Seminal choreographer Merce Cunningham. Photo by Annie Leibovitz.

Contributed by Harriet McMeekin, Ballet San Jose corps de ballet

The rehearsal process we’ve experienced so far is vastly different from our normal rehearsals at Ballet San Jose: no music. Silence. Sing-song rhythms echoing in the studio. We eventually graduate to the soft beep of a stopwatch. “And begin,” then gradually “stop,” and “cue.”

“Not bad, only 15 seconds slow,” she says.

It’s a process that’s taken getting used to but has bolstered my confidence in my inner rhythm. I am better able to connect and communicate with my partner and fellow dancers without words. This is critical, as we don’t know what music we’re performing to until we get onstage.

Ms. Lent gave us a little history about the Cunningham ideology, but Wikipedia sums it up neatly:

The most famous and controversial of these [radical innovations] concerned the relationship between dance and music, which [Merce Cunningham and John Cage] concluded may occur in the same time and space, but should be created independently of one another.

Initially the Cunningham/Cage concept of separation between choreography and music seemed sacrilegious. How do you choreograph if you’re not inspired by the music? How do you dance the steps if the music doesn’t tell you what to do? Typically, the music is the primary focus of classical ballet. You might learn the steps to start, and there might not be music at first, but the ultimate goal is to dance “with” the music. The Cunningham ideology requires getting used to a different style and method of working. Holding the music in different regard. Not relegating it but respecting it as its own separate entity.

The dance happens onstage. The music happens while the dance is happening. It’s their occurrence in time that binds them together.

See Ballet San Jose perform “Duets,” along with works by innovative choreographers Jorma Elo and Jessica Lang, beginning this Friday, April 19, at the San Jose Center for Performing Arts downtown. Buy tickets online at www.balletsj.org, or call our Box Office at (408) 288-2800. See you at the theater!

Rudy Candia and Alexsandra Meijer in Sir Frederick Ashton’s “Méditation from Thaïs.” Photo by Robert Shomler.

One week from today, Ballet San Jose’s 2013 Season will continue with our mixed repertory program, Neoclassical Masters. We’re especially thrilled to be performing two incredible ballets by legendary ballet choreographer Sir Frederick Ashton: Les Rendezvous, a suite of witty, light-hearted dances set in a park; and Méditation from Thaïs, a rich and poetic pas de deux set to the beautiful violin solo “Méditation” from Massenet’s opera Thaïs.

The stagers of these incredible works–former Royal Ballet soloist Hilary Cartwright (Les Rendezvous) and former RB principal Bruce Sansom (Méditation from Thaïs)–shared their thoughts about Ashton’s choreography for our Playbill, and we want to give you a sneak peek! Read on for some interesting insights to the pieces, and don’t miss seeing them performed for the first time on the CPA stage next weekend.

Hilary Cartwright on Les Rendezvous:

Les Rendezvous was one of the first ballets I learned from Sir Fred (as we called him) when I joined the company in 1962. I loved it and thought it was so playfully romantic—something I was to discover later was a recurring theme in his work. Sir Fred was an incurable romantic. His choreography could be extremely contemporary, but no matter the style he always managed to infuse his choreography with elegance, grace and the most beautiful, organic use of the body.

One of his favorite things to say was: “Bend!” The depth of the “bend”—which refers to the balletic term of port de bras, the carriage of the arms and torso—in every possible direction made such a huge stylistic difference in Sir Fred’s work and set him apart as an artist.

Every ballet has its own unique style, and Les Rendezvous is no exception. It remains challenging for dancers today, in terms of both execution and stamina. I think it’s become increasingly difficult to instill that depth of movement in modern ballet when we have so many dancers whose technical capability soars—sometimes to the detriment of artistry. Everyone needs a little romance in their lives! And Les Rendezvous is romance at its finest.

Bruce Sansom on Méditation from Thaïs:

I rarely performed Méditation from Thaïs, but it was a part of my whole Royal Ballet experience, so it became imprinted into my memory. Many pas de deux, in galas and repertory programs, are short sections taken from longer works, and the audience sees them out of context. But Méditation from Thaïs is a rarity because it is a complete work.

Ashton choreographed Thaïs specifically for a gala performance. I imagine that it was meant to be performed only once, however, it was so enthusiastically received that when Sir Frederick Ashton took his curtain call, he asked the audience if they wanted to see it again. Immediately, everyone in the theater responded with a resounding “Yes!” and Antoinette Sibley and Anthony Dowell had to dance it again!

