Grand Rapids Ballet presents Extremely Close

EXTREMELY CLOSE

Alejandro Cerrudo’s Extremely Close, photo by Todd Rosenberg courtesy Hubbard Street Dance Chicago

Presented by

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ARTISTIC DIRECTOR MESSAGE Welcome to Grand Rapids Ballet and our presentation of Extremely Close, a collection of three exciting and unique works. I love a ‘mixed bill’ where one has the chance to see multiple artists’ work in one performance, and the opportunity to experience completely different worlds within the space of a few hours.

Ibsen’s House, from Val Caniparoli, is a ballet I know well from having danced it myself at San Francisco Ballet. It was made for the 75th anniversary of that company and Caniparoli (whose name you may recognize as the choreographer of Grand Rapids Ballet’s The Nutcracker) has made a stunning piece that effortlessly blends portraits of Henrik Ibsen’s characters with Dvorak’s music and emotional choreography. I am proud to say we are the first company outside of San Francisco Ballet to perform this piece, and my work staging the choreography brought me even closer to the characters. If you are familiar with the plays, you will enjoy recognizing the characters, and if you are unfamiliar, it is a beautiful introduction to the world of Henrik Ibsen. Learn more about these famous characters at grballet.com/blog or on page 30 of this program.

Extremely Close, a work by Spanish choreographer Alejandro Cerrudo, transports the audience into another realm altogether. This piece was made on Hubbard Street Dance Chicago in 2008 where Cerrudo was resident choreographer, and has since been performed around the world. Only his second choreographic work, Extremely Close is a masterful blend of scenic elements, music, and seamless choreography. Cerrudo is a choreographer with a huge future ahead of him and I am so proud to be able to present his work here at Grand Rapids Ballet.

Finally, The Sweet By and By, with music by Preservation Hall Jazz Band, is my second world premiere for the Company. I was struck by the spontaneity and joy which the music exudes and I sought to capture that feeling in my work. I had a great time in the studio and I am so grateful to the dancers for joining me on this journey and being an inspiration in the process. I hope you enjoy watching it as much as I did making it.

Thank you for being here and recognizing the power of art in your life. This Company and the dancers are here for you; without your support we could not present such world-class productions. The future of Grand Rapids Ballet is promising; we have an exciting season planned for next year complete with classic, contemporary, and world-premiere works. I hope you can join us again!

James Sofranko, Artistic Director 4

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ONE CLICK [

YOU’RE ALL CAUGHT UP

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PROGRAM NOTES IBSEN’S HOUSE Choreographer Val Caniparoli Music Antonín Dvoràk Scenic and Costume Design Sandra Woodall Lighting Design James F. Ingalls Recreated by Matthew Taylor Assistant to the Choreographer Maiqui Manosa Staged by James Sofranko In the late nineteenth century, Henrik Ibsen wrote a series of plays that challenged Victorian conventions, particularly those concerning the place of women in society. His radical ideas about marriage, gender roles, and family relations shocked and outraged many of his contemporaries, and still hold resonance today.

Hedda Gabler Hedda Gabler, wife of George Tesman Cassidy Isaacson George Tesman, a research fellow in cultural history Steven Houser A Doll’s House Nora Helmer, wife of Torvald Helmer Yuka Oba Torvald Helmer, a lawyer Nathan Young Ghosts Mrs. Alving, widow of Captain Alving Alexandra Meister-Upleger Captain Alving & Oswald Alving, her son Isaac Aoki Lady from the Sea Ellinda Wangel, wife of Edvand Wengell Connie Flachs The Stranger Matt Wenckowski Rosmersholm Rebecca West, in charge of John Rosmer’s household Madison Massara John Rosmer, a former Clergyman Josue Justiz Piano Quintet in A Major, Op. 81 Musical Director/Piano Brendan Hollins Violin 1 Gene Hahn Violin 2 Janet Lyu Viola Javier Otalora Cello Alicia Sawyers World Premiere April 24, 2008—San Francisco Ballet War Memorial Opera House, San Francisco, California The 2008 world premiere of Ibsen’s House was made possible by SF Ballet 75th Anniversary Sponsor the George Frederick Jewett Foundation, Lucille Jewett, Trustee.

