For this, our 24th season, we have chosen the theme “Telling Our Stories,” because our world narrative, in which we are all contributors—willingly or otherwise—is so full of important stories. We hold the great gift at Ballet Memphis to be able to tell these stories through our dance. Truly, they are unique and worthy perspectives that deserve to be heard, seen, felt and appreciated. In every work we perform, whether classical, reimagined or completely new, our dancers will seek to create meaningful connections. That may be in a more intimate space, between two people onstage, or in a larger setting, with audience members and dancers moving physically and emotionally through the same range of thoughts and emotions.

It’s an awesome task that we at Ballet Memphis assume in a heartfelt and significant way. And how fortunate we are to be living here in the soul of this country, with so much great history and music from which to draw. Some of the best writers, certainly the best musicians, and artists of all kinds have been born, raised and sent from this rich Southern region. So many women, in particular, came from this place and have helped shape me, and I hope they will continue to
mold the next female generations. That is why we carry the mantle of their work, to explain and interpret these people who paved the way for us and who have made our lives more fulfilling in the process. Their work—their stories—have to continue on to keep our world moving into an even better place.

Please keep telling your own important stories, and never underestimate their influence on family, friends and those who may fleetingly pass through your life.

We’re Telling Our Stories for Our 24th Season!

For our 24th season, we’re telling our stories in a whole new light. From setting a new stage with area artists of all kinds with FUSE, to a foodie’s dream event where top local chefs are challenged to create a new chapter with homegrown ingredients. Plus, three famous stories choreographed just for Ballet Memphis, including the premiere of an all-new Romeo & Juliet. Our AbunDANCE series adds a new chapter with renowned female choreographers and musicians presenting four new short works right here on this stage. And setting the stage for our 25th anniversary season, we’re taking it outdoors to the Memphis Zoo for a season wrap under the stars.

FUSE Sept 18

Connections: Food Oct 9

A Midsummer Night’s Dream Oct 30–Nov 7

Nutcracker Dec 10–12

AbunDANCE: Where the Girls Are Feb 19–27

Romeo & Juliet Apr 9–17

Connections: Outdoors May 14

Beauty comes in many forms

Last season, I approached our own Travis Bradley about the idea of a new but still classically based Sleeping Beauty ballet. The reinterpretation was a risk, I knew, but the project was put into good hands, given to a young man of great sensitivity and depth. As I had hoped, Travis dove into the

project with seriousness and rigorous thought, committed to exploring concepts, people’s natures, and how a story can help us express both of these notions.

Travis was soon on his way, conducting his own storyline research, its historical interpretations and present-day applications. One of his first decisions was that the Prince and Sleeping Beauty, or Briar Rose, would grow up together, so there is a relationship that moves from childhood friendship into admiration, to a new bonding, and finally to an everlasting love. In our retelling, Carabosse, traditionally the Wicked Fairy, is a Rose Fairy of fiery passion and intense desire. When Carabosse surrenders to the Briars, she succumbs to being strangled by desire, by an imbalance of passion. At the end of the story, the Briars and Carabosse are not simply defeated by the Prince’s strength, but also because Briar Rose has touched Carabosse by offering her another vision of beauty without a burning desire to consume. When Carabosse surrenders to the call of beauty’s love and kindness, she is redeemed and forgiven for the havoc she has caused.

Another interesting storyline element is in making the Prince also the Gardener. This idea makes great sense to those of us raised in our American democracy, and it reminds us that the true “princes” in life are not defined simply by wealth, power, birth or status. Instead, they reside in those whose characters are most elegant, those who can rise above accumulation for self-gratification. Our Prince is strong enough to give to others, to celebrate beauty without grasping, and to honor, to release, to draw joy from and give love to.

When Ballet Memphis examines a traditional story in new ways, we strive to grasp the narrative’s original value and meaning, and then hold that in a sacred trust in the act of creation. If this act of care does not happen, we run the risk of presenting yet another empty spectacle. Travis, however, poured his heart into a work of great care and beauty. There is a fullness here in our new telling of Sleeping Beauty, a story replete with faith in our better human natures.