Ashton was wonderful at the art of understatement and Thaïs is a perfect example of his ability to condense a dance piece down to its elements. Here he uses subtlety to create a sense of Eastern mysticism without resorting to cliché. Thaïs is simply the man’s meditation on Thaïs; she never truly exists outside of his imagination. He begins by remembering her and gradually creates a full image of her in his mind, culminating in the kiss. Then, as he is lost in ecstasy, she begins to recede.

We hope you’ll join us March 22 – 24 for this exciting program of company premieres and fan-favorite encore performances (Stanton Welch’s Clear and Clark Tippet’s Bruch Violin Concerto No. 1)! Find show times and buy tickets online at www.balletsj.org, or call our Box Office during regular business hours at (408) 288-2800. See you at the theater!

Ballet San Jose corps member Annali Rose

After the dazzling company premiere of Don Quixote, Ballet San Jose is gearing up for an awesome mixed repertory program in March. In preparation for Program Two, we caught up with Annali Rose (one of our new corps de ballet dancers this season) to discuss her dance history with Sacramento Ballet and Trey McIntyre Project, the academic interests she pursues in her free time, and the three words that best describe her (which she answered with a little help from her friends)!

Tell us about your dance background before you came to Ballet San Jose.

The last four years I was dancing with Trey McIntyre Project, which is a small company of 10 dancers that does all of Trey’s choreography. It’s very contemporary work and I enjoyed it a lot. Also, TMP is primarily a touring company. With them I traveled all over the US and internationally as well. So for the last four years I was working with him. And before that, I was with Sacramento Ballet for 9 years — which is actually where I met Trey!

What inspired you to become a dancer?

Well, I was put in ballet because my mother thought it was something that all little girls should do. Obviously I really enjoyed it. As a young dancer, I was inspired by seeing the older students, and I really looked up to them. As a professional dancer, I have been inspired by the other dancers around me and seeing new and interesting work that I felt incredibly fortunate to be a part of. I have worked with some beautiful artists who I have a great amount of respect for. Being a dancer is wonderful because someone may look normal and then they start to move and something inside them blows you away. And that is what inspires me to continue to dance. I want to keep exploring that inner exhilaration that seems to only be accessed through dancing.

Use three words to describe yourself.

I have consulted a couple close friends for help with this. Hopefully I live up to these… Imaginative, Strong and Gracious.

What movies or events did you enjoy in 2012?

I spent a week in Hawaii over the summer, which was lovely, of course. My last week of performing with Trey McIntyre Project was in Reno with Preservation Hall Jazz Band, so that was fun. The last movie I saw was The Hobbit. I tend to enjoy seeing movies at home with family, but I got movie passes for Christmas so I should try to use them!

What non-dancing hobbies or activities do you like to do in your time off?

I am working on my full Pilates certification and teach a few hours a week. I also try to take one class per semester at the local college — the last few years was with Boise State University because that’s where I was based. But I’m hoping I can continue my education here when I regain residency. I am signed up for a ceramics class starting in March. And for something different, I have taken a couple belly dancing classes.

Which works in the new season are you looking forward to?

I haven’t singled out any of the works in particular. But I will say that I’ve been doing all of Trey’s choreography for the last few years so I’m definitely looking forward to doing mixed rep again and doing the work of other choreographers. I love Trey and his work a lot, but I’d love to embrace my classical roots and use the contemporary knowledge I’ve been building up. Hopefully I will be able to apply that to Ballet San Jose’s season. So I guess you could say I’ve been enjoying the diversity.

Are you happy to be back in California?

I’m so happy to be back! My family is in San Jose and Los Altos, so it’s nice to be close to them again. I really love California.

See Annali and the rest of the Company next month as they take on the second program of Ballet SJ’s 2013 Season. Neoclassical Masters (March 22-24, 2013) will include two significant works by celebrated choreographer Sir Frederick Ashton and encore performances of Clark Tippet’s Bruch Violin Concerto No. 1 and Stanton Welch’s Clear from last season. We are also extremely excited to welcome back to the Center for Performing Arts internationally acclaimed concert violinist Rachel Lee, whose nuanced performance at our Inaugural Gala last November was truly a highlight.

If you haven’t bought your tickets yet — well, why haven’t you? It’s going to be a fantastic program! Head over to www.balletsj.org to purchase tickets for Program Two, or subscribe to our two-program subscription and plan to join us again in April for the world premiere of Jessica Lang’s new ballet! Cheers!

Ballet San Jose Soloist Junna Ige as Kitri. Photo by Robert Shomler.

