The Virginia National Ballet delivered a spectacular trio of performances at their recent “Bohemian Rhapsody” show, showcasing their remarkable versatility and technical prowess through three distinct repertoire pieces.
The evening began with “Tango Nights,” set to the passionate music of Astor Piazzolla. The atmospheric stage design evoked an Argentine nightclub where dancers explored the complex emotional landscape of pursuit, betrayal, and romance. The choreography captured tango’s sultry essence while maintaining the company’s signature balletic precision; a captivating introduction that immediately drew the audience into the performance’s emotional world.
“Moonlight Sonata,” a new world premier by Rafik Hegab, and choreographed to Beethoven’s timeless composition cooled the atmosphere with three phases of the moon.. This piece displayed ballet in its most powerful form, with over fifteen dancers executing intricate patterns across the intimate stage. What struck me most was the remarkable juxtaposition of strength and gracefulness – forceful movements executed with extraordinary finesse. The dancers’ stamina and control were evident as they embodied the music’s emotional journey, with visual elements representing lunar phases complementing the crescendos of both music and movement. Sierra Stipetich delivered a particularly breathtaking performance with her fearless pas de trois featuring gravity-defying lifts and seamless transitions between her male counterparts.
The culminating piece, “Bohemian Rhapsody,” was nothing short of transformative. Choreographer Rafik Hegab, brilliantly fused classical ballet techniques with the electric energy of Queen’s iconic music, creating a synthesis that honored both traditions while creating something entirely new. Six Queen compositions flowed together in a performance that had me repeatedly smiling with sheer delight. The dancers embodied Freddie Mercury’s theatrical spirit while maintaining their classical foundation; a combination that felt organic rather than forced.
Throughout the evening, the company demonstrated remarkable emotional range, transitioning from the moody intensity of tango to the structural elegance of Beethoven, and finally to the bold theatricality of Queen. This versatility speaks to the vision of company founder and managing director, Elysabeth Muscat, and the choreographic genius of Rafik Hegab, who have clearly created an environment where technical excellence and artistic expression flourish equally.
For those who missed this extraordinary performance, there’s one more opportunity to experience it on May 17, 2025, at the Ailey Citigroup Theater in Manhattan. This is a production that deserves to be seen – repeatedly, if possible. It showcases ballet’s timeless ability to evolve while honoring its classical foundations.
The Virginia National Ballet has proven once again that they are a company worth watching, not just for their technical precision, but for their willingness to push the boundaries of what ballet can express.
Photo Credits:Photos by David Pearson, Compliments of Elysabeth Muscat, Managing Director, Virginia National Ballet
The familiar notes of Queen’s iconic “Bohemian Rhapsody” echo through the studio as dancers leap, lunge, and spin with unexpected intensity. I’m standing at the front of the rehearsal room of Virginia National Ballet’s rehearsal space, watching a rock masterpiece transform into classical movement before my eyes. This is no ordinary ballet rehearsal, and what’s coming to the stage is certainly no ordinary performance.
A Triple Bill of Transformation
Virginia National Ballet’s upcoming production dissolves boundaries with an ambitious triple bill showcasing their versatility and technical prowess. Back by popular demand, “Bohemian Rhapsody” returns after its 2017 debut, joined by the revival of “Tango Nights,” a sophisticated ballet set to Astor Piazzolla’s music, and “Moonlight Sonata,” a beautiful world premiere by Artistic Director Rafik Hegab.
“We wanted to create something that honors both Queen’s revolutionary spirit and ballet’s timeless grace,” explains Elysabeth Muscat, Founder of Virginia National Ballet. “But this program goes further—it demonstrates our dancers’ ability to completely reinvent themselves across different musical worlds in a single evening,” she adds.
When Rock Meets Ballet: “Bohemian Rhapsody”
Returning after its acclaimed 2017 debut, “Bohemian Rhapsody” stands as the Virginia National Ballet’s most audacious offering. This enhanced production captures Mercury’s vocal journey with stunning fidelity—dancers physically transform as the music shifts from tender ballad to operatic crescendo to hard rock intensity. The masterful blend of classical ballet storytelling with rock-inspired movement creates a visual symphony that reveals entirely new dimensions in Queen’s familiar anthem.
“Just as the song shifts from ballad to operatic drama to hard rock, our dancers embody these transitions physically. It’s not just about dancing to music; it’s about becoming the music’s physical manifestation,” explained Muscat.
