But there are just some people in your life that inspire you to do certain things. To me, she was definitely that person. Bridgett: Very involved. He gets down on the ground. Is he in there during rehearsals too? Bridgett: Oh yeah, because we do so many of his ballets too. And he coaches the ballerinas and he teaches class. Bridgett: Even with the Academy, yeah, he sets people with the Academy.
Stanton Welch. You call her Mama Cravey….. Bridgett: Mama Cravey smiles , I had her for a year and what was nice about her was she made all the girls look like girls. And the boys are attracted to that and they want to get better and they see that there is actually a Company that can do these things. But for the girls, it was hard because we kinda got left out a little bit, or felt like a boy sometimes. And so because of how strenuous the training was for the boys.
Not that it was bad for the girls, though. But Ms. Cravey totally made us look feminine such as doing pointe work. She really worked with us just like the male teachers worked with the guys.
Theresa: I remember the flying bakers in the Nutcracker. The bakers that fly around…. Theresa: Have you ever done a production where they hoist you up in the air….? I really want to, that sounds like fun. We had two weeks before it opened that we learned all the stuff and all the kids came in. Bridgett: Actually, the ballet world is so small.
It really is, like, someone knows everybody. Bridgett: I knew people from when I went to Harid. There are people in the Company from that boarding school that I went to, some people I knew all along.
Theresa: Besides the Nutcracker, what other productions have you done for the Houston Ballet? Bridgett: A lot. I love that Ballet. I got to dance a lot in Divergence. My apprentice here was really exciting. That was awesome. And then I got to do Apollo, which is a piece by George Ballanchine. I felt so lucky to be able to do that. Bridgett: A little bit. He came and worked a lot with the Academy when I was there.
That was the year he was leaving. After that year, he worked a lot with the Academy just because, I think, he tried to distance himself from the Company. But that meant that we got him a lot, which was awesome.
The year of my graduation from the Academy, we did a tribute to him where we danced all of his ballets, which was awesome. I graduated from the Academy when I was 17, I finally have my own place now. Theresa: Who are your most favorite dancers, the ones you admire the most?
Bridgett: When I was littler, I would just watch everybody. I think there are so many dancers who have amazing qualities. Another one is Sylvie Guillem. Bridgett: The important thing in ballet is that you have to have certain lines.
So I look for that, the physical look of a dancer. I used to look a lot at that, but when I got into this Company, there are so many dancers that are so good theatrically and artistically. So, to have the mix of those 2 things, then you have something amazing. And the ability to do a lot of things, like, you can do a really simple classical ballet or you can do something really dramatic and tragic, or funny.
I love classical ballet. Contemporary ballet is really challenging for me. In the Middle, Somewhat Elevated is definitely not classical. And the male corps de ballet, Stevenson's stars of tomorrow, nearly stole the show with a sequence of leaps in the Roman Senate that barely allowed the dancers' feet to touch the ground.
Once again, Houston Ballet's artistic director has shown he can tweak the traditional in just the right way. The response prompted Kelly to launch one of the jewel boxes in the direction of the answerer. Whatever connection the band thought it had with its crowd at this point looked a little strained. As "Ger-ta" wrote in Faust : "Man still must err, while he doth strive. But a decent-to-bad Middlefinger show is most likely better than anything else going on at the same time in Houston.
Sudden tempo changes, clean yet raw punk sound and Kelly's too-cool-to-be-choreographed moves -- like the one in which he boinks himself on the head, sinks a couple of inches, then pulls himself back up to full height by the shirt collar -- make for engaging entertainment.
And no one's asking you to sell your soul for the pleasure. Acquaintances who happen to see year-old Jug O' Lightnin' front man Aaron Loesch tooling around town in that glossy, black late-model Jaguar of his might well wonder whether The Jug has somehow managed to parlay its regular free Sunday-night gig at Rudyard's into a multimillion-dollar deal with Sony or somesuch.
No such luck. Fact is, Loesch poured a good amount of blood, sweat and tears into piecing that ride together. Turns out Loesch works for his father's Galleria-area Jaguar of Houston repair shop, where he fixes the lean machines by day and maintains an upstairs studio by night.
Houston Ballet was way ahead on that front: Williams performed the featured role from to Williams was a veteran in one sense. Smaller companies around the South have had also black Claras for years. During her years with Houston Ballet, Williams also performed as the Snow Queen and appeared in many classical and contemporary works by Stevenson, Welch and Christopher Bruce.
Stevenson was famously color-blind with his casting, but not many black dancers made it into the system in Houston or elsewhere 20 years ago.
He joined the Houston Ballet that same year as an apprentice and moved up the ranks. In , he was promoted to soloist. Watters explains that Anderson has been more than a mentor to him. Early on, she would come up to me and tell me that I had to work harder—to really dedicate myself to my training. And he did. I had to be a strong dancer. My talent was going to get me the role, not the color of my skin.
Anderson agrees. It never has. You do find that [color is an issue] when you go to other places, or when other choreographers come to set a work on the company here. But it was never a factor here. Since the beginning, Houston Ballet just wanted the best dancer for the role.
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