Ballet San Jose’s company premiere of Don Quixote may be over, but the reviews are rolling in! We had such a wonderful run last weekend of ballet’s original romantic comedy that even now we can still hardly believe it’s over! Take a look at what some of the critics around the Bay Area have said about this production of Don Quixote (staged by Ballet SJ Artistic Advisor Wes Chapman), our special guest artist José Manuel Carreño, and our fantastic company.

Writing for the San Jose Mercury News, dance correspondent Rita Felciano noted:

What a fabulous idea for Ballet San Jose to start its current season with an inviting “Don Quixote”…For comedy in ballet — it’s a rarity in any period — you need performers who can act as well as dance. Ballet San Jose has a long tradition of cultivating these twin qualities in its ranks.

Of the dashing José Manuel Carreño, who danced the role of Basilio, Ms. Felciano also wrote:

The handsome Carreño…impressed with his assurance. Rock solid in the one-handed lifts, he turns beautifully and partnered [Soloist Junna] Ige securely. To see him drop her from an overhead lift into a fish dive was breathtaking.

International ballet star José Manuel Carreño and Ballet San Jose Soloist Junna Ige as Basilio and Kitri. Photo by Robert Shomler.

Heather Desaulniers of Critical Dance wrote:

No matter which company is presenting it, “Don Quixote” is not my favorite full-length narrative ballet…That being said, even I can admit when a good version of “Don Quixote” comes along, as was the case with Ballet San Jose’s company premiere (staged by Wes Chapman after Marius Petipa and Alexander Gorsky). The story, as always, still had…inherent issues, but the performances, choreography and design were delightful.

…At this performance, soloist Junna Ige danced the role of Kitri, and her first solo was the stuff ballet dreams are made of. Ige has the technical chops for this demanding role, yet her commitment to artistry was the shining star.

Mary Ellen Hunt of the San Francisco Chronicle called Ballet SJ’s Don Quixote a “solid showcase,” stating:

As the crisp, elegant street dancer Mercedes, Nutnaree Pipit-Suksun almost bourréed away with every scene she appeared in, flashing coquettish glances at matador Rudy Candia. In the second act, a gamine Maria Jacobs-Yu was particularly polished as Cupid, and Karen Gabay made a brief, welcome foray atop a table as the feisty barmaid. Elsewhere, the comic byplay between Anton Pankevitch as Kitri’s father and Maximo Califano as her would-be suitor added bubbles of hilarity to an effervescent evening.

Ballet San Jose Soloist Nutnaree Pipit-Suksun as Mercedes. Photo by Robert Shomler.

Blogger Paul Myrvold described our Don Quixote as “an eye-popping tour de force, a rousing, entertaining exhibition of classical prowess that garnered ovation after ovation throughout the evening.” He went on to say:

And it is a major delight to have the ballet orchestra back in the house. To have the power of masterful musicians guided by the sure hand of conductor George Daugherty supporting the onstage action moment to moment is exhilarating. To have the orchestra suspend a moment in total coordination with the dancers is to know performance art at its finest.

For DanceTabs, Toba Singer wrote:

The progress this company has made in the last two years is registered by the work of the corps de ballet, especially the men who dance the Toreadors…The overall spirit is vivacious, the ensemble committed, on task and fully present. As this company moves along its new trajectory, with Messrs. Chapman and Rodríguez at the helm, there is every reason to believe that its partnership with ABT will be celebrated, and its performances warmly received by San José audiences.

A big thank you to all who attended Don Quixote last weekend — especially to those of you who gave us your feedback on Facebook, Twitter, and at the theater. This was just the start of a fantastic lineup for the rest of our 2013 Repertory Season, and we can’t wait to have you all back at the CPA next month (March 22 – 24) for our second program of Neoclassical Masters. Tickets are on sale now! Visit www.balletsj.org or call (408) 288-2800 to buy tickets to another fantastic program featuring the dancers you watched and loved in Don Quixote.

Ballet SJ apprentice Thomas Baker. Photo credit: Olivier Wecxsteen.

After a successful run of The Nutcracker in December, Ballet San Jose is all caught up in the magic of love! The company has spent the past month preparing in earnest for the company premiere  of Don Quixote — or, as we like to call it, ballet’s original romantic comedy. While Kitri polishes her fouettés and Mercedes perfects her sultry smolder, we’re continuing our Artist Spotlight blog series, in which we have been focusing on the new dancers in the company this season.