I’ve heard “Bohemian Rhapsody” hundreds of times, but never like this. The music crashes through the studio as the dancers respond, and in these fleeting moments, I witness the perfect marriage of rock and ballet—two art forms that shouldn’t work together, yet somehow create something entirely new in their collision.
PC: Curtesy of VNBPC: Curtesy of VNBPC: Curtesy of VNB
Passion and Precision: “Tango Nights”
Without pausing, the rehearsal flows into “Tango Nights,” and the studio’s atmosphere immediately shifts. Bodies that moments ago were interpreting rock now embody the sophisticated language of tango. Set to Astor Piazzolla’s evocative compositions, this ballet explores sensuality and passion through movement that feels both precisely calibrated and dangerously spontaneous.
The dancers’ expressions change, their postures transform, and suddenly we’re transported to the intimate milieu of Argentine dance halls. Rather than echoing vocal complexities as in “Bohemian Rhapsody,” the dancers’ bodies now capture the distinctive tensions and releases in Piazzolla’s bandoneon, creating visual manifestations of the instrument’s breathing quality.
Ethereal Contemplation: “Moonlight Sonata”
The rehearsal included Artistic Director Rafik Hegab’s latest creation, “Moonlight Sonata.” If “Bohemian Rhapsody” represents bold artistic fusion and “Tango Nights” embodies passionate sophistication, then “Moonlight Sonata” offers yet another transformation—into ethereal contemplation.
Beethoven’s haunting composition guides dancers through movements that seem to capture moonlight itself—from the First Quarter, to the Full, to the Waning Moon—sometimes clear and defined, other times elusive and mysterious. With remarkable sensitivity, Hegab has created choreography that responds to the music’s tonal qualities, allowing dancers to become physical embodiments of Beethoven’s emotional landscape. A highlight of this program is a striking pas de trois featuring two men and one woman, showcasing lifts, shapes, and “tosses” so innovative I have rarely observed them, much less in a single variation.
What makes this program so remarkable isn’t just the juxtaposition of these diverse pieces, but the seamless resonance the company achieves between sound and movement across wildly different musical worlds.
The Art of Shapeshifting
The dancers of Virginia National Ballet demonstrate remarkable versatility as they navigate through this ambitious triple-bill program. Moving from Queen to Piazzolla to Beethoven in a single performance showcases not just their technical mastery but their extraordinary artistic adaptability. This constant metamorphosis is evident in every aspect of the rehearsal. Dancers transform from classical technicians to rock interpreters to tango masters with seamless fluidity—a shapeshifting quality that demands an entirely new approach to both training and performance.
Sweat glistens on foreheads (mostly the men) as dancers move with precision through the complex choreography. This is a working rehearsal – as the intensity gears up, the dancers shed layers, from full leggings and sweater wraps to bare legs and spaghetti straps. Yet even in these practical moments, their commitment to artistic transformation never wavers.
Sitting in on Virginia National Ballet’s rehearsal, I’m witnessing familiar anthems and classical masterpieces reimagined through the language of dance in ways I never imagined possible. Three distinct musical voices. Three unique movement vocabularies. One company bold enough to transform itself completely, multiple times in a single evening.
Virginia National Ballet’s upcoming performance promises to be a masterclass in artistic shapeshifting—a journey through sound and motion that audiences won’t soon forget. Based in Manassas, Virginia, this company is quietly creating and producing incredible, high-quality productions. But make no mistake—their “Bohemian Rhapsody” will be anything but quiet! I can’t wait to experience this production.
Virginia National Ballet’s triple bill featuring “Bohemian Rhapsody,” “Tango Nights,” and the world premiere of “Moonlight Sonata” will be performed at Hylton Performing Arts Center, Manassas, Virginia on Sunday, April 27 at 3 PM. Purchase Tickets. I purchased 10 tickets ! Everyone I have mentioned this performance is fascinated. Get your tickets soon.
You can see it in New Yor City on May 17 at the Ailey Citygroup Theater – buy tickets here.
Love was in the air on Valentine’s Day when the curtain rose on the Virginia National Ballet’s “Snow White.” Their timing was perfect – what better way to celebrate the season of romance than with one of the most beloved fairytales of all time?
Snow White (Nicole Ramirez) and The Prince (Livan Gonzalez) surrounded by the Woodland Creatures performed by VNB Students
The audience came to engage and enjoy with much sparkle and finery. My party consisted of my friend and her young ballerina daughter. We arrived after battling Friday evening rush hour in full sparkle and pink regalia. I caught myself smiling throughout the performance.
