j-Pointe

Building the Joffrey Family

2011-12-19T16:53:00.003-06:00

Many families were eager to experience The Joffrey Ballet’s specialNutcracker Family Dinner this year. For some families, this was not only theirfirst experience attending this event, but also their first time attending aprofessional ballet performance!

This year, The Joffrey Ballet extended special invitations withthe sincerest gratitude to the families of the Community Engagement program forall of their hard work and commitment. Several of the students and theirfamilies have given a lot of time and commitment to The Joffrey Ballet’s BridgeProgram and are now students in theJoffrey Academy’s Children’s Division. “These young students that haveparticipated in the Bridge Program are inspiring to others because they neverhad the opportunity to take a ballet class before getting involved in ourprogram” says Pierre Lockett, Director of Community Engagement, “and now thesestudents have worked their way up to participating in the ballet I classes inthe Joffrey Academy. The Nutcracker Family Dinner is the perfect opportunity tosay thank you to the participating families and the performance is a great wayto show parents what their students aspire to accomplish in their danceclasses.”

Families were thrilled to be joining their children for adelectable dinner and delightful performance, but their children were even moreenthusiastic for the exciting activities planned. Activities at the NutcrackerFamily Dinner included “creation stations” such as decorating pointe shoes,crowns, and snowflakes. Other activities included dessert decorating, games, areading corner, and a candy and popcorn station, where children can taste oldfashioned goodies! Children also received a keepsake frame with pictures fromthe Nutcracker photo booth toremember their experiences.

The Joffrey Ballet is truly fortunate to have such wonderfulfamilies involved in its programming!

Learn more about TheJoffrey Ballet’s Community Engagement Programs on www.joffrey.org.

Meet the Children's Cast - Hayley

2011-12-15T10:40:00.000-06:00

Hayley is in her second year performing with the children's cast of The Nutcracker. Find out what she has to say about her experience. Be sure to join us for this holiday classic! Visit www.joffrey.org/nut for information and tickets.

Meet the Children's Cast - Jung

2011-12-12T09:21:00.006-06:00

Each year, the Joffrey brings in 70 children to participate in our annual Nutcracker tradition. To see these talented children in action be sure to join us for America's #1 Nutcracker! For tickets and information click here.

Tis the Season!

2011-11-29T16:44:00.001-06:00

Join us as we sit down with Derrick Agnoletti, a Joffrey dancer that has been with us for almost ten years, as we discuss the upcoming Nutracker performance (Dec. 9-27). Visit www.joffrey.org/nut for more information and tickets.

Why is the Joffrey Nutcracker special to you?

Joffrey's Nutcracker is very special to me because I not only enjoy dancing it, but I enjoy all of its elements, from the characters that exist in this particular version to the quick speeds of the choreography. I think of all the Nutcrackers that I have participated and seen, this one has the most dancing for both the men and women. It uses the whole company. Everyone's roles color the ballet to make a stunning picture. It is also very special to me because when I first came to the Joffrey as an apprentice, I got to see amazing artistry and dancing demonstrated through this ballet, it was so inspiring.

What’s your favorite role in The Nutcracker?

I have to say, I always love dancing Fritz/Snow Prince because I was a wild little kid, but the role that sticks out the most to me as really fun is playing the one of the head butlers in the party scene. You are completely responsible for making the party scene work logistically as well as developing a character. I have fun interchanging personalities with this character. Some nights I’m very fussy and annoyed with all the guests and their demands and other nights the other butler and I pretend to encourage Fritz and his naughty behavior. I like the hustle of it, especially if I go into snow or battle after.

Do you have any funny stories/favorite memories of performing The Nutcracker?

Yes...During my very first week of shows I was put into the role of The Butler. The Butler is part of the magic when revealing the Nutcracker doll. I can't give away how it happens, but I can say that it’s a prop I am responsible for and I couldn't find it because it was not preset. I thought I was going to have a heart attack! Luckily, the Drosselmeyer that was on that night knew exactly where it was when not preset and ran to get it. Company members were making me freak out even more on stage by saying "'oooooooooooo, you are so fired"... I really thought I was.

What do you do for the holidays?

In the past years, we usually dance Christmas Eve and then have the next day off for Christmas day. I love Christmas so it’s hard to be away from my big Italian family. This time of the year always reminds me of the fun that my brothers and I have had throughout our childhood years. However, the dancers usually get together on Christmas day at someone's house for a big feast. A few years in a row Joffrey dancer Valerie Robin has held it at her and her husband’s house and she is an incredible cook. We all play games, eat and relax together. It’s sort of like family away from family.

Why should our readers come to see The Nutcracker?

Joffrey's Nutcracker is truly the best. I can understand when people say "Oh I've seen it already," but in all honesty each year it changes. There are a lot of new dancers dancing fantastic new roles. The company has a youthful vibrant look to it that will be refreshing for all to see. I feel that it’s important to come every year because you will always see something new. Especially with the Chicago Sinfonietta's wonderful live music.

Is touring Nutcracker any different than performing it in the city?

Sometimes. The stages are all different sizes and shapes. So sometimes the set is too big or too small for the stage. The children's cast changes in each city also.

What is your earliest memory of The Nutcracker?

Probably seeing New York City Ballet's version live for the first time. I remember thinking it was so cool that it was actually snowing on stage (at the time I wasn't dancing so I thought it was real)!

As a dancer, what is most challenging about performing The Nutcracker?

Nutcracker is challenging for the whole company. I still struggle getting the technicalities of the steps as well as getting the musicality down correctly. The snow scene, choreographed by Gerald Arpino, is very fast and a lot of petite allegro jumps, and yet you still have to hold your spacing and do the port de bras in the Arpino style (it’s a little more angular and sharper than classical ballet port de bras). I have been dancing it for many years but it is still something I have to work at to keep clean. I also think staying in good physical health is one of the biggest concerns. We do a lot of shows and alternate a lot of parts so you have to stay in top shape. I make sure to take class (keeps my stamina up and my technique building) and go to physical therapy (they give us exercises to build strength and stay uninjured).

For all the behind-the-scenes magic, be sure to follow the Joffrey on our official blog at http://jpointe.blogspot.com.

Interview with Wendall Harrington

2011-10-10T15:42:00.001-05:00

Wendall Harrington’s career has embraced many diverse and exciting disciplines including theatre, publishing and multi-image/video design and production. As a designer of scenic projections for the stage, her work has been seen around the world. Wendall has designed the video projections which will be integrated with the hard set for the world premiere of Don Quixote, opening this Wednesday, October 12th.

Q. How did you get involved in your line of work?

A. I was an unemployed filmmaker who took a job in advertising making slideshows for corporate clients, when I got a call to make some slides for the great lighting designer Tharron Musser. The rest, as they say, is history.

Q. You have an extensive professional background and have worked on productions around the world; how would you say that you have developed a global reputation?

A. I just keep doing the work that is offered. I am endlessly curious and love to see and do new things. I also do my best to work with a budget!

Q. Could you tell us about what you are creating for Don Quixote?

A. I am trying to make the drawings of Gustave Dore come to life, as well as to flesh out the story a bit more. Using the Dore drawings, Don Quixote himself comes forward which is unusual in a ballet.

Q. What is your creative process for creating a projected set?

A. Once I see what the set designer is doing, I work within it. Having worked with Jack Mehler on the Othello, I knew that I wished the mage was taller and so we created a higher ground row than usual and as I have an extensive library I was able to give him a lot of visual information about locale and furniture and such.

Q. Were there any challenges integrating your projection sets with the hard sets?

A. That is the work of my life: to make a flat projected image look dimensional. I work as much as I can to create depth and diagonals.

Q. The nature of ballet is to use the dancer’s body, the music the set and costumes to tell a story, while most theater has the added component of dialogue. Do you feel that you have more creative freedom with Don Quixote than say, a piece Broadway work?

A. I love that about ballet and opera. By its very nature it is an abstraction and it gives the audience room to dream.

Q. How will your projections contribute to making this production unique?

A. We are able to tell the story with more detail and we need not change the furniture to tell the story. Also, I think the windmill will be thrilling and cinegraphic.

Q. I know that having a projected set will make Don Quixote ideal for touring, are there any other benefits to having a primarily projected set?

A. The ability to create shifting moods and sense of place without bring in a curtain and taking the audience out of the story while we bring on the new piece of scenery.

Q. What is your favorite part about your job?

A. Being in the room when the dancers take flight. I’m always always excited to see great dancers, great singers and hear the live orchestra. Even after doing this for 30 years, it never ever gets old.

Q. What is something the audience might not expect about this production?

A. I think most dance-goers are not used to seeing ballet with projection. I think they will be surprised by how seamless it is and, I hope, how penetrating the story becomes. One thing you can do with projection is a close up. In this case, it’s not exactly of the dance, but of the expressive images of Dore. I hope will create a greater connection to the story. After working on it, my associate was so intrigued he went out and bought the book.

Q. Anything else you would like to share with our readers?

A. I love working with the Joffrey. They are a brave company with high standards, and great intelligence. I think what Ashley is trying to do is so commendable, and I am happy to be a part of the process.

Interview with Ashley Wheater

2011-10-03T16:49:00.001-05:00

Join us as we sit down with Ashley Wheater, Artistic Director of The Joffrey Ballet, and learn about his perspective on our upcoming world premiere of Don Quixote. Visit www.joffrey.org/donquixote for more information about the ballet.

Don Quixote: Ashley Wheater by The Joffrey Ballet

Interview with Jack Mehler

2011-09-07T10:15:00.000-05:00

Jack Mehler is the lighting and set Designer for Don Quixote. Join us as we sit down with Jack and learn about his creative process, and his unique experience working on Don Quixote, and be sure to join us in October for this exciting world premiere!

Interview with Jack Mehler by The Joffrey Ballet

Welcome Jeraldine Mendoza!

2011-08-17T14:53:00.001-05:00

Name: Jeraldine Mendoza

Where are you from? San Francisco, CA

How long have you been dancing for? I’ve been dancing since the age of five.

Why did you start dancing? My parents enrolled my older sister into ballet classes at City Ballet School of SF. When she quit, I also wanted to quit, but my parents and teacher, Galina, wouldn’t let me.

Who has been the biggest supporter throughout your dance career? My parents and all of my teachers, especially Galina.

What are you most excited for at the Joffrey? The rep sounds great for this season. I’m really excited since this is the first professional company I’ve been a part of.

Did you do anything fun over the summer? I didn’t go anywhere this summer, but in April, I did go back to Russia and visited my school and all my friends from the Bolshi Ballet Academy.

What do you do when you’re not dancing? I love to bake and cook. If I’m watching TV, the channel I’m usually watching is the Food Network.

What is your favorite type of junk food? I am obsessed with cupcakes!

What’s your favorite movie? Shutter Island with Leonardo DiCaprio.

What are three things that most people don’t know about you?

1. I am a huge SF Giants fan.

2. I like to clean.

3. I hate to say it, but I have Bieber Fever!
Do you have any advice for any aspiring dancers? Always feel as if you worked your hardest with a smart mind set. My teacher told me: “You can rest when you’re dead.” As demanding as it gets to be a ballerina both physically and mentally, you must learn to love what you do, and over time, with hard work and dedication, it will work itself out.

Be sure to check out Jeraldine's bio to learn more about her.

Meet Dara Holmes

2011-08-10T17:00:00.001-05:00

With the new season upon us, we would like to take this time to introduce some of our wonderful new dancers. To learn more about Dara visit her bio page on The Joffrey Ballet website.

Name: Dara Holmes

Where are you from? Wilmington, NC

How long have you been dancing for? 11 years.