For all the male dancers out there, here’s another interview just for you! Thomas Baker is a new apprentice with the company, and he has some pretty interesting stories to tell. Find out how Thomas got his start in ballet, his favorite memories from 2012, and the inspiration that made him such a fabulous “Fritz” in the world premiere of Karen Gabay’s The Nutcracker.

Tell me about your dance background before coming to Ballet San Jose.

I started in Utah when I was almost sixteen years old, which is a pretty late start. I began studying at a really small school under a woman named Bene Arnold (of Ballet West Academy). After about six months of training, somehow I got into San Francisco Ballet School. I went there on full scholarship for three years and had a lot of great teachers who really helped and guided me. After that, I got an apprenticeship with Oregon Ballet Theatre and was there for two years. And now I’m here!

That’s a very unique story! Since you started a little later than some other dancers, what inspired you to start dancing at that age?

I moved to California during my freshman year of high school with my dad. Then, during my sophomore year, I went back to Utah and my best friend was going to a performing arts high school. So I said, “Okay, I’ll go with her.” Originally, I thought I might want to do something like musical theater, but it turned out that I actually loved dancing.

Did you have a chance to explore San Jose before we started rehearsing for the season and for Nutcracker in the fall?

I was actually born in San Jose, so I still have family in the area and know my way around a little bit. I was able to come down about a week and a half early and get situated. I met a lot of people and made some new friends before the season even started!

Name one dancer who has inspired you in your career so far.

There have been so many. But Alison Roper of Oregon Ballet Theatre — I think she’s just the perfect example of professionalism. She’s been a principal dancer for many years, but she walks into the studio and treats everyone equally. No matter who gives her any sort of suggestion, she takes it, she listens, she never gives an ounce of attitude, and she’s just gracious at all times. That’s a big inspiration for me. It helps me remember that no matter how successful you become, at the end of the day how you treat people is how you’ll be remembered.

Describe yourself in three words.

I would say that I’m outgoing. I’m very caring. And I think most people would agree that I’m rather energetic.

What movies or events did you enjoy in 2012?

I performed in the Dance United Gala with OBT. There were principal dancers who come from all over the world for the event, so I really had a lot of fun. I also really enjoyed moving to San Jose and getting to know the city and people in it!

You were cast as “Fritz” in Karen Gabay’s new production of The Nutcracker in December and a lot of people really enjoyed the youthful energy you brought to the character. Have you played that role before?

It’s interesting that you ask that because it relates to why I enjoyed that role so much. I never had the opportunity to perform children’s roles, starting dance so late, and I never thought I would. Being Fritz was like getting to live out that experience of being a kid in the party scene! Not to mention it was an excuse for me to be as rambunctious as I could be.

What non-dancing hobbies or activities do you pursue in your time off?

I love to draw. Art and drawing are my biggest passions outside of dance. I also adore good food. Probably a little more than what a ballet dancer should, but this has led me to really enjoy cooking and experimenting with different recipes and food styles.

What works in the new season are you most looking forward to?

I’m really excited for Don Quixote, which opens Feb. 15th, because it’s a full-length that I’ve never done before. I’m also looking forward to Glow-Stop by Jorma Elo and Clear by Stanton Welch, which we recently started working on.

As a new Ballet SJ dancer, what is one thing you want to say to Ballet SJ’s fans and supporters?

I’m excited to be in your city and I hope you’ll come support the ballet! Everything we do is for the audience. It’s the final element, beyond the dancing, orchestra, lighting, costumes, etc., that adds to the magic of what we do. Lastly, thank you for your support and enjoy our great season!

Celebrate Valentine’s Day with Ballet SJ on February 15 with the company premiere of Don Quixote. Thomas and the rest of the company will light up the San Jose Center for Performing Arts in this staging by Artistic Advisor Wes Chapman that includes sumptuous costumes courtesy of American Ballet Theatre.  Subscribe to the entire season or purchase single tickets to Don Quixote at www.balletsj.org, or call our Box Office at (408) 288-2800 during regular business hours!

Have a great weekend!

Artist Spotlight: Ballet San Jose Apprentice Thomas Baker

Ballet San Jose Dancer Kendall Teague

Welcome back to Ballet San Jose’s Artist Spotlight blog series, in which we will continue to introduce this season’s newest dancers to our online community! In our last installment, we talked to new corps member Alex Kramer. Today, we catch up with corps member and North Carolina native Kendall Teague. Read on to learn more about Kendall’s favorite dancing icon, his summer movie pick of 2012, and his history with Ballet San Jose.

Tell us about your dance background before coming to Ballet San Jose.