Because nobility exists in pouring one’s heart into his or her life’s work, Ballet Memphis believes strongly in mentoring and nurturing our professional dancers, our young choreographers and our students. We are determined to be thoughtful, and act in meaningful, hopeful ways. Just like a gardener, we hope to create a flourishing culture of beauty and kindness in our city and in our nation.

Feet, hands, right brain, left brain

This weekend’s performances contain 3 works, each with its emphasis being a part of our bodies. Steven McMahon tackles the mind and heart, basing his work on Dr. Jill Bolte Taylor’s book, MY STROKE OF INSIGHT, A NEUROSCIENTIST’s PERSONAL JOURNEY. Dr. Taylor’s stroke, and her ability to assess how she went through it and what she learned from it, inspired Steven to create a work about the duality of the human brain. He says that his piece is “a conversation between the heart and mind, or the body and soul.” He found, in his readings, things that were scientific , but also spiritual at the same time. I imagine that scientists must feel this way as they make discoveries as well. The largeness of creation, the wonder of the world, the complexity of all that is within us and around us, has to be so exciting!

Julia Adam’s piece is based on the hand. She has pulled from the writings of T.S. Eliot, Elizabeth Barrett Browning, Shakespeare, and Dr. Seuss, and is looking at what our hands do expressing stages of life. She added props to support her ideas, props that are extensions of our hands, and very symbolic. She even studied multiple hand games, and has created a very exciting, poignant, and fascinating works for us. I always find too , that Julia’s work has a particularly feminine sensibility in its awareness of relationships, rich and thoughtful. I wish that there were more women choreographing in the ballet world, and I wish that everyone had her openness and sensitivity.

Nicole Corea closes the program with a rousing work, having received the assignment of “feet” from me. She has some dear friends, South African gum boot dancers, whom she based her new work on. The reason the miners in South Africa were given boots was because the wonders of the mines did not want to drain the mines, so they just gave the workers boots. This in itself is enough to break your heart, but it reminded Nicole of the spirits of her South African friends, and how much they have risen through in their culture. She speaks about how joyous their dispositions can be. “The South Africans I know will dance anywhere, even in their kitchens!”

Feet, hands, right brain/left brain….all moving within us while we spend our days in this life together. Something else joyful to investigate and celebrate. Hope to see you this weekend!

Isn't the human body miraculous?

Even more astounding is what we’ve learned about our bodies in the last 100 years, particularly through scientific discovery. While scientists continue to reveal amazing details about our bodies, artists have been using the body, or images of the body, to convey the many events, questions and mysteries within us. Scientists and artists alike tackle ideas with exploration and discoveries, and in Connections: Body and Soul you are watching some of that exploration.

Steven McMahon’s piece took its base from a book by Dr. Jill Bolte Taylor, My Stroke of Insight, A Brain Scientist’s Personal Journey. Dr. Taylor’s stroke, which occurred when she was only 37, and her subsequent journey through recovery, inspired Steven to create a work about the dualityof the human brain, in which each hemisphere has a different priority, or motivation. Steven explores what those hemispheres would look like in an unfolding dance work. The evolution of Julia Adam’s piece stems mainly from a documentary on PBS about 9/11. The commentator wondered about the people jumping out of the towers, holding hands. Were these acts of great love or great desperation, or both? At some point soon after, Julia and I talked about all the things we do with our hands and agreed it would be important to make a work about that someday. Finally, we are able to do it and the hands of our joyous labors can be seen today.

When I asked Nicole Corea to concentrate her work on feet, she kept thinking about a South African dance company she knows well. This company does a lot of gumboot dancing, which derives from the fact that many South African miners had to wear boots because the mines they worked in filled with water. It reminded Nicole of the spirits of her South African friends, and how much they have risen through in their culture. Nicole also uses steps from a South African dance, the pantsula, which is more of a fun, loose dance that was made up in the streets. Dance is not something South Africans separate from their daily lives. When I did my research into many of these dances, I found that all kinds of groups had this connection to the earth, this way of speaking to the earth through our vibration, and then it climbs up through the rest of your body.