Why did you start dancing? When I was little, about three years old, I was looking through encyclopedias and I don’t remember getting past the B’s because the first thing I saw when I flipped the book open was, of course, “Ballet.” It was the most magical thing I had ever seen; there were pictures of dancers in the five positions and doing tendu’s, and a picture of a ballet with sets and costumes. I wanted to do it so badly! I went to my mom and asked her to teach me, and then I kind of become obsessed for years until we finally found a school.

Who has been the biggest supporter throughout your dance career? God is the one who brought me through all this. He is the one that gave me a family and friends who have been supporting me since day one.

What are you most excited for at the Joffrey? I am excited to be at a company with such great dancers and so much history. I am also excited to continue to grow as a dancer and experience new opportunities.

Did you do anything fun over the summer? Two words: HARRY POTTER! I hung out with my close friends a lot, and two friends of mine came into Chicago to visit me this summer. And of course shopping and eating out played a big part of my summer.

What do you do when you’re not dancing? I like to walk around downtown a lot, and I somehow always find myself hanging out at Joffrey. I like to draw, scrapbook, watch movies, and I knit a little. I’m also a video gamer, and I LOVE listening to music.

What is your favorite type of junk food? CAKE!

What’s your favorite movie? The Emperor’s New Groove; it never gets old.

Do you have any advice for any aspiring dancers? Anything is possible! I once heard someone say that if you are able to come into a studio and do a tendu, then you can be a dancer. Don’t let anyone discourage you. If this is what you want, then fight until the finish.

Interview With VonOrthal Puppets

2011-08-01T15:06:00.002-05:00

Join our recent conversation with Cynthia VonOrthal and Tiffany Lange from VonOrthal Puppets. They are currently creating the life-size horse puppet that will be used in the world premiere of Don Quixote, choreographed by Yuri Possokhov for The Joffrey Ballet.

Question – Could you tell us a little about the creative process for the horse you are creating for Don Quixote?

Cynthia – We made a wooden base of a horse’s head—a stand that would be able to hold the necessary amount of clay. After sculpting it out of an oil-based clay, we then covered it in paper-mâché. The end result is a very sturdy and lightweight replica of the sculpture. The horse body will be made of metal, wood, fabric and mesh.

Tiffany – After concept development we did a lot of research on horses, built a cardboard model to scale, developed actual-size drawings and began the sculpting of the head, as Cynthia mentioned. The head and the body frame will be developed simultaneously; within each we will also create various animations to further bring the creation to life.

Question – How much do you anticipate the horse weighing once it is complete?

Tiffany – Our goal is 50 pounds.

Question – Have you ever worked on something, not only on this large of a scale, but also where dancers will be within the puppet itself?

Tiffany – We have not constructed a horse, but we have built many puppets in which the manipulator is part of the costume/puppet.

Question – How did the two of you get involved in making puppets?

Cynthia – I became interested in puppets probably about 20 years ago, and have been creating them ever since. I went to get my master’s degree in marionette making in Prague. I began building puppets for different theater companies, and decided to start teaching in order to build a base of people to build with me for various shows. Tiffany came to one of my first classes, and she has been with me ever since.

Tiffany – As Cynthia mentioned, I took her first class. She asked me to start collaborating with her on other projects, and then eventually, after taking perhaps 4 or 5 classes, I began co-teaching with her. Then, just last summer, we started working together on a full-time basis.

Question – How long will it take to create this horse?

Tiffany – We began discussions with Claude, the Director of Production, around mid-May. Then we started concepting preliminary ideas in advance of the production meeting that was held June 10. At that meeting, the design team decided to move forward with production of the puppet. They were enthusiastic about the options we presented and selected one of our design concepts. Since then, we’ve been full steam ahead.

Cynthia – We will have the body and the head assembled soon, without the fabric, so we can examine the movement of the structure. Then we’ll have about a month or so to fine tune things we discover in rehearsal. The fabric will be added for the final tech week.

Question – How do you think puppetry contributes to this ballet?

Cynthia – Puppetry, in general, is such a magical art form. We, as an audience, know that it’s a puppet, but there’s such a delight to see this entity move. For this particular show, I think it adds an exciting element because so much is in Don Quixote’s mind in terms of what he sees and hears and does. Having inanimate objects come to life fits perfectly within his delusional world.

Tiffany – This [ballet] is a bold approach to telling this story, and I think having another bold, out of the ordinary character pushes it one step further.

Question – Do you feel that there is something that sets your puppets apart from other people’s? What makes your puppet unique—either in process or end product?

Cynthia – Everyone’s creative process and results are so unique; we work well with color and movement. Even when making something magical or from another realm, we work hard to make sure the puppets move very well.

Tiffany – We are meticulous about the work we do and we really strive for a very high level of artistic quality, both in the foundation stages of what we do, as well as the finished product. I think that sets us apart from a lot of the other puppet/art work that is happening out there.

Question – Is there anything else you’d like to tell our audience?

Cynthia – In addition to creating puppets for theater companies as well as our own shows, we offer classes in puppetry, design and sculpture for adults and children. Puppetry is such a beautiful art form, and it can really add an intriguing dimension to a show.

VonOrthal Puppets is composed of a group of Chicago-based artists dedicated to bringing quality cultural experiences in the puppetry arts to children and adults. With a mission to travel the world telling the story of their hearts through the art of puppetry, VonOrthal Puppets has been captivating audiences for over a decade with a unique combination of traditional European, Japanese and American puppetry techniques. The VonOrthal Puppets style blends imagination, music and story with expressively alive characters and a refined artistic quality.

VonOrthal Puppets also offers a variety of classes and workshops for children and adults. For more information about VonOrthal Puppets, please click here: http://www.vonorthalpuppets.com/.

Interview with the Wardrobe Department of Don Quixote

2011-07-18T12:23:00.003-05:00

Listen to this interview with Travis Halsey from the Joffrey Ballet's Wardrobe Department as he speaks about what goes into the preparation for Don Quixote, the Joffrey Ballet's world premiere choreographed by Yuri Possokhov. Click here to see more about Don Quixote and to purchase tickets (available starting August 1st).

Interview with Wardrobe by The Joffrey Ballet

Travis hard at work

The costume bible! This is where all of the designs are kept along with their color and fabric choices.

Amore, Travis' favorite costume of the moment!

Jacob's Pillow

2011-07-05T11:34:00.001-05:00

Jacob’s Pillow is an amazing place for anyone with an interest in dance. Rooted in the history of New England, this 18^th century farmstead became the studio for dance pioneer, Ted Shawn and his “Men Dancers”. The first studio and performance space was the 18^th century barn. Today, the Pillow provides a summer home for students, dancers, choreographers and enthusiasts. Most people know Jacob’s Pillow because of its performances in its rustic theaters or on the outdoor stage, with the Berkshire Mountains as a backdrop. Fewer people know about the extensive education and dance archive programs with which the Pillow is involved. Through the years, Jacob’s Pillow has collected a treasure of historic performance and rehearsal footage, much of which is available on line at www.jacobspillow.org

I was at Jacob’s Pillow as a part of their two week ballet summer intensive program. 22 young and talented dancers worked with director, Anna Marie Holmes, Houston Ballet director, Stanton Welch and me. We taught and coached them in classical and contemporary ballet repertoire, culminating in a showcase performance on Saturday, June 25. Joffrey dancer, Ricardo Santos participated in the program, as well. I would encourage aspiring dancers to consider auditioning at Jacob’s Pillow. This is certainly one of the most unique and beneficial of all summer intensive programs, providing an opportunity to interact with teachers and artists from all over the world. The days are full, with class at 9:00, rehearsals all day long, and the chance to assist and view performances by guest artists during the evening. Students have the ability to socialize with touring companies. While we were in residence, Ballet Geneve and Keigwin Dance were performing.

I commend Jacob’s Pillow for its dedicated and helpful staff. They are committed to the preservation and enhancement of our art form.”

By: Ashley C. Wheater, Artistic Director of The Joffrey Ballet

Joffrey Academy of Dance - "Youth and Teen Camp" Teen Hip Hop Class, June 24, 2011

2011-06-27T12:36:00.000-05:00

Joffrey Academy of Dance - "Youth and Teen Camp" Latin Dance Class, June 24, 2011

2011-06-27T12:26:00.002-05:00

Interview with Derrick Agnoletti of The Joffrey Ballet

2011-06-16T09:12:00.000-05:00

How did Joffrey Ballet member Derrick Agnoletti wind up a dancer? Learn more about what he enjoys most about his life in dance and more in this interview at 4dancers.org.

Rahm Emanuel named hororary chairman of The Joffrey Ballet!

2011-06-16T09:09:00.000-05:00

Pierre Lockett interviewed on WFMT

2011-05-31T11:39:00.001-05:00

Joffrey Ballet's after-school ballet program at Studio 37

In a new 4-part series, WFMT will profile some of the many public-private arts partnerships that work with public school students in Chicago. Pierre Lockett, Artistic Director of the Joffrey Community Engagement program was interview will be aired tonight, Tuesday May 31st at 10:30pm, or you can click here to listen anytime online.

Joffrey Academy of Dance, Official School of The Joffrey Ballet

2011-05-19T15:32:00.001-05:00

PSA

2011-05-19T14:31:00.002-05:00

“Check out this PSA by Chicago Community Trust featuring the Joffrey Community Engagement’s very own Mykiyah Dillard!”

Interview with Ann Ponce and Peter Hurley

2011-05-18T15:15:00.001-05:00

Ann Ponce and Peter Hurley are two gifted artists that have spent the last year creating works of art based on our dancers. On Tuesday, May 24^th, 2011 The Joffrey Ballet will be hosting a wine and cheese reception to showcase their work. The paintings will be for sale and proceeds will benefit Joffrey programs and performances. For more information about the art show, biographies of Ann and Peter, and previews of their work visit www.joffrey.org/artshow. Join us as we sit down with them and learn more about these talented artists and what inspired them.

How did you first meet?

A - We first met in Denver, where we were both attending the same art school. Five or ten years later we ran into each other at a restaurant in Evanston. I went up to Peter and asked if he happened to be related to a man named Peter Hurley, and of course it turned out to be Peter Hurley himself!

P – While we were at school Ann actually hosted some figure drawing classes at her house which is where we first crossed paths.

A – That’s right! I had nude live drawing at the basement of an apartment I was renting and when my landlady, who lived in the attached bungalow, found out I had NUDE people in the basement! Oh my gosh…

What inspired you to paint dancers?

P – Well the sublime beauty of a dancer and the sculpted state they’ve evolved to is really incredible. Having revered the Masters and the ancient Greek ideal in sculpture and what have you, it’s really like the living embodiment of the Greek Ideal, and they move! It’s not just a static statue. However, I also want to go a little bit counter to that and not depict dancers in just the classic ballet poses that culminate when they are performing. It’s my intent to record the moments that lead up to that. I think it would be kind of redundant to paint a figure in pose. I love the happenstance and the sense of arbitrariness as they prepare their bodies, their tools. Painting a dancer, whose body is such a fine-tuned instrument, it’s a different experience. There are so many parallels between fine art, dancing, and music, and I think the three are intrinsically connected. They are all rooted in tradition and history, but with time they all evolve and change and integrating them all together is fun! I am really driven by my love of movement, figure and music.

A – Peter really brought me on board with painting dancers. Until now I was painting fat people on a beach! I’ve always been interested in figure painting, but in the past I was more drawn to character studies of “regular people.” This parallel between art and dance, two totally separate art forms, but there is a connection, and he thought, and I agree with him that wouldn’t it be neat if we went to the Joffrey and work together and make this connection evident. The ballet is fleeting and is about motion. Like music it’s temporal and ephemeral and the painting is a record of that fleeting movement. We thought it would be great to not only capture that moment but to then share it and be able to hang it on your wall and keep it.