Well, right out of high school I actually came to Ballet San Jose for the second half of a season. I’m from North Carolina originally, trained in South Carolina, and I came here when I was eighteen. Then I spent two years in the San Francisco Ballet corps and spent a season with North Carolina Dance Theatre in Charlotte. After that, I spent a season with Complexions Ballet in New York, and now I’m back on the West Coast.

Do you prefer the East Coast or the West Coast?

I love the West Coast, but I always dream of the South.

What inspired you to become a dancer?

I’m not sure. I got into it because my sister was into it and I was just around. One day, her teacher said, “Come in here…” and it just happened from there. At first, I wanted to do more B-boy stuff, and I liked Gene Kelly a lot. Then I saw Baryshnikov and thought, “That’s awesome!”

Name one dancer who has inspired you in your career.

Definitely Gene Kelly!

Can you describe yourself in three words?

That’s a tough question! Easy, extroverted, animal.

What movies or events did you enjoy in 2012?

Beasts of the Southern Wild. It was such an amazing movie. Highly recommended.

What non-dancing hobbies or activities do you do in your time off?

I like to ride around on my skateboard and walk around downtown San Jose. I like exploring places.

Has San Jose changed a lot since the last time you were here?

A little bit. When I was here when I was eighteen, I didn’t take a lot of time to explore downtown, so it’s nice to get the chance to do that now. The company has changed a lot, too. There are a lot more dancers, for one thing!

What works in the new season are you most looking forward to?

Elo’s work. I’m also really looking forward to working on Stanton Welch’s piece. I’ve worked with him before — I learned some of his choreography when I was in San Francisco but never performed it. So I’m excited for that!

What is one thing you want to say to Ballet San Jose’s fans and supporters?

Keep being supporters!

On December 23, Ballet SJ finished a successful run of our all-new Nutcracker choreographed by longtime Ballet SJ principal dancer Karen Gabay. Now, we look ahead to our 2013 Season, which will start February 15 with the company premiere of Don Quixote. See Kendall and the rest of the company in this staging by Artistic Advisor Wes Chapman. Visit www.balletsj.org to subscribe to the season or purchase single tickets. You can also call our Box Office at (408) 288-2800 during regular business hours!

We hope to see you in February!

From Karen Gabay’s “The Nutcracker,” performed by Ballet San Jose. Photo by Robert Shomler (2012).

Ballet San Jose’s brand new Nutcracker opened this past Saturday in a gorgeous swirl of snow and infectious energy. Longtime Ballet SJ principal dancer Karen Gabay has choreographed a new production from a unique perspective: that of one of the only female choreographers in the world to choreograph a Nutcracker for a major ballet company. Performed to full orchestral accompaniment by Symphony Silicon Valley, her Nutcracker has given South Bay audiences a new look at the a classic holiday tale.

In her review for the San Jose Mercury News, Rita Felciano wrote:

This year Gabay…joined that still rare breed of women who choreograph major pieces for professional ballet companies. Gabay is no beginner at making dances. Still, tackling “Nutcracker” was a huge challenge — and opportunity. Supported by the Symphony Silicon Valley, under the baton of the ballet’s new musical director George Daugherty, she gave her home team and the legion of “Nutcracker” lovers, a family-friendly, fresh interpretation of the old tale — including a new twist.

Ms. Felciano went on to call parts of this new production of Nutcracker “ingenious,” praising Ballet SJ dancers for worthy performances, and later wrote that the “national dances are every ‘Nutcracker’s’ balletic highlights. Gabay gave us convincing versions with a feminist touch to some of them.”

In her review for triviana.com Arts & Entertainment, Virginia Bock wrote:

With festive sets, elegant costumes, a familiar story and Tchaikovsky’s well-known score, “The Nutcracker” ballet has been an audience favorite and a holiday tradition for decades. Ballet San Jose’s new production adds humor, complexity and some stunning new choreography that should keep audiences coming back for years to come.

Writing for CriticalDance.com, Heather Desaulniers noted:

With its brand new “Nutcracker”, Ballet San Jose continues to inject life, vision and vitality into the South Bay’s performing arts scene. Choreographed by BSJ’s own Karen Gabay, this full-length holiday extravaganza is a thoughtful and fresh interpretation of E.T.A. Hoffmann’s story, complete with elegant dancing and striking originality…Accompaniment by Symphony Silicon Valley was the icing on the cake.  Under the direction of conductor George Daugherty, the music was dynamic, articulate and interactive, exactly what is required of and demanded by a Tchaikovsky score.