Under the direction of award-winning choreographer, Rafik Hegab, the production transformed the classic Disney fairytale into an endearing ballet for audiences of all ages. The choreography presented seamless imagery while highlighting the talents of the dancers. The dancers brought to life themes of love’s victory over darkness, bonds between friends, and a pure heart’s ultimate success.
The sophisticated staging and beautiful costuming served as the perfect canvas for the company’s masterful artistry. They truly transported the viewer into an enchanted realm. The lush backdrops created a mysterious forest, a cold castle with a “live” mirror, and the dwarves‘ adorable cottage. The lyrical musical score of Bogdan Pavlovsky sounded familiar yet refined while featuring tunes from the movie. The multiple layers of nostalgic charm, eye-opening scenery, and excellent storytelling through professional ballet made this production sparkle. The inclusion of ballet school students as the woodland creatures gave the audience and the dancers a taste of preparation and performance. The stage of the Hylton Performing Arts Center in Manassas, Virginia made a perfect setting for the ballet.
The joyful Dwarves, each with unique choreography brought peels of laughter from the audience
The company’s international ensemble of twenty dancers brought elegant depth to this performance. The diverse cast represents talent from eight countries including the USA, Brazil, Cuba, Japan, Colombia, Uzbekistan, Nicaragua, and Canada. Each dancer imbued the production with a rich tapestry of artistic excellence. Their technical accuracy and emotional expressiveness brought each character beautifully to life – from Snow White’s impressive graceful innocence to the exquisitely menacing Evil Queen and her “Shadows,” to the mysterious Huntsman and the beguiling Prince, and of course, the Dwarves . . . pure joy! My favorite? The Queen.
The Evil Queen (Sierra Stipetich) and the Huntsman (Leonardo de Almeida)
The company’s decision to present “Snow White” during the Valentine’s season reflects their culture of bold programming. They have been voted the Best of Prince William County in Inside Nova’s Best Of for three years 2022-2024. The Virginia National Ballet pushes artistic boundaries while honoring classical traditions. Under the leadership of Managing Director Elysabeth Muscat and Artistic Director Rafik Hegab, the Company has earned their place among Virginia’s premier ballet institutions. The company performs a broad variety of ballet from “Led Zepllelin” last April to the holiday favorite, Nutcracker, at Christmastime. This is a company with a “two edged” sword. It is not surprising that almost every seat was taken.
For those seeking an affordable quality ballet experience, this one will put a smile on everyone’s face. There is one more chance to enjoy this production on March 1 at Capital One Hall. Visit the website for tickets. Here is a brief video from an earlier season https://www.youtube.com/watch?v=mF2mSJ_irlc.
As a first-time viewer and a bit of a ballet sceptic, I was delighted by the authenticity, technical accuracy, and charming emotional storytelling by the company. This production has made me eagerly anticipating the company’s April 27thBohemian Rhapsody , at the Hylton Performing Arts Center.
I wish Virginia National Ballet the best as they prepare for their exciting NYC debut of Bohemian Rhapsody in May at the Ailey Citigroup Theater in New York City.
*Photo Credit: Photos by Dave Pearson – courtesy of Virginia National Ballet Company
Brodie Donougher PC: Poetry Film Productions The DancerPhoto by Lumosia Photography London One of the many faces of Brodie Donougher
“Watch me, watch me, watch me make this flip,” five-year-old Brodie Donougher implored his parents as he flipped off the living room sofa. That was the beginning of Brodie’s performing career. He was a happy, enthusiastic, and energetic child, who loved to share his talents with anyone who wanted to see them. His motivation was to bring enjoyment to others. At 21, he performs professionally for audiences’ enjoyment as an actor, singer, and dancer.
From flips off the sofa at the age of five to today, Brodie has had three major roles: on London’s West End as Billy Elliot for three years; as Rookie with the Grand Rapids Ballet in the United States; and, beginning this month, in Vienna, Austria, in The Phantom of the Opera. What drives Brodie Donougher to immerse himself into a production and embody a character? His infectious enthusiasm to pursue his craft and indulge his drive for excellence, because he says, “You can never be too good.”
