Broadway productions and other theatrical performances outside the gates often run for weeks at a time. At Chautauqua Institution, many performances and lectures are seen by audiences only once.
Dancers are often told they need to be versatile. Their technique must be top-notch, and they are required to train in a variety of dance styles and genres. But there is another skill that is becoming increasingly important for young dancers: the ability to choreograph.
When the audience hears the phrase “pas de deux,” often a romantic duet comes to mind — the title characters
George Balanchine once said “Dance is music made visible.” The two art forms go hand in hand, similar to the friendship that has developed between the schools of Dance and Music at Chautauqua.
Mark Diamond is known for his creative narratives, but his piece “Into the Fray,” choreographed for the School of Dance Student Gala, may spin his most creative web yet: The audience will be shrunk down to ant size and immersed in his “insect ballet.”
Sarah Hayes Harkins’ long line, fully down from her pointedly leading index finger, called a nearly full Amphitheater audience to their feet to welcome the Charlotte Ballet home happily to Chautauqua on a humid night Tuesday, après le deluge. It was a day for torrents and big rain, so it was testimony to the resident company that so many ventured out, the weather still threatening.
Coordinating ballet with symphony is a puzzle that involves balancing visual and musical aspects of performance.
Guest Review by Anthony Bannon The heart sounds most notably within a sprung rhythm; its regular beat is taken for granted.
The Charlotte Ballet dancers take their places on the stage. But they are not alone. As the lights come up, it is former U.S. poet laureate Robert Pinsky who stands beside them as the music begins.
CHRISTOPHER RECORD | Submitted Photo Anna Gerberich and Jordan Leeper, dancers with the Charlotte Ballet, perform in Dwight Rhoden’s “Peace