Dr. Gary R. Lemco, in his review for “The Classical Music Guide” forums at http://www.classicalmusicguide.com, added:

Peter Tchaikovsky’s perennial Christmas favorite, The Nutcracker, hardly needs promotion, but the Ballet San Jose production, with new choreography by former prima ballerina Karen Gabay, struck a chord, both resonant to the ear and panoramic to the eye, that warrants special mention. With the Symphony Silicon Valley under the masterful leadership of conductor George Daugherty, the audience at the Friday, December 14, 2012 performance at the San Jose Center for the Performing Arts recovered much of the original wonder and enchantment of both the composer and “librettist,” E.T.A. Hoffmann’s, often nightmarish parable of humanity’s liberation from its primal fears to embrace its own childhood innocence.

And Dr. Lemco also gave Ballet SJ School students a very positive mention:

Ms. Gabay’s singular effort was to engage as many young dancers as possible in the ensemble pieces, so the production glowed with Ballet SJ School Students.

Bravi! Congratulations to Karen, George, the company, Ballet SJ School students, and Symphony Silicon Valley. Every good review is well deserved!

It’s been an amazing run so far, but the show not over yet! Ballet SJ’s new Nutcracker runs through this Sunday, December 23, and there are still tickets available. Buy online or call our Box Office at (408) 288-2800 during regular business hours. Tickets can also be purchased one hour before show time at the San Jose Center for Performing Arts.

Happy holidays!

Alex Kramer photographed by Jade Young

Nine days ago, Ballet San Jose gave the South Bay a one-night-only preview of our 2013 Repertory Season with an amazing Inaugural Gala performance at the San Jose Center for the Performing Arts. The rep earned some very complimentary reviews from publications around the Bay Area and we couldn’t be more thrilled! Every person who took the CPA stage on November 3 — from critically acclaimed concert violinist Rachel Lee to the company dancers of Ballet San Jose, both familiar and new — gave an awe-inspiring performance. We think the gala gave Bay Area audiences a really inspiring look at the new pieces in the coming season!

Now, we’ve begun to look ahead to Ballet SJ’s new production of The Nutcracker, which will make its world premiere on December 8. As we gear up for this run of Nutcracker, we pick up where we left off with our Artist Spotlight blog series. Meet another new face in the corps de ballet: Alex Kramer, an alumnus of the Jacqueline Kennedy Onassis School at American Ballet Theatre (ABT) and former member of ABT Studio Company. Before the gala, we talked to Alex about what inspired him to become a dancer in Grand Junction, CO, his mentor at ABT, and his thoughts about leaving New York City.

What was your dance background before you came to Ballet San Jose?

I started ballet when I was seven in Grand Junction, Colorado, and I danced there until I was fifteen. Then I moved to New York City to dance with the Jacqueline Kennedy Onassis School at American Ballet Theatre for two years, and then I joined their Studio Company for a year as a sort of transition between training and dancing with a professional company. And now I’m here!

What inspired you to become a dancer in Colorado?

When I was a kid – probably six or seven – I had a babysitter who was a dancer. She was more of a jazz dancer, but she was the one who got me into it. I started taking some jazz classes around that time, but I found out that I didn’t really like it. I performed in a production of The Nutcracker when I was about six and I really liked it. I started taking ballet classes after that.

Name one dancer who has inspired you in your career so far.

David Hallberg, who was my mentor at American Ballet Theatre. He had set up a scholarship program and I was the first dancer to get that scholarship. I learned a lot and continue to learn a lot from him.

Use three words to describe yourself.

That’s really hard! I’d probably say dedicated and hard working. That’s three words, right?

What movies or events did you enjoy over the summer?

I’m trying to remember what I did this summer. I went to Las Vegas with my family, which was fun! I don’t really get to spend time with my family that often so I enjoyed that time. But I spent most of the summer in New York City – my last hurrah!

Do you think you’ll ever move back to New York?

I don’t know. I’ll definitely go back to visit as soon as possible, but I was there for three years and it was time for a change.

What non-dancing hobbies and activities do you pursue in your time off?

Not a whole lot! I usually just try to take my time off as it comes. I’m kind of into photography. I really like taking pictures.

What works from the new season are you most looking forward to?

I’m really looking forward to Jessica Lang’s piece. I like working with her – she’s awesome. And Stars and Stripes [for Ballet San Jose’s Inaugural Gala on November 3] has been fun. I haven’t worked with Jorma Elo at all, so I’m all really interested in Glow-Stop as well. I’m excited to see what happens.