Skyline of Opera Garnier, Paris – home of the Phantom
In January 2024, Brodie arrived in Vienna, Austria, to begin rehearsals for Camron Mackintosh’s production of Das Phantom der Oper –The Phantom of the Opera by Andrew Lloyd Webber. He will be performing his roles entirely in German, (the Austrian Hoch Deutsch dialect). Brodie is multilingual speaking Italian, now German, and of course, English. He has already learned ‘The Phantom text’ in Hoch Deutsch. “We have an incredible team of top performers, and I feel honored to be among them,” said Brodie who plays two characters – Hannibal’s Guard, as well as an ensemble member. He explains, “As the ensemble member, my character is an attractive young dancer who performs at the Opera Garnier in Paris. He is quite flirtatious, and loves the attention of the two principals, Carlotta and Piangi. Hannibal’s Guard makes a prominent entrance and poise at the beginning and keeps strong entrances throughout the whole first act. In addition to playing two characters in the performance, I am also a ‘stage hand’ and come and go throughout the different scenes and help keep the narrative going.” The production opens to the public on March 15. Tickets are sold out through June 20. The show will play in Vienna through June 2025.
An insatiable learner, Brodie says, “It’s my belief that every moment that you’re sitting idle, there is opportunity wasted. If I am sitting at home or in a cafe relaxing, there is wasted opportunity when I could go out and learn something new. Don’t get me wrong I relax; everybody needs that, but I have this constant need to be learning or enhancing – to do more. If I can go to a ballet class, I will go, and as soon as I’ve finished it and I learn about a workshop happening, and, if time allows, I will attend that as well. I love using my time to improve and develop my skills.”
Photo Curtesy of Brodie Donougher Flipping and Flying
How has one so young accomplished so much? “I love to give one hundred percent,” explains Brodie. “Sure, I can get by with 70 percent. But then, I think about how the audience might have enjoyed the production if I had given 100 percent. Every actor on a stage reaches the audience. I love to touch each member of the audience and bring them into the production.”
An accomplished and highly recognized ballet dancer, Brodie wanted to use his voice and get back to his “roots” of musical theater. He described his original roots , “I am from Blackpool in the Northwest of England. It is not a very prosperous area, but that is home.” The area’s prosperity or lack thereof did not hold him back. He was scouted as a young child by the Royal Ballet School Primary Steps Program where his hard work and dedication gave him opportunities beyond imagination. They selected him to join the school. He embraced, breathed, and lived every aspect of his dream-come-true. “Whenever I get into a less than optimal situation, I think of my roots. Where I came from and what I have accomplished. I always feel tremendous gratitude and want to give more,” he explained.
One day, while waiting for Brodie at his ballet class, him mother overheard other mothers discussing upcoming auditionsin Manchester, England for Billy Elliot the Musical. She decided to give Brodie the audition experience. He, along with several other students from his ballet school, auditioned. Brodie, at nine years old, sustained the grueling eight-hour initial audition where at every hour contenders for the lead were dismissed. After seven hours, Brodie was still dancing. Over a lengthy audition process, Brodie was offered the part of Billy Elliot. At that time, he also received offers to study with the Royal Ballet School and with the Elmhurst Ballet School, both premier ballet schools in the UK. At his young age, he knew that his decision could affect his future. He accepted the lead in Billy Elliot the Musical.
Photo curtesy of Brodie Donougher PC: Brian Cantwell A real life Billy Elliot
Billy Elliot was a highly acclaimed production on the West End. Brodie was Billy #39 and performed 144 times over three years. He says, “That is when I discovered that I love to perform, when I looked out in the audience and saw thousands of people being entertained.” Brodie performed at the Olivier Awards, representing Billy Elliot for Best West End Musical, in 2015. He performed “Billy” on various television shows, including “This Morning,” a British daytime magazine program, and on the Late Late Show in Ireland. Charisma is among his many talents.
Brodie immersed himself in his ballet education following Billy Elliot. For the four years after the play ended, he studied ballet with the Elmhurst Ballet School and honed his craft.
Photo by Elmhurst Ballet School 15-year-old student, Brodie, at Elmhurst Ballet School
At 18, Brodie brought his talents to the United States, where he was selected by the San Francisco Ballet School for a full scholarship to become a senior student there. According to Data Pointes, the San Francisco Ballet School is ranked among the top ten best ballet schools in the world.