Feet, hands, right brain/left brain—all moving within us while we spend our days in this life together. It is truly something joyful to investigate and celebrate.

AbunDANCE

Dear Board and Patrons,

It was so rewarding, and so very interesting, to be involved in preparing our AbunDANCE performances. Last week, I returned from giving the keynote speech with National Arts Strategies ' Russell Willis Taylor at the Dance NYC, and it gave me a different and enhanced perspective. Ballet Memphis is in such an interesting position now, becoming more and more known and respected for the real innovation we have brought to our art form and our deep connection with our community. There is an eager intimacy we acheive now, with our work , and our purpose as artists, and the dancers convey this so beautifully to our audience, bringing them into that same state of being. We all know we are doing something together , and that it is significant, and important, and with this show, it is so joyful!

Yesterday, I was profoundly moved by Petr Zahradnicek's (please check spelling) to the powerful choral piece of ???? Gorecki's BROAD WATERS. In the final movement, the stillness achieved on stage was the deep stillness I also found inside me because of the dance that unfolded, and the place of arrival was a perfect harmony of music, human beings, and continuity. Then, to see 4 different men rehearse the amazing solo TAKADEME, is to see our men take on vocabulary completely different than anything they have done before. And, the jubilant Trey McIntyre piece, SECOND BEFORE the GROUND , is like welcoming a best friend we haven't seen in awhile, and the smile of welcome is enormous!

And, there is the work that we commissioned Jane Comfort to choreograph and Kirk Whalum to create music for. This collaboration has been fascinating from the outset, and the results will be so rewarding! And, this is a work in which I think you will feel a particular loving presence. These two artists have lived this presence all through the collaboration, and I don't think I have ever worked with any two artists who are more wise, humble, and large -spirited. Especially lucky you are if you are coming opening night, because Kirk and 5 other musicians will play live, and in tandem with 60 gospel voices recorded by the Mount Olivet Baptist Choir (please get the name right from Kirk....and it also needs to get in the program.) If you can't come Feb. 27th, you will still be able to see this amazing dance journey to a great recording at the other performances. And remember, this is our opening in our new midtown home at the intimate and fantastic new Playhouse on the Square, and we perform Feb. 27th, 28th, March........(please fill in).

These are difficult times for many, many people. It is important to be involved in those things that remind us that we have the capacity to find and manifest joy, and let that joy inspire us to bring more of it to others in our world, however we are able. There is no more important thing that we as artists can do , and no more important thing for us to do for one another in our lives together on this earth. I hope you will be there with us, and share with us our profound belief that we all have an AbunDANCE of Joyful Noise to cherish and grow in our communities.

Come share our joy!

Dorothy

Where do you respond, from inside your body, when you find joy?

Do you take a breath and emit a squeal? A note of song? Perhaps accompanied with a jump, or a blissful fall to the floor with a grateful note of thanks?

There are certainly an infinite variety of ways we express our jubilation. But, who can argue that we take that first inhalation while we are becoming aware of the news, the thought, the imagined picture? And doesn't it come back out, almost always, with sound and movement?

In this season's AbunDANCE, we are presenting work that was choreographed as a response to the joyful first intake of breath, coming back out as a chant, or a song, or channeled into a wind instrument.

I first saw Robert Battle's Takademe when it was performed at Houston's Dance Salad the same year Ballet Memphis was the only American ballet company invited to appear. The solo is powerful and utterly physical yet has a humorous undercurrent. When modernist choreographer Jane Comfort and composer/performer Kirk Whalum collaborated on the work premiering at this show, what resulted was a pieces that follows a person's struggle to find their way to a joyful elevation. Broad Waters is the story of a community of people bound together by the river they live near. And we're pleased to once again perform Trey McIntyre's Second Before the Ground.

Whatever brings you joy in life, find it, embrace it and watch it flourish.