Say something to Ballet San Jose’s fans and supporters!

I hope you enjoy our dancing and continue to support the company!

Join Alex and the rest of the company at the San Jose Center for the Performing Arts December 8 – 23 for Ballet SJ’s brand new production of The Nutcracker, featuring world premiere choreography by Karen Gabay and performed to live music by Symphony Silicon Valley. Buy tickets online at http://www.balletsj.org, or call the Box Office at (408) 288-2800. And if you attended Ballet SJ’s Inaugural Gala and want to see more of our 2013 Season, subscribe today! As a season subscriber, you’ll receive free parking, best available seating, additional discounts on single tickets, and other awesome perks.

We are so excited to share this new Nutcracker and exciting repertory season with you! See you at the CPA next month!

Ballet San Jose corps member Cindy Huang

Ballet San Jose has always been a diverse company. As of this season, Ballet SJ is now home to forty-one dancers from countries all around the world, each one with a different story to tell. As we prepare for an exciting preview of our 2013 season at the Inaugural Gala on November 3, we continue to get to know the newest members of our company and learn just what makes them tick in our Artist Spotlight blog series.

A few weeks ago, I sat down with dancer Cindy Huang to discuss her dance background, her friendship with So You Think You Can Dance‘s Daniel Baker, and her special words for Ballet San Jose supporters.

Tell me about your dance background before joining Ballet San Jose.

Well I started dancing when I was ten (which most people would consider to be really late) in my hometown of Riverside, California, and then I moved to New York City when I was fourteen to train at the School of American Ballet (SAB). After that, I danced professionally with the Miami City Ballet, and then I ended up here this year!

Before we announced the new hires within the company, Daniel Baker [from So You Think You Can Dance] tweeted us saying…

@balletsj Thanks for the RT. Can't wait for Cindy Huang to start this season. What a talent! Will have to make a trip to SJ.. Great company!

—
Daniel Baker (@Dance9Daniel) August 21, 2012

That’s so sweet of him! Daniel and I have been good friends since we were about fourteen. We first met at SAB in New York and we also went on to dance together in Miami, so I was definitely one of his biggest fans on the show!

What inspired you to become a dancer?

It’s funny – it started out as a social activity for me! My best friend was dancing after school, so I thought it would be fun for me to join her! In the end, I just couldn’t let it go, so everything just kind of evolved from there.

Name one dancer who has inspired you in your career.

I don’t know if I can single out one dancer. I’m inspired by everyone I work with! Everyone comes from such different backgrounds that you really find something unique and appreciative in each dancer. In the end, I feed off of that.

Describe yourself in three words.

Hmm…that’s a tough one. I’d say that I’m a fun, laid back, positive person, but in the end I just don’t think it’s possible to describe myself in three words. I do, however, always live by the motto that everything happens for a reason.

What movies or events did you enjoy this summer?

I did quite a bit of traveling this summer! For one, I spent a lot of time in Montreal, so I got to work on my French (but by no means does that mean I can speak French)! And then I took a trip back to Taiwan to visit family. I was born there, but I don’t get the chance to go back very much, so I was happy to have the time to be able to do that this summer. I also went to a live taping of So You Think You Can Dance to see Daniel [Baker], and probably what I’m most proud of is that I got my Pilates certification this summer!

What non-dancing hobbies or activities do you pursue in your time off?

During the summers I love traveling – which might be obvious from the previous question – and finding good places to eat. I love food, contrary to what people may think! And I’m not sure you’d consider this a hobby, but I love just being able to take a day off to relax, sleep in, and watch movies all day.

What works from the new season are you looking forward to?

I’m looking forward to the world premiere [by choreographer Jessica Lang]. It’s always fun having a new piece created on a company and being fortunate enough to be a part of the process. But really, I’m looking forward to it all! It’s different rep from what I’m used to, so I’m just excited for the challenge and the opportunity to work with all sorts of different people. I think it’s great because things are never static here, so there’s no time to be bored.

What do you want to say to Ballet San Jose fans and supporters?

I want to say thank you for coming out to see and support the company. Day in and day out, us dancers work so hard to give the audience what we hope will be a great show. We’re having so much fun doing this that we hope the audiences are having just as much fun watching us. I’m just really happy to be here and so far I’m loving every minute of it!

