southwest premiere of Kiyon Ross’ Un-A’frayed Edges alongside a world premiere by artistic director Margaret Mullin. Desert Dweller, which Mullin has created in collaboration with Tohono Chul Gardens, features projections of botanical photographs by Carlos Chavez and music by guitarist Misael Barraza-Diaz.
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