Costumes constructed by Birgit Pfeffer, Groveland, California Scenic Construction & Painting Mellissa Temerowski Ed Weger Costumes courtesy of San Francisco Ballet 6

—INTERMISSION—

THE SWEET BY AND BY World Premiere Choreographer James Sofranko Music Preservation Hall Jazz Band Lighting Design Matthew Taylor Costume Design Danielle Truss When the Saints Go Marching In Steven Houser Connie Flachs Ednis Gomez Josue Jusitz Madison Massara Alexandra Meister-Upleger Branden Reiners Emily Reed Gretchen Steimle Levi Teachout Adriana Wagenveld Nathan Young Precious Lord Alexandra Meister-Upleger Connie Flachs Ednis Gomez Josue Jusitz Madison Massara Branden Reiners Emily Reed Gretchen Steimle Levi Teachout Nathan Young Down by the Riverside Adriana Wagenveld Ednis Gomez Josue Jusitz Branden Reiners Levi Teachout Nathan Young Amen Steven Houser By and By Full Ensemble God Will Take Care of You Full Ensemble World Premiere April 2019—Grand Rapids Ballet, Peter Martin Wege Theatre —INTERMISSION—

EXTREMELY CLOSE Choreographer Alejandro Cerrudo Music Philip Glass Dustin O’Halloran Set Design Alejandro Cerrudo Lighting Design Tanja Ruehl Recreated by Matthew Taylor Costume Design Janice Pytel Costume Recreator Danielle Truss Staged by Meredith Dincolo Dancers Yuka Oba Matthew Wenckowski Isaac Aoki Cassidy Isaacson Emily Reed Nigel Tau Levi Teachout Adriana Wagenveld World Premiere—Hubbard Street Dance Chicago, Joyce Theatre, New York City, 2008

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DANCERS COMPANY

Connie Flachs

Grace Haskins

Cassidy Isaacson

Alexandra Meister-Upleger

Yuka Oba

Emily Reed

Micaelina Ritschl

Sidney Scully

Isaac Aoki

Ednis Gomez

Steven Houser

Josue Justiz

Branden Reiners

Nigel Tau

Levi Teachout

Matt Wenckowski

LEARN MORE ABOUT YOUR FAVORITE DANCERS AT GRBALLET.COM/DANCERS. Nathan Young

APPRENTICES

Jade Butler

Cherilene Guzman

Madison Massara

Gretchen Steimle

Adriana Wagenveld

Nicholas Bradley Gray

Ben Waldvogel

Emily Barrows

Ashley Conroy

Celeste Lopez-Keranen

Lydia Slack

Ruby Staczek

Lauren Yordanich

Grace Young

Amadeo Lopez-Keranen

David Senti

William Shearstone

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CHOREOGRAPHERS VAL CANIPAROLI Val’s versatility has made him one of the most sought after American choreographers internationally.

He has contributed to the repertoires of more than 50 dance companies, including Finnish National Ballet, BalletMet, BalletX, Kansas City Ballet, Richmond Ballet, Pacific Northwest Ballet, Boston Ballet, Northern Ballet Theatre, Pennsylvania Ballet, Joffrey Ballet, Hong Kong Ballet, Scottish Ballet, Smuin Ballet, Atlanta Ballet, Royal Winnipeg Ballet, Ballet West (resident choreographer 1993-97), Washington Ballet, Israel Ballet, Cincinnati Ballet, Singapore Dance Theatre, Atlanta Ballet, State Theatre Ballet of South Africa, and Tulsa Ballet, (resident choreographer 2001-06). One of his most popular ballets, Lambarena, was nominated for the Prix Benois de la Danse in 1997 for Best Choreography.

Caniparoli is most closely associated with San Francisco Ballet, his artistic home for over 43 years. He first worked under the artistic directorship of Lew Christensen, and in the early 1980s, was appointed resident choreographer. He continues to choreograph for the company under Artistic Director Helgi Tomasson.

