Aside from those who become marketable
marquee stars, it’s not all that common for dancers to find a
sustainable living in their art form. Or long-term romance. Or family.
It’s a hard-knock life, being a dancer.
Cincinnati Ballet’s extravagant production of Washington Ballet Artistic Director Septime Webre’s Alice (in Wonderland)
hits the Aronoff stage again this weekend, two years after the
Cincinnati premiere, with live music from the Cincinnati Symphony
Orchestra conducted by Cincinnati Ballet Music Director Carmon DeLeone.
This weekend, 14 Tribe dancers (along
with Hubbard, who will solo) will perform at the Aronoff’s Jarson-Kaplan
Theater in a mixed bill revisiting a selection of characteristic
vignettes from the past 10 years of evening-length productions.
Coming off a successful fall touring
season with performances in Chicago and Roanoke, Va., the eight modern
dancers of MamLuft&Co. Dance take the Aronoff stage this weekend for
the company’s first mixed repertory concert.
The years-long path that brought five
boys studying at the Ramana Maharishi Academy for the Blind Academy in
Bangalore, India, to the University of Cincinnati for a performance
Saturday is an amazing one.
As Contemporary Dance Theater celebrates
the close of its 41st anniversary season with the Area Choreographers
Festival this weekend at the Aronoff, it also bids farewell to founder,
artistic and executive director Jefferson James.
Over the Rhine, the bluesy, jazzy, folksy
band headed by blonde chanteuse Karin Bergquist and real-life partner
Linford Detweiler, named after Cincinnati’s historic Over-the-Rhine
neighborhood where they once lived, this weekend will perform live with
Cincinnati Ballet dancers in the closing series of the company’s 50th
Honor, valor, love, betrayal — these are
the thematic elements of Cincinnati Ballet artistic director and CEO
Victoria Morgan’s full-length world premiere, King Arthur’s Camelot,
opening this weekend with five performances at the Aronoff Center.
Ever heard of freelance dancing?
Independent ballet dancers Joseph Gatti and Adiarys Almeida — formerly
of the Cincinnati Ballet — stepped out as free agents this past July,
following five years of contracts with some illustrious international
Over-the-Rhine’s Memorial Hall, the
Tiffany-chandeliered, 1908 Beaux-Arts treasure teeming with handcrafted
details in marble, wood and plaster, is tucked at Grant and Elm streets,
next to Music Hall. The space is said to be haunted by the figure of a
Civil War-era soldier who materializes in one of the steep balconies.
It’s perhaps the most iconic dance segment in the world-famous 19th-century ballet Swan Lake.
It begins in Act II, when enchanted swan maidens, costumed in pristine
white tutus, enter a moonlit lakeside scene one by one in what’s often
been called the greatest possible accomplishment for a corps de ballet.