Photo curtesy of Brodie Donougher – PC: Ray Nard Image Maker All That Jazz – Grand Rapids Ballet
Following his two-year study at San Francisco, Brodie joined Grand Rapids Ballet as a professional dancer. His precision, technique, and ability to fully inhabit characters helped elevate the company’s performances. Brodie’s most “cherished” Grand Rapids Ballet role was when he was cast as “Rookie” in the Andy Blankenbuehler (a three-time Tony award winner for Bandstand, In the Heights, and Hamilton), production, Remember Our Song. Brodie explained, “When given the opportunity to portray a role in a show or musical, the biggest part of preparation for your role is research. The most important thing, before you even step into the studio or rehearsal, is to learn who the character is. His thoughts, fears, hopes, loves. I spent two weeks researching. This story was about sailors in WWII who were in a submarine. I tried to imagine myself as that young sailor living below the surface of the sea; not seeing daylight; leaving my mom behind. I slept on a metal cot with the smallest and thinnest cloth for a cover. I read books about submarines and accounts of sailors’ experiences in the depths of the ocean. I WAS Rookie. The Company’s board president came to me after one of my performances and told me, ‘I couldn’t even think it was you dancing…I felt as though I could feel every emotion. You made the performance storytelling.’”
While ballet is as natural as breathing for Brodie, he has much more to offer – acting, speaking, and singing. “I was told not to hide my light under a bushel,” recounts Brodie. “When I share my voice, the audience can experience the full impact of the character that I embody.” Voice, language and music make musical theater touching and memorable. Brodie has been preparing himself for every moment to entertain the audience whether solo or in ensemble. “I love working with my artistic team to produce the best possible theater for our audience. When we all give 100 percent, my heart is full.”
Photo curtesy of Brodie Donougher Snowy ‘Fred Astaire’Photo curtesy of Brody Donougher ‘Fred Astaire’ curtain call
Upon his return to the UK after Grand Rapids, Brodie performed in the West End Christmas production of The Snowman at the Saddlers Wells Peacock Theater. Although initially as a “swing” cast member, on many occasions he performed the role of Fred Astaire with finesse and elegance. His jumps were clean and crisp, his miming and acting were clear and relatable and “he helped bring an extra dimension to the performance,” per a theatergoer who enjoyed the production.
Photo by Brian Cantwell At the Stage Door
Asked what his dream role(s) might be, Brodie replied, “I’ve made a list on my laptop and on my phone of my dream roles and the shows for these roles are, just to name a few, the character of Mush in Newsies, and I would also love to play in Les Misérables. These are truly my dream roles and musicals. Ideally, my number one most desired role would be Enjolras, a ‘thinker and a man of action,’ according to Victor Hugo. He is the handsome young man who swings the red flag. I would also love to play Marius. It would be a dream come true if I could perform in a US touring company.”
At an age where many would still be considered “up-and-coming,” Brodie Donougher has already established himself as a consummate professional and world-class talent. His unrelenting work ethic and deep respect for his craft and production members suggest this is merely the first act in what will undoubtedly be a distinguished career.
Post ballet class exhilarationPhoto curtesy of Brodie Donougher Take a bow, Fred Astaire
Note: I met Brodie at a ballet performance several years ago. I was impressed by his tremendous presence yet humble nature. His fresh, fit, good looks and charisma were palpable. I was sorry to see him return to London because I had hoped to be able to watch him perform in the U.S. Since our first meeting, we have met for coffee and dinner in London. One morning while in London, I received an early morning message that he was performing in The Snowman that day. I managed to acquire tickets in under one hour and arrived at the theater with 10 minutes to spare. His performance was exceptional. This blog is to share this impressive actor with my sphere of readers and friends. He is someone to follow and make an effort to see. He is worth it.
Celebrating 75 years of the Washington School of Ballet
Rising Star – Katherine Barkman PC: Screenshot of web production
Ballet lovers from around the world were invited to tune in for the first-ever LIVE online celebration of The Washington Ballet! Performances by The Washington Ballet artists and stories from students and faculty highlighted the event.
Ballet in Washington, D.C., under Artistic Director, Julie Kent, was beginning to soar and rival many American and international ballet companies. Their 2020 season promised to deliver breathtaking performances of classical ballets and repertoire. The season started with their exceptional production of Balanchine + Ashton in February to be followed by the full-length Swan Lake – music by Tchaikovsky. The classic ballet, Coppélia, to the music of Léo Delibes, was scheduled to premiere in May. Casting, choreography, costuming, and rehearsals were in progress. I planned to attend Coppélia and write a blog article about the performance.