How were you introduced to the dance world?

P – Well I had one sister that was a ballerina, and another sister who always loved ballet, and she brought me to my first ballet.

A – I did take ballet as a child. So I know the five positions. Ha!

Why use photography as part of your artistic process?

A – Well photography has been used by painters since the 1800’s.

P – With the advent of photography, it freed the artist. Until that point realism was the province of the painter, but once photography started to capture a certain degree of realism, forward-thinking artists no longer felt compelled to have realism as their goal and they were able to improvise and create a whole new motive.

P – A photo is very useful for the accuracy of movement, but it’s really just a foundation. I often align myself with music forms maybe even more than many visual art forms. Like jazz, there’s a baseline, a structure that the photo provides, but like in jazz, I really allow myself to improvise from that baseline. That’s something I feel akin to with Ann and a parallel to The Joffrey Ballet as well. There’s a respect and adherence to tradition, but there’s also variation.

How is it working with a partner?

P – It’s a Pas de deux of sorts.

A – On the practical end, we are able to create more quantity in a limited amount of time, but there is also a stylistic contrast which makes the art more enjoyable to look at. Vincent Van Gogh and Paul Gauguin were both working in France in the late 1800’s and Van Gogh set up a studio together and worked side by side for a month. Recently there was a show with both of their work from that and it’s fascinating because the audience actually enjoyed it more because you could see the stylistic contrast. It’s kind of fun to look at our work the same way and consider the different ways we portrayed the same models, and maybe even the same moment, but they turn out completely different.

A peak inside their studio

What are some differences between your two processes?

P – I think there is a gender component, in the difference of what we create. What that speaks to, I can’t really define. I approach my work very physically and almost vicariously as a dance. The way I go at the canvas there’s a lot of back and forth and ebbs and flows of energy. In some respects it’s almost as if I’m a frustrated dancer living vicariously through their movements.

A – I Start out with a pretty structured drawing while Peter goes straight to the paint which I think is manifested in our work. If we were to make the music analogy I would say Peter is more aligned with a Jazz style, while I would be more aligned to a Classical style. Peter loves to use cropping in his paintings, I also use it but not as much so we have different ways of composing. I also think one of the key differences is probably the way we approach color. I’m a little truer to the colors that I find in the photograph.

P – I really only use the photographs for the movements. I’m completely free with the color.

A – We don’t paint at the same time. I enjoy painting alone, but I also enjoy painting with others, I’ve often taught classes where we will all paint in the same room.

P – For me it’s a more private process. I don’t paint when other people are around!

Did you both take photos, or did one of you take the photos and you work from the same pool of photos?

A – We each took our own photos

P – We don’t share them though. We actually haven’t even seen each other’s photos.

Did you interact with the dancers at all? Did you learn anything interesting from them?

P - I was able to talk to dancer Temur Suluashvili, who is a photographer. We had a really interesting dialogue. I would really like to get to know the dancers, but it’s not necessary for this project. My goal is to show my respect for them through the art that I created.

A – I tried to stay invisible to the dancers. I didn’t want to interrupt them, but like Peter, I would love the chance to get to know them.

P – Something that struck me while watching them was this unspoken dialogue between the Ballet Masters and the dancers, and in particular with Ashley Wheater. As they talk through the movements they are about to do both Ashley and the dancers “short-hand” all of the movements with their hands in this casual, unspoken sign language. It is interesting how it is untaught but somehow universal to them. Then when it comes time for them to actually do the movements they just have it down. They really absorb the information quickly. I was also very impressed by Joffrey’s dancers’ ability to respond to the music that was being played.

Photos from Bells

2011-05-17T10:25:00.000-05:00

Check out these stunning photos from Bells, by Yuri Possokhov, part of the Rising Stars program. We have received so much positive feedback and are so glad you were able to join us for this stunning performance! For more photos visit our Joffrey facebook page and click "like" to stay up to date with all Joffrey news!

Night Photos

2011-05-16T17:10:00.000-05:00

Thank you so much to everyone who came out to see Rising Stars. We hope you enjoyed it as much as we enjoyed performing it! Check out the photos below of Night, by Julia Adam, and keep your eyes peeled for more performance photos coming soon ;)

Spring Gala Video

2011-05-16T10:20:00.001-05:00

Click HERE to see the fabulous Spring Gala Video!

Spring Gala

2011-04-25T13:08:00.001-05:00

The Joffrey Ballet is hard at work preparing for our amazing and fabulous Spring Gala. Check out our dancers in these exclusive behind-the-scenes shots of the Gala video.

Photos by: Barbara Levy Kipper

On the Road

2011-03-21T15:58:00.000-05:00

As the dancers return from their whirlwind tour of California, I thought it would be interesting to find out what touring is really like for the dancers. The dancers of the Joffrey are no strangers to touring: The Joffrey Ballet has the most extensive touring schedule of any classical ballet company in the country, and on this trip alone they performed in six different venues in California and Colorado. Performing on tour comes with a whole new set of audiences, excitements and obstacles. Here I sit down with Derrick Agnoletti and get his take on the ins and outs of touring.

Q. Do you notice a difference in the audiences when you are on tour? Are their reactions different?

A. Audiences in each city differ quite drastically. I notice that we are aware of the public’s reaction, whether it be during the bows or in the duration of a work being performed. This California tour, the audiences were very vocal. While dancing on stage there were moments when you could audibly hear a "oooh" or a "wow". Works like Age of Innocence and Reflections have moments in them where I feel as an audience member, you can't help but gasp and start clapping. What I love most about these moments, particularly in Arpino's Reflections, are the reactions to each female variations. They are super difficult but the audiences seem to enjoy the ladies soaring through them with such musicality, ease and poise.

Q. How does preparing to perform on tour differ than preparing on your home turf?

A. I think many of us approach it the same as we would at the Auditorium Theater. My preparation for performance is usually to stop thinking and lose myself in the work. I am usually a little more relaxed on tour. I can't quite elaborate why, maybe it’s because each place we go is like a fresh new show on a different stage with a completely different audience. Each time you get out there, you are able to dive into the work with a new approach, taking different risks or playing with the music, or engaging with your fellow dancers on stage. I like dancing on stages of different sizes; it can totally change your movement quality depending on the range or space you absorb on stage.

Q. What do you look forward to most when you go on tour?

A. Being with my fellow dancers, even though at times we get sick of each other. Many of them have very busy lives outside of work and so going on tour, we get to really catch up with each other, sometimes this means just sitting in our PJs chatting. I also love going out to eat with my fellow dancers. I love eating at restaurants, even if they are chain restaurants. It just makes it fun and on tour that is usually what we end up doing after shows.

Q. What is your least favorite part of touring?

A. The bus and the packing. I always pack too much and the buses always hurt my neck.

Q. Is it difficult to perform in new theater?

A. No, I personally don't think so. I think if you just stay aware of your spacing and the quality of the floors (some are harder than others) you learn how to approach each stage differently and that makes the journey fun.

Q. Travelling the country on a tour bus has you in pretty close quarters. Is there anything weird that you learn about each other? Any strange habits you’ve picked up?

A. Hmmmm, I wouldn't say weird but there are definitely things you start to understand about each other that you might have not known before. Some people are very quiet on tour that you wouldn't normally expect to be. Others really come out of their shell. When Anastacia Holden and I were apprentices, we started a game called "bounce house.” What we do is actually jump on the beds and take snapshots of us mid-air like we are floating. It provides hours of laughter and entertainment. We try and still commence a "bounce house" session here and there on tour.

Q. Do you get any free time when you’re on tour?

A. When we are touring and performing for over 7 days, we get a "free day". Everyone does something different. I have done just about everything on a free day, from sleeping in and getting brunch late, shopping, museums, exploring each city, visiting family that is nearby, renting a car and driving somewhere, surfing, hanging out with other people’s family, working out, catching up on emails and phone calls, it all depends on what each dancer wants to do with the free time.

Q. What did you like most about being on tour in California?

A. I was born and raised in California so it was nice to have family and friends attend the shows. My parents got a room in the hotel we were staying at in one city and spent time with all of us. They always love to stay up late and have a glass of wine with the dancers and chat. The weather was amazing, as usual, so I think I just like everything about touring through California.

Q. What are the most important things to pack?

A. Always an extra pair of ballet shoes, a swimsuit, extra razor, enough clothes to last you for the time you are away. I also always think it’s smart to bring IB Profen or whatever pain killer one likes, because touring takes a huge toll on your body and sometimes you need it.

Q. Did you forget anything?

A. Yeah, a razor. ;)

Q. When you have to fly, what do you make sure to always keep in your carryon?

A. I’m that person that is so OCD, I carry everything in my backpack, from toothbrush and toothpaste (I’m the son of a dentist), to IB Profen, cologne, lip balm, gum... you name it I probably have it in my backpack.

Q. Where was your favorite place to go on tour?

A. I think I love anywhere in California but I also love going to Washington DC. I love the Georgetown area and performing at the Kennedy Center. It holds a special place in my heart.

Q. What’s your favorite memory of touring?

A. I love the dancing part, It’s what I live to do. If I had to choose something else, my fondest memories of touring were my beginning days in the company and meeting these amazing patrons that bring us into their city. I remember Mr. Arpino saying that we would be absolutely nowhere had it not been for these people who host, support and love us. Through them and their familiarity of the company over years you learn so much about the history of The Joffrey Ballet and how unique and incredible this ensemble is. I have a lot of pride in being in The Joffrey Ballet and to be able to represent the company on stage in other cities is an honor.

For more information about The Joffrey Ballet's touingi schedule, visit www.joffrey.org/ontheroad.

Video Interview with Dylan Gutierrez and Jaime Hickey

2011-03-16T08:58:00.000-05:00

Check out this interview of Dylan Gutierrez and Jaime Hickey by Dance Plug, hosted by Benjamin Allen!

Photos from the Merry Widow!

2011-02-19T13:23:00.000-06:00

Photos are up from opening night! To see more performance photos of The Merry Widow visit The Joffrey Ballet's media page here.

Ted Baker opens first Chicago store with a hip fête to benefit Joffrey!"

2011-02-19T13:14:00.000-06:00

Interview with Scott Speck

2011-02-14T16:18:00.004-06:00

Join us as I sit down with Scott Speck, our wonderful Music Director, and ask him about his role as a conductor and about the Joffrey pemiere of The Merry Widow, opening this Wednesday.

Q: Tell me about your earliest interest in ballet music.

A: I guess you could say that my earliest musical memories are of ballet music. The first record I ever had as a kid was the New York Philharmonic playing The Nutcracker, with Leonard Bernstein conducting. It kindled my imagination of what classical music could be. And when I first dreamed of being a conductor, at age 10 or so, the piece I imagined conducting was The Nutcracker as well. So ballet music has been there from the beginning!

Q: How do you see your role as The Joffrey Ballet's Music Director?

A: My primary role is to support the creative vision of Ashley Wheater and the company. Ashley is extremely musical, more so than just about any other Artistic Director I have ever met in the world of ballet. Having grown up revering the great classical music tradition, I am gratified to be working with a leader who values the music so highly, and having concentrated my conducting career on the great symphonic masterworks, I truly have a foot in each world — I feel that I can offer our company an enhanced perspective on the music that accompanies ballet. Ideally, the music is a full partner to the dance. In so many companies the music falls by the wayside. Here, I am doing everything I can to ensure that we eventually have live music for every performance. What a pleasure it is to know that this is Ashley's vision as well.

Q: Do you have any favorite ballets to conduct?