Ballet San Jose dancers will take the stage again on Saturday, November 3, for our upcoming Inaugural Gala, an unforgettable evening of electrifying dance and virtuoso music! The Gala will feature sneak previews of works from the upcoming season; a rarely performed, breathtaking male solo, set to Mozart’s hauntingly beautiful Lacrimosa; and the triumphant return of last season’s critical and audience favorite, Clark Tippet’s Bruch Violin Concerto No. 1. Proceeds from the event will help fund live music for Ballet SJ’s entire season of productions and benefit its arts education program for local schools, “Music and Motion.” Visit www.balletsj.org to download a ticket order form and purchase Gala dinner and performance tickets.

We hope you will join us on November 3 for this thrilling evening!

A behind-the-scenes photo of Ballet SJ dancer Mallory Welsh.

Ballet San Jose dancers are deep into Nutcracker rehearsals now—Principal Ballet Master Raymond Rodriguez tweeted earlier this week that staging for The Battle had begun!—with choreographer and Ballet SJ Principal dancer Karen Gabay, who is setting all-new choreography on the company. The studios are busy with rehearsals, and Ballet San Jose School is packed every afternoon with a full schedule of classes. As we get back into the swing of things, we are so excited to be able to introduce our newest dancers to you via our blog.

Let the battle begin......as in "The Nutcracker".

—
Raymond Rodriguez (@rrodriguezbsj) September 24, 2012

We continue our Artist Spotlight series from last week with Mallory Welsh, a dancer some of you may remember from past seasons at Ballet SJ. After a season away, Mallory is back to dance in the corps for a diverse Ballet SJ season of company premieres by many exciting and renowned choreographers. We sat down with Mallory a couple of weeks ago to talk about her earliest dance memory, her biggest inspiration, and her favorite non-dancing hobby.

Tell me about your dance background before coming to Ballet San Jose—the second time!

I started taking tap classes when I was very young at a small studio in my birthplace Columbia, South Carolina.  I loved to tap.  As I got older my teacher suggested I start taking Ballet classes as well and I’m glad she did.  Eventually I moved to New York and had the honor of training with amazing teachers from the School of American Ballet, LaguardiaHigh School for Performing Arts, and The Joffrey Ballet School.  My first job with a professional dance company was right here with Ballet San Jose as an apprentice in 2006. I left for the 2011-2012 season to follow other opportunities, but I’m so happy that I’ve found my way back to Ballet San Jose.

I know a lot of people are really happy to have you back!

Thank you!  Everyone has welcomed me back with open arms and that means the world to me.  I’m so happy to be home!

What inspired you to become a dancer?

Mallory as a young dancer!

One of my earliest memories is of my mom taking me to a small dance studio in downtown Columbia where there was a class in session. I watched the dancers through the glass door and I was awe-struck. I remember watching them for hours (although, in reality, I was probably only watching for 3-5 minutes).  After that I couldn’t stop dancing.  I would dance up and down the driveway, around the kitchen, and even in restaurants—which was probably very annoying to everyone trying to eat—but I’ve been dancing ever since.

Name one dancer who has inspired you in your dancing career.

There are a lot of inspirational dancers out there and it’s not easy to name just one, but when asked that question the one name that comes  to my mind is [longtime Ballet SJ Soloist] Tiffany Glenn.  There was one performance in particular that I will never forget. Tiffany danced in a piece about Rosa Parks at a small theater in New York.  She wore all red with a beautiful long, full skirt.  It’s hard to describe her performance, but it was beyond amazing.  The way she danced and the way she portrayed the story was filled with so much heart that she brought me to tears.  I feel very lucky to have known her and I know I’m not the only person she’s inspired.

What non-dancing hobbies or activities do you pursue in your time off?

I don’t know if it’s considered a hobby, but I teach Pilates a lot.  When I’m not working, though, I enjoy just being human—spending time with friends, napping, cooking, watching movies…napping.

What movies or local events did you most enjoy this summer?

I was pretty busy with moving and teaching Pilates this summer, but when I had free time I did some traveling to see family and friends…lots of driving.

What works in the new season are you looking forward to?

All of them! I’m really excited.

What one thing do you most want to say to Ballet SJ fans and supporters?

You are the best! Thank you for supporting us and making it possible for us to do what we love everyday!

See Mallory and the rest of Ballet San Jose on stage this December in an all-new production of The Nutcracker, featuring world premiere choreography by Karen Gabay. Tickets are now on sale online at www.balletsj.org, or you can also call the Box Office at (408) 288-2800. And don’t forget, you still have time to subscribe to the 2013 Repertory Season! Purchase your subscription online or by phone today and get additional discounts on single tickets, free parking, and other fun perks throughout the 2013 Season.

We are so excited to share this new Nutcracker and electrifying season with you! See you at the theater!