PC: Screenshot
Producing a full length classical ballet is an very expensive and laborious process. The costuming alone, is extremely expensive with a single tutu potentially costing over $3000. The cost of costumes added to the salaries, overhead, and theater rental runs into the hundreds of thousands of dollars. Sold out productions, sponsors, grants, and patrons help cover these expenses. What happens when the curtain does not rise? The last Washington Ballet rehearsal was held on March 13 where snippets of a dress rehearsal of Act 3 were filmed.
The company staff and dancers are incredibly supportive, gracious, and optimistic for something wonderful to emerge from the current circumstances. Having been president of a pre-professional ballet company, I am aware of the magnificent cost involved in the production of every ballet.
Ballet Dancer Corey Landolt was honorary Mixologistfor the Gala PC: Screenshot
Tonight’s public virtual Gala was a wonderful way to bring the Washington Ballet to the City and to the world. The Gala were beautifully produced. There was a mix of executive, sponsor, and philanthropic recognitions along with a generous portion of stunning ballet performances. The 75th anniversary of the Washington School of Ballet begun by Mary Day and her mentor, Lisa Gardiner, was celebrated with joy and dignity.
Artistic Director, Julie Kent PC: Screenshot
The growth of The Washington Ballet under Julie Kent in just under four full years, has been remarkable. Like many Company patrons, I was eagarly anticipating the brilliance and excitement of the upcoming season. The Gala was elegant, classic, and was generously shared with the City and the world free of charge. The hope, being that donations would offset expenses and generate funds. During the event, donations came in ranging from just a few dollars to some with a several zeros at the end.
Monica Stephenson, Head of School, Southeast Campus. PC: Screenshot
In recognition of the 75th anniversary of the Washington School of Ballet, The Washington Ballet expressed their focus and goal of reaching city dancers and providing teaching and training opportunities regardless of dancers’ economic circumstances. Monica Stephenson, Head of School, Southeast Campus, The Washington Ballet, shared, “For our community of 1200 students, we kindle love, passion, interest and commitment. We encourage talent, creativity and integrity on all levels of the art stressing excellence in the classroom and on the stage. “ The interactive on-line ballet classes are helping students stay involved, active, and healthy. Ms. Stephenson emphasized the goal of, “Engaging in relevant dialogues in an unwavering commitment to our aspiration for the extraordinary. We work toward equitable excellence in artistic education and expanded diversity in classical ballet. It feels wonderful to be a part of dancers’ growth.”
“You can inspire the world with you dancing.” DC ballet student. PC: ScreenshotStudents ofThe WashingtonSchool of Ballet PC: Screenshot
Ms. Kent, in her mild, soft-spoken manner, introduced “An incredible evening of inspired performances.” Five performances, all very different and extremely engaging culminated with the final rehearsal of Act 3 of Swan Lake. At the end of each, I wished for “just a little more,” the mark of an exceptional artistic director.
Pas De Deux – Tamás Krizsa and Maki Onuki Performing “Together Apart” with “Backdrop of the Glorious National Cathedra,” JK PC: Screenshot Rench Soriano from the Philippines is a Washington Ballet Studio Company dancer performing 5 Variations on a theme by David Fernandez PC: Screenshot Women of the Company performing “Summer’s Heat” reliving the “Center Stage” movie experience. PC: Screenshot
Gil Delelio, Corey Landolt, Gian Carlo Perez, and Andile Ndlovu performing final scene from Somberisimo by Annabelle Lopez Ochoa TWB men representing Belgium, America, South Africa, and Cuba. PC: Screenshot
Katherine Barkman and Masanori Takiguchi in rehearsal of Act 3 Swan Lake PC:Screenshot
Ms. Kent closed the evening by saying, “At this time of tremendous loss and vulnerability, dance art is a celebration of humanity. We, at The Washington Ballet are ensuring artistic hopes and careers will live on and thrive. Thank you for your love and support.”
What can we do to support The Washington Ballet? Consider donating The art of dance transforms lives every contribution will help.
The Chamber Dance Project of Washington, D.C. Carries on Their Mission
When circumstances derail plans, creativity sets artists free to experiment with and present exceptional virtual opportunities to even more people than would have originally enjoyed performances. Such is the case for the Chamber Dance Project (CDP) in Washington, D.C.
Artistic Director and choreographer, Diane Coburn Bruning, founded the CDP because she believed that dance should be a collaborative process between dancers, musicians and the audience. That process, she says, “Deepens the audience’s experience.” They have grown to be Washington’s premier contemporary ballet company.