A: As you might expect, my favorite ballets to conduct are the ones with the best music. Almost all of them are Russian. I especially love the three Tchaikovsky masterpieces (Swan Lake, Sleeping Beauty and Nutcracker), the great ballets of Prokofiev (including Romeo and Juliet and Cinderella), and the works by such choreographers as Balanchine that re-imagine classical masterworks by Tchaikovsky, Stravinsky and others for modern times.

Of all modern ballets, the one I enjoy conducting the most is Othello — and I was thrilled to have the opportunity to do that with the Joffrey in 2009. The action onstage is such a direct and compelling dramatic arc from beginning to end, and so is Elliot Goldenthal's music. As was said about Verdi's operatic version Otello, the ballet actually tells the story more clearly than Shakespeare does. That score also makes use of just about every instrument known to man, including the kitchen sink — or something that sounds a lot like a kitchen sink.

The best reaction to ballet music I've ever had was Prokofiev's Romeo and Juliet. Every time I conduct that piece, all who hear it, from the audience to the dancers to the stage crew to the wigmakers, come up to say, "Oh my God, this music is so incredibly gorgeous!"

And I guess I should mention that the music of Philip Glass, as wonderfully mesmerizing as it is to hear, is somewhat less fun to play or conduct.

Q: How do you, as a conductor, connect the music to the dancing? Explain the balance that you find between the music and the choreography.

A: It's a fine balance, and it works best when the musicians and I truly appreciate the intricacies of the dance, and the dancers appreciate the intricacies of the music. In orchestra rehearsals I often tell the musicians exactly what is happening onstage so that they can imagine the movement as they are accompanying it. And in the studio, I often help individual dancers to understand how they are embodying a musical phrase. In performance, of course, my job is to act as a conduit between the two. I stand in a position that allows me to see all the musicians and all the dancers at once. When a dancer makes a leap, my baton follows the same arc as the dancer's body, landing at the same instant so that the music can connect exactly.

But there's something more. In an ideal performance, there is a marvelous creative spirit that infuses the dancers, the musicians and me simultaneously. We are not so much reacting to each other as sharing equally in this communal spirit. This is something I feel in the best symphonic performances as well. We're not making music -- the music is making us.

Q: What is your process when preparing for a piece? Is there something unique in the process for each ballet?

A: Well, first and foremost, I study the score as thoroughly as I can. I come from the tradition of orchestral conducting that says you must know each musician's part better than the player does. (By the way, I notice that Ashley seems to have the same philosophy about dance. I'm constantly amazed at how well he knows every detail of these ballets — sometimes better than the choreographers themselves).

Next, I immerse myself in studio rehearsals, which are a great deal of fun. I sit by the piano and conduct the piece over and over, for one cast after another. Our brilliant ballet pianists, Paul Lewis and Mongo Buriad, are extremely helpful to me during this stage. They have spent even more time with the dancers, and they help me understand the needs of each one.

What is unique for each ballet is the exact mix of dance vs. musical elements. Here's an example: Stravinsky's Violin Concerto is an unassailable masterpiece of musical construction. Certain musical phrases have to remain in tempo, unaltered, just by nature of the music. The dancers have to learn how to fit their movements into the phrase that the composer intended, and luckily Balanchine understood that in his choreography. On the opposite end of the spectrum are ballets like Le Corsaire, which are primarily dance showpieces. The music is almost incidental -- it exists to give the dancers a chance to show off. As such, it can be altered almost infinitely to suit the needs or whims of the dancers, and it survives just fine that way. So I am much more likely to insist on a particular tempo or phrasing in Stravinsky than I am in Corsaire!

Q: What do you find special or inspiring about The Merry Widow's score? Is there any aspect of the music you find especially evocative?

A: As you know, The Merry Widow was an operetta first, and Ronald Hynd had the idea of doing it as a ballet without singing. Operettas are operas with spoken dialogue between the songs — they are the precursors of our Broadway musicals. The pianists and I have been amazed at the beauty of this music, the infinite variety of feeling and style embodied in the supposedly "simple" dance forms of the waltz and the polka. Lehar, like the Strauss family, did for the waltz what Piazzolla did for the tango -- he made it encompass the entire world. We've also been fascinated to hear in this music not only echoes of Johann Strauss, but also pre-echoes of Rodgers and Hammerstein. Certain melodies in this ballet would be equally at home in The Sound of Music or The King and I.

Q: How do you connect to the composer? How much of your own "flair" do you give the music versus keeping it true to the composer's original vision.

A: Connecting to the composer is my eternal quest. I have always taken the word "conductor" literally. Just as a conductor of electricity focuses energy in one place and projects it to another, I feel that my job is to focus the energy of the composer and project it to the musicians and out to the audience. (Similarly, I feel that it is my job to focus the energies of the community onto the cause of live music). Ideally, my own "flair" can be transformed into the particular flair of the composer. Of course every conductor brings a different energy, but in the best performances of my life, I felt that I completely disappeared into the music. The self became burned up and joined something much, much bigger.

That's why I've never understood conductors with big egos. We don't compose the music, and we don't play it — we don't even make a sound. Our perceived "greatness" depends completely on the achievements of others. Put any novice conductor in front of the Chicago Symphony and it will sound pretty damn good. It's not about us!

Q: If you could tell the audience one thing to consider/pay attention to while listening to The Merry Widow, what would it be?

A: Listen to the endless variety that can be achieved in three-four time!

For more information and tickets to The Merry Widow visit www.joffrey.org/merry. For more information about Scott Speck visit www.joffrey.org/scottspeck.

Make It Better promotes Joffrey and Katten Muchin event!”

2011-02-04T10:34:00.000-06:00

Nutcracker Suite

2011-02-03T10:37:00.001-06:00

Check out this awesome video with clips of the Academy of Dance performing Nutcracker Suite. The password to view the video is Academy.

Merry Widow Rehearsal

2011-01-31T13:27:00.000-06:00

The dancers have been hard at work preparing with Ronald Hynd for The Merry Widow which we are all SO excited about. To check out more rehearsal photos visit our facebook page at www.facebook.com/thejoffreyballet. Don't forget to click "like" while you're there to stay up to date with all the latest news with the Joffrey.

Opening Night Dinner

2011-01-28T11:58:00.000-06:00

Spirit of King Soars in Chicago

2011-01-18T10:55:00.000-06:00

Chicago Tribune pictures a budding young dancer Julian Donegan in the Academy of Dance, Official School of The Joffrey Ballet African dance master class in celebration of MLK Day! For more information on upcoming Master Classes please visit http://www.joffrey.com/academy/programs/masterclasses

Creative Force Spring Showcase

2011-01-14T17:01:00.000-06:00

Pointe of Departure

2011-01-12T16:10:00.002-06:00

Join us for this exciting event! For more information visit www.joffrey.org/pod

Celebrate Dr. Martin Luther King, Jr. for his influence on human rights by taking an African Dance Master Class with Andrea Vinson at the Academy of Dance.

2011-01-07T12:38:00.002-06:00

Auditions are upon us!

2010-12-28T13:33:00.001-06:00

Visit http://joffrey.org/academy/auditions/summerintensive for more information.

Wish Upon a Joffrey Star!

2010-12-21T15:17:00.000-06:00

Support the Joffrey today by clicking here. Happy holidays!

Bob checks out the Skydeck at Willis Tower - North America's Tallest Building!

2010-12-14T16:49:00.000-06:00

Joffrey Tree goes viral!

2010-12-13T16:47:00.001-06:00

Our beautiful Holiday tree located at Four Seasons Hotel Chicago has been featured in the Hotel Chatter blog.

Bob at opening night

2010-12-10T19:06:00.002-06:00

Bob is so excited for opening night, he's already in his seat! Hope to see you there!!

Wardrobe gone wild!

2010-12-10T10:35:00.004-06:00

Bob has spent so much time hanging out with the dancers that he decided to try his hand at being a ballerina. First order of business? Dress the part!

Sleeping on a tulle cloud!

2010-12-09T14:46:00.000-06:00

Bob at the movies!

2010-12-08T15:02:00.001-06:00

That Bob has been everywhere! Here he is at Holiday Movies in the Park sponsored by Chicago Loop Alliance. The film is called “Lights” and is in honor of Hanukkah!

Bob and the lions

2010-12-07T17:22:00.002-06:00

Look who's feeling artsy! Bob is hanging out with the The Art Institute of Chicago lions and soaking in some of that wonderful Chicago culture :)

The loss of a friend

2010-12-07T12:28:00.001-06:00

Bob and his sticky situation

2010-12-01T18:29:00.000-06:00

Uh oh. Check out the sticky situation Bob got himself into! The Chicago mix was just too tempting...sweetness for the Nutcracker (who is from the Kingdom of Sweets afterall), and cheesy deliciousness for his Mouse King side. mmm. Which do YOU like better?

Joffrey highlighted in Time Out Chicago Groupon article!

2010-12-01T15:38:00.001-06:00

2010-12-01T12:49:00.001-06:00

Deck the Halls and Lobby with boughs of Joffrey! We are so excited to have our tree in the wonderful Four Seasons Hotel Chicago. Autographed ballet slippers, nutcrackers and glittering ornaments capture the magic of the ballet that has danced its way into our hearts for more than half a century.

Joffrey at the Thanksgiving Day Parade!

2010-11-30T10:49:00.000-06:00

Congrats to the trainees of the Academy on their performance this weekend! For those of you who weren't able to join us, here's a link to the video!

Great New York Times Article

2010-11-27T14:27:00.002-06:00

Joffrey Ballet's 'Nutcracker' at Kenndy Center is a good cup of cheer

2010-11-26T10:29:00.000-06:00

Q&A with Mauro Villanueva

2010-11-23T11:29:00.001-06:00

A San Antonio native, Mauro Villanueva moved to Connecticut at age 16 to study at the Nutmeg Conservatory for the Arts. One of his teachers convinced him to audition for the Joffrey after graduating, so he hopped a train to New York and ended up dancing directly in front of Artistic Director Gerald Arpino for the entire audition. In the ten seasons since that he has danced for Joffrey, Villanueva, now 28, has made quite a name for himself working his way up from a young apprentice to leading roles like the Prince in Cinderella and the Cavalier in The Nutcracker. I sat down with him at the Joffrey Tower studios right after the company wrapped their run of the All Stars program.

Q: Did you have Joffrey on your radar after you graduated from Nutmeg?

A: No. There were some New York companies and I though about going back home to Houston Ballet at the time. Joffrey just kind of came out of left field.

Q: And you’ve been here ever since.

A: Yes and that’s a good thing. I didn’t realize I would like the mixed repertoire we do here. It’s nice.

Q: You were going for strictly classical?

A: Nutmeg is a Vaganova-based school, so they’re all about the classics.

Q: What do you like about the mixed rep?

A: It makes you explore yourself. It’s always interesting to see where you can get yourself to go, as far as how to approach something or where your motivation is coming from.

Q: Is it exciting having all of these new choreographers coming in and setting things on you? For instance, Crossed was so different from what we’re used to seeing Joffrey do.

A: I thought it was really different and I liked it. Jessica’s (Lang) process was very interesting. It was relaxed, but she was informative as well. Some choreographers are very vague. She was very straightforward. She probably had the longest audition process. We were all in the room for a good week before she cut down. I think she wanted to give us time to be able to assimilate ourselves with her movement.

Q: You had a big season last year with Othello, Crossed, the prince in Cinderella…what was your favorite part?

A: I would say Othello was the best, which is interesting. It’s not me. I’m not a dark person, but once we went on to the rest of the season, it was like “that was really fun.” It was such a big leap as far as my character as a person and the character of Iago. That was the most challenging and the most interesting.

Q: What are you looking forward to this season?

A: The Merry Widow. I’m looking forward to the spring show. We’re starting with Ed (Liang) today and I’m very much looking forward to that. Yuri Possokhov was here already and I will be in his piece, but I wasn’t a part of the creative process.

