It’s a rare person today who sticks to the same career path — let alone the same position — for more than a handful of years. How about four-plus decades? Enter Maestro Carmon DeLeone, Cincinnati Ballet’s music director for 43 seasons running.   

What memories do you have from summer camp — maybe swimming in the lake, hiking in the woods or paddling a canoe? Think again. How about memories of playing chess, redecorating rooms, honing skills in sports, music or art or even swinging from a trapeze?  

The idea of “dance theater” (“Tanztheater” in German) evolved from expressionist dance in 1920s Vienna, with a new form developing and spreading throughout Central Europe beginning in 1917. The term re-emerged during the 1980s and Pina Bausch, a student of one of the leaders of this school of dance, became a new school practioner of note.    

At heart, Carmen is a sensual story of passion. Putting a daring new spin on one of the best-known and beloved stories of opera repertoire sounds like a tall order. But internationally renowned choreographer Amedeo Amodio is perfectly suited to create a contemporary-infused dance version.  

Between them, they have worked with some of the most significant modern choreographers on the dance scene today and have performed in top-ranked companies. One is a former dancer with Dance Theatre of Harlem and the other grew up on a ranch two miles east of Boise, Idaho.  

From the glut of reality shows and the Peoples’ Choice Awards to blogging and Twittering, now more than ever audience members feel entitled to voice their opinions.   

One aspect of contemporary dance I appreciate is that, for the most part, you can never really be certain of what you're going to see. This notion also becomes a reason why too many people avoid it: They don't know what to expect; perhaps they fear they won't get it.