Their ballet season takes place in the summer when other companies and dancers are off. Because of this, CPD attracts and features exceptional dancers. Two such dancers are Austin Powers and his wife, Grace-Anne Powers. They are slated to dance in this summer’s CDP performances.
With theaters being dark now, this is an opportunity to expand creativity and communication with audience and patrons. CPD has moved their Open Rehearsals and Evenings with the Artist to on-line adventures via Zoom.
A recent Evening with the Artist featured Emmy Award – Winning ballerina, Grace-Anne Powers. She is a ballerina with Ohio’s BalletMet in the regular season. Grace-Anne met us from her living room in Ohio where she and her husband built a sprung wood floor upon which to rehearse. Typically, a dance floor is covered with a sheet of plastic called Marley which is both smooth and anti-slip for safe dancing. Resourcefully, the couple covered their floor with a fish pond liner instead. This decision was made based on economics and size of the floor.
The Shoe Must Fit – Grace-Anne Powers via Zoom
Pointe shoes are the quintessential piece of equipment for a ballerina. Pointe shoes are generally pink satin with pink ribbons that crisscross over the ankles. What else is there? Grace-Anne calls them, “The most beautiful and torturous item.” She spoke about the manufacturers, the construction, the fragility, and the importance of perfect fit of the beloved pointe shoe in a recent CDP Evening With An Artist.
Grace-Anne’s favorite pointe shoes are made by Freed of London. Every shoe is handmade by highly skilled craftsmen. The craftsmen each have their own mark that they place on the leather sole of the shoe. The “Butterfly” is the shoe that she finds most comfortable. The shoes are handmade just for her. “When I get a new pair of pointe shoes, I have to prepare them for dancing. The toe box is round. The first thing I do is flatten it so that it sits flat on top of my foot,” she demonstrated the process of putting the perfectly new shoe on the floor and unceremoniously stomps on it with her foot. The process continues with the insoles – tearing and cutting away until the arch is in the perfect place. Elastics and ribbons are sewed on and more maneuvering of the shoe continue until it fits like a glove. “It takes about two hours to prepare a pair of pointe shoes,” she told us.
A pair of shoes costs up to $125. Grace-Anne gets 40 pairs of pointe shoes form her home ballet company. “I have bendy feet that are stronger, so I tend to go through my shoes faster,” she explained. She tries to extend their lives with some unorthodox techniques involving jet glue.
pc: Austin Powers
Customizing The Custom Pointe Shoes Austin and Grace-Anne Powers
There is a fine line between being perfectly comfortable and “dead.” Dead shoes are not fit for dancing and can be harmful to the dancer. Did you know that the life of a pointe shoe is very short? Sometimes it is just a week and sometimes two weeks. Let’s see, they are satin, there is a leather outer sole, the sides are canvas with a satin outer shell. The “box” is made of fabric and cardboard and biodegradable materials like water soluble glue. Perspiration tends to dissolve the hardening materials of the box. For that reason, Grace-Anne has devised to coat inside of her well-fitting shoes with jet glue.
“There can be no movement in my shoe, so I double the elastics to keep them tight against my foot. Also, my ribbons are not just ribbons, I like my ribbons to give a little so they have some stretch and give. After the shoes have been flattened, potions cut out, and glued, Grace-Anne darns the pointe part of the shoe and creates a “box.” That also extends the life of the shoe and provides a flat space to “stand.” She uses a doubled macramé cord to create the rim then sews it onto the satin of the shoe. This further helps save the shoe in the contemporary repertoire when the angles become more exaggerated. “I wear a shoe that is a little larger than my foot to help me pad so that I keep corns and bunions from forming.”
The Life of the Pointe Shoe – from flat to “over-the-top”
Ill fitted shoes can cause blisters, bruised toe nails, bunions, even stress reactions. Properly fitted shoes are key to successful classes and performances. Grace-Anne experimented with different shoes, “Some had plastic in the toe. They lasted longer, but did not give me the correct fit and I could not fully articulate my foot. The Freed of London shoes give me the fit and articulation for artistry that I need. It is hard finding the right shoe. When you find the right shoe, it is no longer a foot inside a shoe, but it becomes a part of you.“
pc: Jennifer Zmuda
pc: Belimnda Carhartt
pc: Belimnda Carhartt
pc: Quinn B. Wharton
The Many Shapes of Grace-Anne Powers From Classical to Contemporary en pointe. Images courtesy of Grace-Anne Powers
A world-class ballerina, Grace-Anne, is comfortable with both the classical ballet repertoire and the contemporary realm. She is a perfect fit for CDP with her classical background and ability to extend into the extraordinary. “Contemporary ballet pushes you beyond the vertical and many times off-center. That is when pointe shoes deteriorate even faster since the contact with the floor changes dramatically and parts touch and wear faster,” she explained.