Q: What parts are you doing in The Nutcracker?

A: Cavalier, Nutcracker doll, the Rose pas de deux in Waltz of the Flowers. I’m old enough now that I don’t have to do snow.

Q: What would your dream part be?

A: The lover in Lilac Garden or Romeo. I like the tragedies.

Q: How was it dancing with Suzanne (Lopez) for her final show?

A: Stressful and emotional. You know, it’s the last time she’ll be on the stage and you want to make her look the most amazing, as she always does. For that responsibility to be in your hands…it’s quite…it was heavy. She was fine. I was crying and she said I was silly. It was an amazing moment in my life for sure.

Q: Do you have any pre-show rituals? What do you do on a performance day?

A: It kind of depends on what I’m doing. Sometimes I don’t eat very much. Sometimes I eat a lot. During Nutcracker I jam out to some sort of heavy, intense stuff. Nutcracker is such a ritual you can get into a rut, so you have to sort of jump yourself out of it.

Q: What would you jam out to?

A: Sometimes I’ll do Beyoncé all day or something like Green Day or My Chemical Romance.

Q: Do you guys jam out in the dressing room?

A: Sometimes. We try not to step on each other’s toes.

Q: Do you get nervous before you go on stage?

No. I feel like I’ve learned now that nervous energy doesn’t help you do any better. That’s not true. I give myself like eight counts at the beginning to be nervous and then I tell myself that after this phrase, you can’t be nervous anymore. It has to go away and it does usually. It’s so mental.

Q: What would be your last meal?

A: Pizza and ice cream. I like meatball and mushroom pizza. I’ll eat anything Ben & Jerry’s. I’m so spoiled; I won’t eat any other ice cream.

Q: If you weren’t a dancer, what other profession would you like to be?

A: My other passion in life is interior design. When I eventually stop dancing, that’s what I want to do.

Q: What’s your favorite part about living in Chicago?

A: The 18-month long winter season. Summers in Chicago are my favorite, but I go to Texas (to teach at the Joffrey workshop in San Antonio). I love movies and music in the park, all the free stuff you can do and eating outside.

Q: Do you have a favorite story or memory of Mr. A?

A: In Nutcracker, in the finale, he used to always yell “bravo!” from wherever he was. Even in my head I still hear his voice whenever we get to that part. It’s so weird. It’s not the same without it. I think we have a recording where you can still hear him in it.

Mauro Villanueva and Stacia Holden in a piece choreographed by Brian Gephart

Vicki Crain is a Chicago arts and culture writer and writes a local dance blog, Rogue Ballerina

Amber Alert

2010-11-18T11:25:00.000-06:00

Be on the lookout for a petite female with an infectious smile, dark amber hair, strong feet and a penchant for jumping and turning. Amber Neumann, at 19 and in her second season with The Joffrey Ballet, is also ambitious. “I want to do it all,” she says from an empty studio before company class. “I would love to dance (Jirí) Kylían and really classical stuff like Don Quixote. I want to dance barefoot. I want to dance in pointe shoes. Everything!”

Neumann began her training in Indiana with Alexei Kremnev and Anna Reznik, now the Artistic Directors of Joffrey’s Academy of Dance. She followed them to Chicago and the rest, you could say, is history. Picked to partner now fellow Joffrey dancer John Mark Giragosian at the New York International Ballet Competition in 2009, Neumann stepped up and won the Silver Medal in the Women’s Division. Shortly after, Ashley Wheater offered her a contract with Joffrey. “I had gotten an offer from Miami City Ballet…but I love the Joffrey and Chicago,” she says. “I was so excited to come here, because it’s a really different company and the fact that it’s unranked has allowed me to do so many things I never would have done in my first year at any other company.” Some of those things include Autumn Fairy in Cinderella, a featured part in The Concert, Spanish solo in The Nutcracker, Tarantella (where she whipped off a perfect triple pirouette like it was nothing) and in this season’s Nutcracker she will dance the Sugar Plum Fairy. “This job was the best thing that ever happened,” says Neumann. “It’s amazing! I still can’t believe I’m here.”

In her spare time, she also does independent dance projects, like Danceworks Chicago’s Dance Chance with her sister Corey, a dancer and choreographer in her senior year at Western Michigan University. “I love working with my sister,” she says and gives Corey credit for starting her love of ballet. “She was in dance and I had to do everything she did, because she’s my big sister. After a while, I realized that it would be really cool if I could do this for a living.” Coming from an artistic family -- Neumann’s parents are both musicians -- didn’t hurt either. With Dad playing guitar and banjo, Mom on piano, Amber on drums and everyone singing, she likens them to the Von Trapp family. Other interests include fashion design. In fact, she designed and wore her own gown for Joffrey’s annual fundraiser Couture and Cocktails.

Amber in her dress she created for C&C

On a performance day, she has a specific routine, which starts with a trip to Dunkin Donuts to pick up a bacon, egg and cheese bagel and coffee (and sometimes some Munchkins for the dressing room!) At the theater and ready to go way too early, she usually ends up listening to music and waiting. Maybe she could use that time pursuing yet another passion: working on beating her own pirouette record. So far, it’s ten, flat and en pointe (and yes, she has witnesses). Does she get nervous? Sometimes. “When I’m dancing in a group, I think I get more nervous,” she says. “If I mess up, I mess myself up and it’s my own fault. I don’t want to mess other people up.” Look for Neumann this December as the maid, party scene parent, Columbine doll, snowflake, Spanish, flower in Waltz and Sugar Plum Fairy.

Vicki Crain is a Chicago arts and culture writer and writes a local dance blog, Rogue Ballerina

Bob is at it again!

2010-11-12T15:23:00.000-06:00

Playing peek-a-boo in the Joffrey dancer shoe cubbies :)

Seeking Artists!

2010-11-11T09:02:00.002-06:00

The Joffrey Ballet is seeking artists to participate in our Pointe of Departure exhibition!

Meet Bob!

2010-11-05T16:35:00.003-05:00

Meet Bob. Bob is part of The Joffrey Ballet family. He is our heroic Nutcracker on one side, and the mischievous Mouse King on the other. Bob loves going to the ballet, and his favorite is the Joffrey’s Nutcracker, but his personalities are constantly dueling. If only Clara could clear this up! Until she does, catch Bob exploring Joffrey and the fabulous city of Chicago.

Working hard, or hardly working? Bob flexes his muscles in the Athletico physical therapy room in Joffrey Tower!

2010-11-02T12:42:00.002-05:00

Dylan Gutierrez is a second year dancer with the Joffrey, and he has been interviewed for the blog 4dancers. Learn more about why he began dancing and what his career has been like here!

Market up!

2010-10-29T17:04:00.002-05:00

We want to hear from YOU!

2010-10-28T15:10:00.001-05:00

Did you join us for All Stars? We want to hear what YOU think! Fill out our survey at www.surveymonkey.com/s/allstarssurvey

Heir to the Throne

2010-10-19T15:30:00.000-05:00

Our artistic director Ashley Wheater was interviewed for the cover story of Sheridan Road this week. Not only is there a great article about us, but there is a video on the same page that accompanies it with excerpts from his interview and clips of him teaching class at the Joffrey.

2010-10-13T14:11:00.001-05:00

These photos were shot during an Adult Open class at The Joffrey Ballet and were included in a taping of a Witisode, one of a series of mini webisodes shot by TheWit hotel here in Chicago.

Last day of rehearsal

2010-10-12T17:19:00.000-05:00

We are so excited to be putting the finishing touches on our All Stars performance that begins tomorrow!! Here's some photos of our last rehearsal before the program starts

Wheater Watch

2010-10-11T17:04:00.006-05:00

Watching Ashley Wheater teach company class at the Joffrey Tower studios, you really get a sense of just how much he loves his job. Calmly leading the group, he intuitively weighs what is needed to get them ready for rehearsal and for the upcoming performances. “I am one of them,” he says. He is quick to offer a correction or word of encouragement to a dancer flying by mid-air. This is his forté. After changing an intricate petite allegro combination (to make it even more difficult), he notices some confused looks on the dancers faces. “Is it funky?” he asks, and after some thought, changes it back to the original version. It is that give-and-take, a conversation and a respect that flows between teacher and student, dancer and director that makes the company so cohesive. “It’s the constant energy that we have every day,” he says, that makes things fun. “We’re working together in the studio because we all want to be here. It’s too hard if you don’t like your job.”

In the last four years since Wheater was named Artistic Director, the Joffrey has been through what he calls a renaissance. By adding some talented younger dancers, bringing in international choreographic talent and introducing a broader range of works, he changed the look and feel of the company, re-energizing the dancers as well as the audience. “There’s a certain stepping stone to how you can progress,” he says. “The path is crucial.” But for Wheater, the path was also simple. Diversity. Incorporating classical ballets (Cinderella, Giselle) with new ballets (Othello, Pretty BALLET), commissioning new contemporary works (Crossed, Age of Innocence) while still paying tribute to the founders Robert Joffrey and Gerald Arpino (Reflections, Postcards, The Nutcracker), he has put together a dense repertoire that showcases talents across the dance world. He credits Lar Lubovitch’s Othello as the turning point. “The response was unbelievable,” remembers Wheater. “They made it their own. It was commitment from every single person, not just the principals. Everyone taking the responsibility and fulfilling their part.”

What Mr. Arpino dubbed the “all stars/no stars” policy at the Joffrey is still in place. There is no hierarchy or ranking of the dancers, which allows more opportunities for everyone. Wheater believes that giving dancers opportunities is what builds great artists and he makes a pointed effort to include works in the repertoire that are accessible to everyone. This approach is evident in the All Stars program opening October 13^th. Two Balanchine works display very different characteristics: Stravinsky Violin Concerto pays homage to the composer with Russian-flavored folk dancing incorporated into the ensemble piece -- look for Victoria Jaiani and Temur Suluashvili, natives of Tbilsi, Georgia as stand outs – while, Tarantella is a bravura pas de deux that gives some of the smaller dancers a chance to shine. Christoper Wheeldon’s After the Rain is an emotional and complex piece set to Arvo Pärt and Jerome Robbins’ The Concert, a fun, comic romp through the minds of an audience on the stage.

Wheater’s enthusiasm for the company and the upcoming seasons (yes, plural!) is palpable. “I’m looking at the company and I see the stars of tomorrow.” And for those saying this is the best Joffrey has ever been, Wheater has only one response, “this is just the beginning…just wait!”

Vicki Crain is a Chicago arts and culture writer and writes a local dance blog, Rogue Ballerina

More Couture and Cocktails Photos

2010-10-01T15:48:00.001-05:00

Photos from Couture and Cocktails!

2010-09-30T10:22:00.000-05:00

Creative Force Deadline Extended!

2010-09-28T14:33:00.002-05:00

The Academy of Dance, Official School of The Joffrey Ballet is proud to announce a call for artists to submit applications for Creative Force: The Joffrey’s Choreographers of Color Award. The goal of this award is to identify two choreographers of color to set their work on the Academy Trainees of The Joffrey Ballet. The winners will each receive $2,500.
For more information please visit joffrey.org/creativeforce

Joffrey on Tour – Last Chance!

2010-08-11T16:27:00.000-05:00

Back in Black!

2010-07-08T10:17:00.000-05:00

Joffrey shows profit despite budget boost :: CHICAGO SUN-TIMES :: Hedy Weiss

SAVE THE DATE! Couture & Cocktails 2010 - The Party for the Fall!

2010-06-23T17:29:00.000-05:00

Joffrey students on ABC 7! Watch the Diski Dance!

2010-06-22T18:29:00.002-05:00

State of the Joffrey v 2.0

2010-06-14T14:19:00.000-05:00

Dear Friends of The Joffrey Ballet:

I hope this second anniversary update letter (v 2.0) finds you well. This year, we at The Joffrey Ballet have enjoyed a fiscal year (July 1, 2009 through June 30, 2010) filled with glorious performances, a diversely populated facility buzzing in the glory of dance, organizational evolution and advancement, the steadfast support of cherished friends and esteemed colleagues, and the pleasure of living in a multicultural, cosmopolitan city full of people enamored with dance.

Our achievements were greatly bolstered this year by an ambitious, carefully-crafted three-year strategic plan, created by Joffrey Board and staff. The plan established six organizational objectives, large-scale goals defining what the Joffrey hopes to achieve.

So that you can journey with us as we strive to become America’s best dance company, I will share with you the key elements that drive our strategic plan and highlight some of the accomplishments realized in this, the plan’s inaugural year:

The Joffrey Ballet’s first Organizational Objective is to maintain highly talented, committed and well-trained dancers and ballet staff.

Significant progress was made this year under the leadership of Artistic Director Ashley C. Wheater. His role with the company is to inspire dancers as a teacher and coach, as he raises the level of their artistic ability and technique. He does so through highly individualized training and support for each dancer and has instituted new systems, such as rigorous process of analyzing dancers each year, and a set of clarified expectations for new dancers coming into the company. Wheater models and inspires new levels of professionalism and integrity among dancers and other artists; his leadership marks a new era for the Joffrey, and has attracted the most talented dancers from all over the world. This past year, the Joffrey welcomed new company members from New Jersey, Michigan, California, Pennsylvania, Cuba, Venezuela and Brazil.

Our second Organizational Objective is to present and perform a repertoire including a broad range of the highest quality work.

The Joffrey’s achievements towards this objective were nothing short of brilliant this year, with each production featuring superlative dancing, sets, lighting, costumes and music. The critics raved and audiences flocked to attendance-breaking performances. The Joffrey produced two ambitious full-length story ballets: Othello, by internationally acclaimed choreographer Lar Lubovitch, and Sir Frederick Aston’s beloved classic, Cinderella. Both received glowing reviews from critics and set attendance records. Othello was called, “electric, heartbreaking and unforgettable,” and New York Times dance critic Alastair Macauley, not one to offer undue praise said of Cinderella, “what a pleasure it is to see an American ballet company dancing Frederick Ashton’s full-length Cinderella. I’d venture to say nobody loved these Chicago performances more than I.”

As always, Robert Joffrey’s beloved production of The Nutcracker was a critical and popular success that warmed the heart of the most diehard Scrooge. In a Sid Smith special article in the Chicago Tribune he quoted “a veteran observer” as saying, “I always come jaded and I always leave moved.” The Joffrey’s Nutcracker is America’s #1 Nutcracker, set in Victorian America with choreography by both Robert Joffrey and Gerald Arpino.

Reviews from cities toured by The Joffrey Ballet this past year were equally strong. St. Louis reviewer Chuck Lavazzi said of the Joffrey’s Nutcracker performance in his city, “the performance is everything you would expect from a world-renowned company.” He called the dancing “spectacular” and called for a “hearty bravi for the whole cast.” Similar reviews for other programs including one from Los Angeles Times reviewer Lewis Segal who called the Cinderella performance in his city, “Nonstop Pleasure.” On the other coast, a Miami Herald headline announced, “New Artistic Director Brings Re-Energized Joffrey Ballet to the Arsht. Here at Joffrey Tower we no longer think of Ashley Wheater as our new Artistic Director because he has so masterfully and gracefully taken the Joffrey’s artistic reins. But the Herald writer did hit the nail on the head with the word “re-energized.” What the reviewer may not understand is that at the Joffrey re-energizing is an ongoing process.

Dance critic Heidi Weiss’ review of The Joffrey’s Spring Program, Eclectica, bears the headline “Need a Lift? Try Joffrey’s Eclectica.” She noted that the company happens to look exceptionally strong and buoyant and says that she would have personally dubbed the program ‘Rapture and Revelations’ instead. For the three works on the bill -- company co-founder Gerald Arpino's blissfully danced 1971 classic Reflections," paired with two formidable world premieres (Jessica Lang's Crossed and James Kudelka's Pretty BALLET) – says Weiss, “stir up such a whirlwind of feverish movement and soaring emotion that you might well feel yourself lifted aloft.”

Third among the Joffrey Ballet’s Organizational Objectives is the charge to cultivate current audiences and reach out to a greater diversity of audiences across the country and around the world.

This year’s work on audience development truly demonstrates the Joffrey’s great energy and resiliency in a difficult economic climate. Philanthropic giving is down to all sectors in the nonprofit world and from all sources - corporations, foundations and individuals. The performing arts have taken the hardest hit and the Joffrey is not immune; our corporate and foundation contributions, too, have dropped significantly, leading to a decline in contributions over the last year of more than twenty percent.

Yet in a time of ongoing fiscal worry and weariness, the Joffrey remains energetically resilient. In this past season, The Joffrey Ballet has danced in 76 separate performances dancing for more than 128,000 people in Chicago and on tour! The company performed to sell out houses in Sarasota, West Palm Beach, Miami, Los Angeles, St. Louis and at the Blossom Festival in Cleveland with the Cleveland Orchestra. And many more enjoyed performances by Joffrey’s rising stars who are training at the Academy of Dance, Official School of The Joffrey Ballet and by the students in the Joffrey’s Community Engagement Programs. This month, the Joffrey will perform at the Kennedy Center in Washington DC in Ballet Across America-2010.

Our fourth Organizational Objective is to establish a comprehensive Academy that trains students in all disciplines of dance.

The Academy of Dance, Official School of The Joffrey Ballet, is thriving and has achieved enormous success since its inception in January 2009. Revenues for this fiscal year are will to top $1 million and as of this year, the Academy has more than 500 students, 87 of whom are in audition-only training programs for people seeking a career in professional dance. The Academy, housed in Joffrey Tower, hosted several workshops for the Youth America Grand Prix (YAGP), the world's largest international student dance competition, which held its Regional Semi-Finals in Chicago from February 5-7, 2010. Seven Academy students participated in the competition, receiving eight individual awards, and one naming the Academy as the 2010 Outstanding School, a wonderful achievement for such a new endeavor!

Of vital importance to our future is the fifth Organizational Objective in the Joffrey’s Strategic plan, enhance financial strength and stability.

Our success in enhancing our financial strength and stability will yield benefits far beyond the current year. Using state-of-the-art technology, we have established a computerized, paperless ticketing and renewal process which is cost efficient and convenient for our patrons. We continually renew our website, attracting new audiences and eliciting new contributions from donors online. Active social networking keeps us in frequent communication with friends and supporters, which engenders their loyalty and support. Additionally, we cut costs by bringing marketing in-house, sparking the creation of some of our most compelling and successful materials. We learned that those closest to the art can often find the most persuasive and passionate way to market it to others.

Continuing to find ways to work with fewer resources and lean staffing, longtime Joffrey supporter, self-described ‘ballet groupie’, Bill Drendel has provided pro bono services as Volunteer Coordinator of the newly formed Joffrey Ballet Volunteer Corps. In only a few months, over 70 enthusiastic volunteers were recruited. As he says, they “stand ready to stuff the next envelope, direct the next guest, type the next mailing list or whatever is asked of them.” One of Bill’s most stalwart volunteers is a 91 year-old woman who comes by Joffrey Tower after chemotherapy to see how she can help, stating “Being a long-time Joffrey subscriber I feel as though I want to give back to the company that has given me so much pleasure.” We are all deeply grateful to have these wonderful people become part of the Joffrey family and for their tireless work on our behalf.

Our Chairman Fred Eychaner, Board of Directors and Women’s Board, as always, have worked diligently towards enhancing our financial strength and stability. This year, the Board of Directors brought in $500,000 in new gifts in response to a challenge from the Kresge Foundation in order to receive a $200,000 capital campaign grant to complete our campaign efforts. The Women’s Board excelled in planning and hosting events which culminated in a highly successful Spring Gala, raising $1.2 million dollars.

Last by certainly not least among the Joffrey’s Organizational Objectives is the call to ensure committed, effective volunteer and staff leadership.

This year, both the Joffrey Ballet Board of Directors and Women’s Board have activated recruitment and stewardship committees to find, train and support new volunteer leaders eager to help the Joffrey’s meet its mission and realize its ambitious vision. Similarly, funds were allocated for staff training this year to reward Joffrey’s talented and loyal staff with opportunities for professional growth.

And this year we welcomed a new volunteer group to our family, The Joffrey Auxiliary Board, a dynamic group of 100 of Chicago’s young professionals (age 40 or younger), who support the Joffrey through membership, volunteerism and their infectious love of dance. They have already hosted two successful events, the Costume Vault Sale and the Spring Gala After Party.

As you can see, The Joffrey Ballet is a collaboration of people who, like our extraordinary dancers, give their all to enrich audiences and nurture talent as The Joffrey Ballet continues on our quest to become the best dance company in America. We could not do this without you. So, with great sincerity, I would like to recognize, applaud and thank each and every one of you for your friendship and support this year. Stand up and take a bow!

Christopher Clinton Conway

Executive Director

2010 Year End Appeal

2010-06-10T17:04:00.001-05:00

As The Joffrey Ballet’s season comes to an end, we ask for your support to help us reach our Annual Fund goal.

In recent weeks, we have raised $70,000 of the $137,500 needed to reach our Annual Fund goal. With only 20 days remaining in our fiscal year, your contribution will have a great impact. Make a gift today!

Donate Now!

Exelon Strobel Step-Up End of the Year Performance

2010-06-01T12:27:00.002-05:00

JOFFREY ON TOUR

2010-05-27T17:12:00.000-05:00

Academy heads to Guatemala for Chopin Bicentennial!

2010-05-26T12:13:00.002-05:00

Stars 2010-2011 Season! Subscribe today!

2010-05-25T14:27:00.002-05:00

Academy of Dance May Newsletter

2010-05-20T10:03:00.003-05:00

The Perfect Mothers Day Gift

2010-05-07T16:09:00.001-05:00

Still looking for a mothers day gift? Give the gift you can enjoy together! Come see Eclectica in it's final weekend. Hailed as a "gorgeous, pure-dance program" by Chicago Sun-Times, a "breathtaking tour de force" by Chicago Tribune, this is a performance you won't want to miss!! Tickets start at just $25. Visit our website today!

Gala Video

2010-05-07T16:07:00.000-05:00

THIS VIDEO opened The Joffrey Ballet's 2010 Spring Gala program at the Auditorium Theatre of Roosevelt University in Chicago. It features the dancers of the company in their dance studios, as well as other exciting places in Chicago and was composed by Sasha Fornari.

Sun Times article on retiring Joffrey dancers

2010-05-07T15:57:00.000-05:00

Hedy Weiss of the Sun Times wrote a very nice piece about Calvin Kitten and Suzanne Lopez, our retiring dancers. You will be missed!! Check out the article HERE

Chris' South Africa Blog (The final days)

2010-05-07T14:03:00.001-05:00

DAY 5
We had an early start today, a 4:15 wake up call, so we could go to the Airport to head to Cape Town. We arrived in Cape Town and it is so beautiful! As soon as I saw the city, I fell in love.

We went on a tour of the town and we were introduced to a lot of different places. One of my favorite and most memorable places was the actual spot and memorial where the first slave was purchased.