What does Grace-Anne find rewarding in dancing with CDP? “Working in smaller groups is very satisfying. Getting to know the people and the creativity is exciting,” she shared. She likes having the musicians on stage, “They help make dance spontaneous and interactive.” This season she and her husband, Austin, will have the opportunity to dance together. It will be a new experience for them to dance in a partnering capacity.
Grace-Anne Powers pc: Jennifer Zmuda Image courtesy of Grace-Anne Powers
Concluding the evening’s program, Grace-Anne and Austin demonstrated some partnering techniques and the resilience of their new floor. “With a partner, there is greater scope of movement, extension, and reach,” explained Grace-Anne and Austin. They are both able to stay in shape by working together, doing their own barre workouts, Austin works with weights, and there is lots of gardening for the both of them at their new home.
About the 2020 Season, Diane Coburn Bruning said, “I have utmost optimism for our season. For now, we will remain virtual. We are Nimble and creatively flexible.”
Powers’ presentation and Q&A is the first of four planned for May with dancer Julia Erickson discussed transitioning from classical to contemporary ballet roles on May 12. Luz San Miguel and Davit Hovhannisyan will demonstrate classical ballet partnering on May 19 and contemporary ballet partnering on May 26. For further scheduling, please visit the CDP website.
Pansies, Henri Fantin-Latour, 1874, National Gallery of Art, Washington DC
“The world will surprise you with its grace,” is a line from a movie that I have watched many times. In today’s environment, this line has been brought to fruition in the most generous ways. We are all affected in how we move about, how we work, how we interact with friends and family, and how we entertain ourselves.
Detail of Frederick Edwin Church El Rio de Luz National Gallery of Art, Washington, D.C.
As in Sleeping Beauty, theater, music, art, dance, intellectually stimulating courses, and much of our in-person physical activities have ceased for the moment. However, the outpouring of generosity on the part of performers, museums, theaters, educators, and trainers have amazed me over and over. Sometimes I have blinked to be sure that what I was reading is true. And, so it is. We need grace and must exercise generosity now. We need the arts now more than ever. What better way to experience grace and generosity now?
Washington, DC
Westminster, London
Palais Garnier Paris
Louvre Paris
Royal Opera House London
Royal Opera House London
From Paris to Seoul, from London to Washington, DC , Florence to New York City, and from Harvard to Yale, and Princeton, along with many others, the best and greatest are sharing with us their best and greatest. We can nourish our souls (this is not a theological article) profoundly by a click on our computers . We can regroup. Perhaps this is our opportunity to explore, learn, reinforce, and discover the beauty of the arts. Our souls will be better for it.
Tea . . . Fortnum and Mason
Fortnum and Mason
Through my love for the arts, I feel like a kid in a candy store – where to go first – what to watch first?? Actually, I am feeling like I did on my first visit to Fortnum and Mason, “Must focus. Time is fleeting.”
Oliver Lee Jackson exhibition 2019 at NGA East Wing
The Lacemaker Johannes Vermeer
Allies Day, May 1917 Childe Hassah
A Young Girl Reading by Jean-Honoré Fragonard
To help make the most of our situation, I have compiled links to complimentary (some are pay what you can) videos from some of the world’s greatest resources. To these generous and gracious people and organizations, I give heartfelt thanks. Please remember them when times change and support them by become patrons, buying tickets, attending exhibitions, and buying future streaming services. They have gone above and beyond our expectations to feed our souls with beauty, creativity, adventure, and grace.
12 Museums offer virtual tours – from the Guggenheim and the Washington National Gallery of Art to the Uffizi, to the British Museum, London, and so many repositories of treasured art throughout the world
HBO provides movies, programs, and documentaries free to stream
Amazon Prime SXSW 2020 Film Festival – ““Prime Video presents the SXSW 2020 Film Festival Collection” offers filmmakers in the 2020 SXSW Film Festival lineup an invitation to opt in to take part in this online film festival, which will play exclusively on Prime Video in the U.S. for 10-days. The one-time event will be available in front of the Prime Video paywall and free to all audiences around the country, with or without an Amazon Prime membership, all that is needed is a free Amazon account.”
Good News. Reviews. Events. 