After that we traveled to a famous mountain in Cape Town called Table Mountain (is called table mountain cause of its structure, it is a flat as a table unlike other mountains). We then went from the bottom to the top of the mountain in a Cable Car. This is a very scary but fun way of travel. This cable car travels on a wire that is connected to stations on the ground and on top of the mountain, which was very scary because it was so far from the ground and you could actually see how far away you were from the ground; but the nice part was the view of the city, beach, ocean and mountains.

We went to the hotel to rest a little because we were drained from the early wakeup and travel to Cape Town. We went out to dinner at a restaurant called 211 at the waterfront in Cape Town, and the view incredible. I tried something new: they are called prawns (which are fried shrimp). They were very tasty and delicious. They were so good I wanted them again and again.

Day 6
This was the fish and sea day.

We went to Boulders Beach to see the penguins, which were very cute. I took a lot of pictures of them and how they live, as well as how they take care of themselves. The next stop was Cape Point light house which showed us another nice view of the ocean and town. It was magnificent. We then stopped at the South-Western most point in Africa which was very unique and I thought it was really cool knowing that I was at the bottom of Africa... the place that you see in the maps and that I talk about in History class.

We went to Marnies Wharf Beach to eat some traditional fish and chips on the beach by the water. We then went to the Hout Bay for a cruise and went to Duiker Island where there were at least 100 seals. We took lots of pictures and saw how the animals interacted in their own habitat. They were also watching us and knew humans were watching so they were doing a lot of funny things that were entertaining the people watching.

We took another cruise that showed is a little more of a view of Cape Town from a lower view, which was kind of what we see, but it was still was beautiful and I’m glad we had a chance to see it
Lastly we went to Dinner at the Two Oceans Aquarium where I had lamb for the first time. It was so good. That was another food that I now learned that I liked while on this trip. As we ate we were surrounded by water tanks filled with sharks, sting rays, and other dangerous and tropical fish. It was so real and up close it was a little scary but it was so nice.
We did a little practicing at the hotel for tomorrow. We’re were planning a surprise dance, so we had a rehearsal called by me and Vivica in the girls room.

We ended the day with a little swimming but it was so cold so we were in for about five minutes before getting out.

DAY 7
Today was the big day! We practiced last night and we were ready to dance. We were taken to the Hout Bay beach for all types of water sports and activities. It was very windy outside so I didn’t really get in the water, I just played Volleyball for the majority of the time.
Later I went to the little restaurant right by the beach to eat breakfast, because I didn’t eat at the hotel that morning, it was very good. When I was finished I went over to the market to go shopping with Vivica and Pierre. I found a gift for myself at one of these markets: it is a very unique and beautiful painting that’s made by one of the people from the town near the shop.

We got back to the beach where the group was, and they were already dancing, so we jumped right in and danced. That was the big time we danced and did Rama lama Bang Bang and they loved it. It was really hard to keep balance and to dance on the sand, but we did it without falling. We ended up having lunch at the same restaurant that I ate at in the morning, so I really wasn’t hungry since I just ate.

We then transferred hotels and got ready for our Traditional African Restaurant experience. We got there and there was face painting, breading, beading for making jewelry, and singing. The food was not that bad, it was like most of the food we already had but some of it wasn’t so tasty. After that we went to the hotel and packed our bags for our big day for traveling

DAY 8
The day of travel so relaxing but sad. I thanked everyone for making this a good trip, and for them giving us the opportunity to come out her and be treated like royalty. We travelled another 19 hours back home and I was sleep most of the time on the plane once again. When we got back to Chicago I was so happy to be back but so sad we weren’t in Africa anymore, but most of all I wanted to see all my friends and family, and I wanted to take a shower! I just felt like my body had oil all over it. UGH! I got home and unpacked a little, took a shower and then head back to Joffrey for Strobel rehearsal, so my life was back to normal within a couple of hours of being back in Chicago.

Joffrey Ballet Practice & Performance Piano Selloff...

2010-05-06T15:06:00.002-05:00

Click the letter below to register online for access to a complete sell-off of pianos used at the Joffrey Ballet, hosted exclusively at Steinway of Chicago this weekend.

Need a lift? Try Joffrey's 'Eclectica'

2010-05-03T09:31:00.001-05:00

Need a lift? Try Joffrey's 'Eclectica' :: CHICAGO SUN-TIMES :: Hedy Weiss

New, dynamic works offer rare thrill of discovery - chicagotribune.com

2010-05-02T08:02:00.002-05:00

New, dynamic works offer rare thrill of discovery - chicagotribune.com

BizBash | Joffrey Ballet Spring Gala Gets New Venue, Modern Look

2010-04-28T15:12:00.001-05:00

BizBash | Joffrey Ballet Spring Gala Gets New Venue, Modern Look

Vivica's South African Blog (Day 8)

2010-04-27T17:10:00.000-05:00

We left the hotel at 7:30. It was sad to leave the beautiful hotel and I was not looking forward to all the traveling. We arrived at the airport in Cape Town. This airport wasn't that exciting. There weren't a lot of shops so the only thing I bought was post cards. We took a 10:15 flight to Johannesburg. I still had rand left and wanted to spend it because the exchange rate was too high to exchange. I would have lost too much money. Me and Chris had lunch in a cafe that was in the airport. We caved in and ordered chicken bites and french fries. It was a gift to ourselves for trying so many new things throughout the trip. I had a hard time spending the rest of my money, but I finally got rid of it. I kept 5 rand which is a coin as a souvenir.

We boarded the plane for Dakar. I almost got lucky and had the seat to myself but then a man came last minute. It was a very uncomfortable ride home because the man kept invading my space and laying on me I had to push him off more than once. I felt very uncomfortable but relieved when he got off the plane at Dakar. Another man sat next to me on the way back to Washington. That trip was a lot easier. On the way to Dakar I stayed awake and on the way to Washington I slept. I tried to get myself accustomed to American time so that I could avoid some jetlag. It helped a little. When we got to Washington I was so happy because all of the heavy traveling was over! And because I could use my phone again! The trip To Chicago was ok. I slept for most of it. I never thought I would be so happy to see the Chicago skyline. I wish I could have stayed in Africa but I was ready to see my Aunt, Grandma and Mom.

My aunt and Grandma were waiting at the baggage claim I ran over to them and gave them the biggest hug! We waited for my Mom to get there. When she came I gave her the biggest hug too. I couldn't wait to tell all of them everything about the trip!

The Joffrey Ballet: 2010 Spring Gala Video

2010-04-24T17:53:00.003-05:00

This video opened The Joffrey Ballet's 2010 Spring Gala program at the Auditorium Theatre of Roosevelt University in Chicago. It features the dancers of the company in their dance studios, as well as other exciting places in Chicago and was composed by Sasha Fornari.

Vivica's South Africa Blog (Day 7)

2010-04-23T14:07:00.001-05:00

We got a late start. We were supposed to be downstairs at 8a.m but since I got down there a little late I didn't have time to sit down and have breakfast but I ran over to the counter and grabbed 2 chocolate muffins with powdered sugar on them. I ate them on the bus. They were the best chocolate muffins I've ever had. Great start to a Great day.

I was very excited and couldn't wait to get to the beach. As we were riding the bus the weather outside looked cloudy and there was a slight breeze. I hoped it would clear up so that we could have a nice warm beach day.

We arrive at the beach and walked to the other side of the beach. It was a long walk but it was fun walking in the sand. We meet the men in charge of the beach activities (surfing, body boarding, canoeing, volley ball, soccer, Frisbee). We started off doing some simple group stretches; then the men split all participants into two groups. We all had to grab someone’s hand that wasn't next to us. We made a human pretzel and had a small competition to see which group could untangle themselves the fastest. The group that I was in got untangled first but it was still fun for everybody. After the activities we were then free to do whatever we wanted. '97 Fusion team got in the water but it was too cold to get in for me so a couple of us played volleyball. It was really fun when we started to get the ball going for a long time.

I decided to put on a wetsuit in hopes that it would warm me up. It did. I was glad that I decided to bring my swimsuit because I almost didn't bring it. I don't like getting in beach water. But I decided to get in regardless. The First thing I did in the water was body boarding. Pierre showed me how to do it. We finally got the right technique which was to go very far out in the water and when a big wave came we jumped up and rode the wave all the way back to the shore. That was my first time body boarding and hopefully not my last. There were so many waves and the water was very salty and clean! The exact opposite of Lake Michigan.

Pierre and I tried the canoe. That didn't go very well. It tipped over and fell in and water got in my nose and in my ears. Horrible. I wasn't supposed to get water in my ears because they cause bigger ear aches and I already have problems with my ears flying. I was definitely worried that my ears were going to hurt on the way back home. We put the canoe up after that.

While the others were still in the water, Chris, Pierre and I decided to go over to some shops that we saw the day before. Luckily, I found and bought 2 ostrich eggs for less than the price of the one I saw at Waterfront Mall. I also bought a bracelet made out of bone with a purple stone in the middle. I was very happy with my purchases.

We got back to the beach and performed Ramalama Bang Bang. We had a great crowd reaction. We went to Dunes to have lunch. It was a bbq (chicken kabobs, corn, potato salad, ribs, salad, fish, ice cream, fruit salad). Enjoyed the company of some of the children from the neighborhood. I believe they were from an organization called Soccer for Hope.

Later we got back to the hotel and cleaned up. I put on some nice dress casual clothes and went to the mall with Chris. The mall was right outside of the hotel on the other side of this bridge. Of course I loved the mall. It was HUGE! Just the way I like it. We didn’t have a lot of time because we were going out to dinner so we did some very quick shopping. I bought a dress which I plan to wear for my graduation. It was a great deal at 200 rand= $25 American dollars.

We had dinner at the Moyo restaurant, which is a very traditional African Restaurant. We were greeted with fancy non-alcoholic drinks. I think it was tea. Waiters went around serving six small appetizers on platters. I tried two of the dried meats. They were very flavorful. A women went around and did face painting. The children (including Strobel) were split into two groups and given two different wristbands. Those determined whether or not you made friendship bracelets or learned songs. Chris and I got to make bracelets. I was happy to make mine because my best friend's birthday was the following day and I wasn't going to be able to see her, so I figured this was the perfect gift to give her when I got back. Four men walked from table to table and sung a song. They were great. The food was distributed kind of like family style at a banquet hall. All the dishes were placed on each table and everyone took as much as they wanted. There was beef, lamb, fish curry, chicken curry, rice, couscous, and string beans. I tried a little bit of everything and it was all very good.

The following day was Stacy's( '97 Fusion team coach) birthday. she was sick earlier in the day so she got to the restaurant late. We sung Happy Birthday to her and they gave her gifts and birthday cake. We had two desserts, they were very chocolately! I wanted a bracelet for myself so I went to go make one. Overall I loved the whole Moyo experience!

At the end of the night we got back to the hotel and didn't really do too much. We went to sleep a little earlier because there was a early wake up call. But before I went to bed I made sure that my bag was all packed.

Spring Gala tonight!!

2010-04-23T12:07:00.003-05:00

Our FABULOUS Spring Gala is this evening, it's an evening you don't want to miss. Hope to see you all there! If you aren't able to make it to the main event, come join us at the W Hotel-City Center for our Midnight Express after party. Tickets are just $75 and you can buy your ticket at the door (we accept cash, check and credit card). The event runs from 10:30 until 2:00am, and there is an included open bar serving premium drinks!

Eclectica Previews are in!

2010-04-23T11:46:00.005-05:00

Sun Times and The Chicago Tribune got a first look at Eclectica. Check out what they had to say (just click on their respective names to follow the link)!

Vivica's South African Blog (Day 6)

2010-04-22T12:36:00.001-05:00

Day 6 April 2, 2010 Friday

We got to wake up a little later today! The breakfast at the hotel was very nice. All the food looked like it would at a breakfast buffet in America. I had toast, jam, sausage, and apple juice. There was a table with like 12 different juices on it. There were many different flavors including spinach.

The first stop of the day was to Boulders Beach to see the penguins. The bus parked in a parking lot and we walked on a beach then down a long street to get to boulders beach. Walking in the sand was fun because I haven't been to the beach in years so it brought back old memories. It was a great day weather-wise: sunny and warm. The penguins were so cute. I was surprised to see them in warm weather. I thought the only penguins that existed were on the north and/or south poles. The type of penguins they were was "jackass penguins." I don't know why they were called that. They have little tubes for their houses. I saw two penguins that looking like they were hugging. On the way back to the bus me and Chris stopped at some sidewalk shops and bought a couple of things.

The next stop was The Cape of Good Hope. This is the southern most western tip of Africa. I loved this part of the tour because there was a beautiful view and I loved the fact that we were standing on the tip of Africa. Any time I look at a map I always see the tip but never in a million years did I think I would be there in person. That was the main thought going through my mind. I tried to take pictures by the signs, but these other foreigners/tourists kept pulling me to take pictures with them. I had no clue who they were. It was kind of weird but they seemed really nice and excited so all I could do was laugh. We got back on the bus and rode halfway up the mountain at the Cape. Then we had to transfer to a smaller bus that drove further up the mountain. Once you get off of that bus we were able to walk up a paved trail to the Cape Point Light house. We didn’t have that much time to walk all the way up so we just took pictures from where we were at. Plus I was scared to walk all the way up. It looked kind of steep and I have a small fear of heights.
W took a long ride to the next location which was lunch. We had fish and chips at a place called Mariners Wharf at Hout Bay Harbor. Because I had a big problem with trying fish the night before they made arrangements for me to have a chicken sandwich. It was so good. Chips in Africa are french fries. We ate our lunch on the beach with a beautiful view of the water. After we finished eating we walked over to a boat that we would get on to go to seal island. The seals were so cute and energetic. Most of them were on the island, only a few were in the water. One of the seals in the water kept doing this thing where it would jump out the water and shake its body from side to side really fast.

After returning to the harbor we got on the bus and went to the Waterfront and got on another cruise. I liked being on the boats...It was very relaxing. That cruise only lasted for about 30 minutes. Before we got on that cruise we had a little time to walk around the mall so I took this time to go exchange my money for rand because I didn't have any more. After this Pierre had a talk with me about what I wanted to get myself for a gift. I hadn't really thought about what I wanted for myself. I was more so focused on getting everybody else a gift. So we went into a store and one thing that stuck out to me were ostrich eggs. They were carved out with designs put on them and polished with a shiny finish. I decided to keep that in mind as the gift I would give myself. I didn’t buy it right then and there because that store sold them at a high price so I decided to wait.

After getting off the boat we walked to the Two Oceans Aquarium for dinner. We ate in an area that was was right next to a huge fish tank. There were fish, sharks, sting rays, and a big turtle in the tank. Really amazing. By the time we left the aquarium it was around 8:30pm. When we got back to the hotel, Chris Renee, Kevin and I went up to me and Renee's room to practice Ramalama Bang Bang. We planned on surprising the '97 Fusion Team the next day by performing it at the beach. After practicing it, Chris and I went to the pool. We wanted to get in the pool before we left the hotel, but because we got to the hotel so late it was really cold. We hopped in for like 2 seconds and got right back out. We got washed up and went to the hotel lobby and started our journal blogging. We were up very late, until 1 o clock in the morning. It was ok though because we didn’t have to be downstairs until 8 am which is a lot later than all the other mornings in Africa.

Cindy’s Having a Ball in Los Angeles!

2010-04-20T14:17:00.003-05:00

Vivica's South African Blog Day 5

2010-04-20T10:46:00.001-05:00

We had to wake up at 3a.m and be downstairs by 4. I only had two hours of sleep so I was very tired. We were given breakfast packs from the hotel for the plane. The granola bar was very good. We got to the airport and it was raining and cold. We took a 6am flight to Cape Town. I slept the whole way and was surprisingly comfortable for the 2 hour flight.

Cape Town is BEAUTIFUL!!!!! The prettiest place I've ever seen. Great, hot weather finally. Johannesburg was kind of chilly. But here it was sunny with tropical looking trees, expensive looking modern houses. The whole area is on the mountain so the land and streets were on a downward slope.

We took a city tour and I felt kind of emotional when we stood on the spot where the first recorded slave was sold. We also saw a slave lodge, which is the place where the slaves were held until they were sold. It was an overwhelming feeling. We saw the Parliament building, which is where they wrote the South African Constitution. We also toured a garden. The garden had a lot of interesting trees including a rubber tree. The plants were plants that I've never seen before. There were many squirrels in the garden and they got really close to you. They were very creepy.

We then went to Table Mountain. Waiting in line was torture. It was so hot. The sun was bright. Then we all got a little frustrated when realized we had stood in the wrong line for about 30 minutes in the blazing sun. The cable car ride was kind of scary because it was so high up but it was exciting as well. It had a beautiful view. The ocean looked like it went on forever and it glistened and sparkled like crystals. The city was colorful and lively. Breathtaking. It was my first time ever on top of a mountain. Never thought I would be on top of a mountain. Probably a once in a lifetime opportunity. We took tons of pictures.

Then we went to another soccer stadium. It was new and still being worked on. By then I was really tired. It was a very long day. I was ready to go to the hotel and lay down. We arrived at the Crystal Towers Hotel & Spa and when I walked in the door my eyes grew wide. The hotel was the best hotel in the world. Everything was accented in purple, which happens to be my favorite color. I was so excited and couldn't believe that I was staying there. Even though I was half sleep, I was still very overwhelmed. I screamed when I saw the rooms.

Later at dinner I was convinced by Judy to take a chance and try Prawns (fried shrimp) I've never had them before because I'm not a fish lover but they were delicious. I can't wait to tell my Aunt and Grandma. They should be very surprised and proud of me for trying something new.

Vivica's South African Blog (day 4)

2010-04-20T10:32:00.003-05:00

We had to wake up really early early today… at 5:30 am! I was almost late for game drive. The game drive was pretty similar to the game drive on day three but we saw a lot less animals. It was very cold but the jeeps had blankets in them. We saw two lions, more wildebeest, and a monkey.

For breakfast we had some familiar foods (pancakes, french toast, sausage, potatoes). They were very good!

There wasn’t any time for us to go to the water park. I was kind of upset because I really wanted to go and see what a water park in Africa would be like.

Then we went to the cultural village, which was a lot of fun. We got to do a lot of interactive activities. We saw many different types of huts/housing. South Africa is divided into 9 provinces, each houses a dominant tribe. Each tribe worships a specific animal that is also dominant in the area because they invaded the animals land. The biggest and richest tribe is the Zu Lu. Several tribes derived from theirs. Nelson Mandela was a Zu Lu. We also learned how to say "hello" and "thank you" in many different languages.

The people from the village performed for us. Dancing in Africa is a way to express yourself. It involves many high kicks! The dancers fall on the floor and sit on their butt when they are finished dancing. The first time it happened I though it was accidental until I noticed that everybody was falling when they finished.

We learned how to lay an African drum. There are two different tones: the base tone is when you slap the drum with your hand right in the middle of the drum and the slap tone is when you hit the edge of the drum with the fingertips of your 4 fingers (exclude thumb). I had a lot of fun playing different rhythms.

We ate a traditional African meal. The best thing was this ground beef dish! It was so savory and flavorful. During the presentation, they offered us some snacks. I wasn't bold so I didn’t try any. One of them was worms.

We went to the gift shop they had and I bought some salt and pepper shakers for my aunt.

We left the village around 2pm for Emperor's Palace. It was a very long bus ride.

The Emperor's Palace was beautiful! The rooms looked like mini-apartments and many different colors were accented. One of my favorites was the shower that was lit by a green light.

We then ate at the Queen of the Nile restaurant. It was my favorite buffet so far. The restaurant was an actual boat and it was on top of water. It was really cool.

I really wanted to go the mall so I ran down the stairs before closing. I found a pair of beautiful earrings but didn't have enough rand so I had to run to the exchange (luckily I had my Passport). I bought the earrings and I’m going to wear them for prom (they opened the store back up for me after they closed. Nice people!) Then I headed back to the room and had long talk with Renee and Chris about school and friends etc. We talked until 1 in the morning and we had to wake up at 3 so we could be ready to leave at 4. Had to take a quick power nap!

Flash Mob: The Joffrey Gets "Real Simple" Full Version

2010-04-16T18:09:00.001-05:00

Joffrey on the radio!

2010-04-15T11:23:00.000-05:00

Lucia Mauro’s preview of Crossed and the Eclectica program aired on WBEZ’s “848” this morning. You can hear it (and see the online listing, which includes a Joffrey photo) by clicking HERE. Check it out!

Gene Siskel Film Center presents Dancers x 2

2010-04-13T15:43:00.001-05:00

*two portraits of dancers, one a living legend, the other a dazzling newcomer
*Chicago premiere--one week only

Breath Made Visible
Friday, April 16-Thursday, April 22
Breath Made Visible takes a look at the remarkable life of revolutionary dancer-choreographer and Winnetka, IL-raised Anna Halprin who broke with tradition to base her career in Northern California instead of in New York; her enduring marriage to landscape architect Lawrence Halprin; her peak period with the San Francisco Dancers Workshop; her founding of the first interracial dance company; and her work with cancer patients, AIDS patients, and the elderly.
Friday, April 16, 6:00 pm
Saturday, April 17, 4:45 and 8:00 pm
Sunday, April 18, 3:00 pm
Monday, April 19, 6:00 pm
Tuesday, April 20, 7:45 pm
Wednesday, April 21, no screening
Thursday, April 22, 7:45 pm
Please note: The Wednesday screening has been canceled due to a private rental. We apologize for any inconvenience.

Chicago premiere--one week only
Dancing Across Borders
Friday, April 16-Thursday, April 22
Dancing Across Borders by director and arts patron Anne Bass is a result of the filmmaker’s indelible impression of the charming and talented impoverished Cambodian boy who, at age 16, was considered too old for a dancer to begin serious study and was rejected by the School of American Ballet, but went on to defy the odds when he became a private student of Olga Kostritzky.
Friday, April 16, 7:45 pm
Saturday, April 17, 3:00 and 6:30 pm
Sunday, April 18, 4:45 pm
Monday, April 19, 7:45 pm
Tuesday, April 20, 6:00 pm
Wednesday, April 21, no screening
Thursday, April 22, 6:00 pm
Please note: The Wednesday screening has been canceled due to a private rental. We apologize for any inconvenience.

Dancers x 2 discount: Buy a ticket at our regular prices to either Breath Made Visible or Dancing Across Borders, and get a ticket to any performance of the other film at this discount rate (tickets must be purchased at the same time): $7/general admission; $5/students; $4/Film Center members. (This discount rate applies to the second film only.)

Regular tickets prices: $10/general admission, $7/students, $5/members. Tickets are available at the Film Center Box Office. Hours: 5pm-9pm Monday-Friday, 2pm-9pm Saturdays, 2pm-6pm Sunday. Tickets can also be purchased through Ticketmaster by calling 800-982-2787, visiting www.ticketmaster.com, or visiting any Ticketmaster outlet.

The Gene Siskel Film Center is located at 164 N. State Street.
Our phone number is 312-846-2600. For more information, visit our website: www.siskelfilmcenter.org or call our movie hotline at 312-846-2800.

Learn more about Dancers x 2 at this link:
http://www.siskelfilmcenter.org/weeklong-runs

Flash Mob: The Joffrey Gets "Real Simple"

2010-04-10T11:17:00.000-05:00