Caniparoli has also choreographed operas for three major companies: Chicago Lyric Opera, San Francisco Opera, and The Metropolitan Opera. In addition, he has worked on several occasions with the San Francisco Symphony, most memorably on the Rimsky-Korsakov opera-ballet Mlada, conducted by Michael Tilson Thomas. His work with San Francisco’s esteemed American Conservatory Theater (A.C.T.) includes choreography for A Christmas Carol, A Doll’s House, Arcadia, A Little Night Music, and the creation, with Carey Perloff, of a new movement-theatre piece, Tosca Cafe.

His full evening-length ballets include Lady of the Camellias; three different productions of The Nutcracker for Cincinnati Ballet, Louisville Ballet, and Grand Rapids Ballet; and Val Caniparoli’s A Cinderella Story danced to themes by Richard Rodgers, for Royal Winnipeg Ballet. In 2015, Caniparoli co-choreographed, with Helgi Tomasson, a commercial for the 50th Anniversary Super Bowl with dancers from San Francisco Ballet.

Born in Renton, Washington, Caniparoli opted for a professional dance career after studying music and theatre at Washington State University. He received a Ford Foundation Scholarship to attend San Francisco Ballet School and performed with San Francisco Opera Ballet before joining San Francisco Ballet in 1973. He continues to perform with the company as a Principal Character Dancer.

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ALEJANDRO CERRUDO Alejandro was born in Spain and trained at the Real Conservatorio Profesional de Danza de Madrid. His professional career began in 1998 and includes work with Victor Ullate Ballet, Stuttgart Ballet, and Nederlands Dans Theater 2. He joined Hubbard Street Dance Chicago in 2005 and assumed the position of Resident Choreographer from 2008-18. Cerrudo’s body of work has been performed by over 20 professional dance companies around the world. In March 2012, Pacific Northwest Ballet invited Cerrudo to choreograph his first work for the company, Memory Glow, upon receiving the Joyce Theater Foundation’s second Rudolf Nureyev Prize for New Dance.

Additional honors include an award from the Boomerang Fund for Artists (2011), and a Prince Prize for Commissioning Original Work from the Prince Charitable Trusts (2012) for his acclaimed, first evening-length work, One Thousand Pieces. Cerrudo was one of four choreographers invited by New York City Ballet principal Wendy Whelan to create and perform original duets for Restless Creature, and he was the 2014 USA Donnelley Fellow by United States Artists. Cerrudo’s Sleeping Beauty, created with Ballet Theater Basel in 2016, was nominated as “Production of the Year” in Switzerland in the “Tanz, Jahrbuch 2016” by the Neue Zürcher Zeitung.

JAMES SOFRANKO James is originally from Cincinnati and received his dance training at The Harid Conservatory in Florida and later at The Juilliard School in New York City, where he received his BFA in dance. He danced as a soloist with the San Francisco Ballet for 18 years where he performed around the world and danced an extensive repertoire of classical and contemporary works, including world premieres from choreographers such as Helgi Tomasson, William Forsythe, Liam Scarlett, Alexei Ratmansky, Mark Morris, Paul Taylor, Wayne McGregor, Julia Adam, and Yuri Possokhov.He received an Isadora Duncan award (“Izzie”) for best performance in 2011 in Yuri Possokhov’s Classical Symphony. James starred in the principal role of Eddie in the Broadway touring company of Movin’ Out, a musical choreographed by Twyla Tharp to the songs of Billy Joel.

In 2012, he co-founded DanceFAR (Dance For A Reason), an annual benefit performance and after-party that brings the Bay Area dance community together to support the work of the Cancer Prevention Institute of California (CPIC). In 2014 he received the Inspiration Award from CPIC. In 2014, he formed a new contemporary repertory company in San Francisco, SFDanceworks. The company has presented works by Alejandro Cerrudo, Lar Lubovitch, José Limón, Nacho Duato, Christopher Bruce, and world premieres by Penny Saunders, James Graham, Danielle Rowe, Dana Genshaft, and Sofranko himself.

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Extremely Close has a lot of unique scenic design, including moving wall panels and feathers. What can you tell us about your inspiration behind these elements?

The wall panels began as an exercise for me to play with the concept of revealing and hiding dancers, but eventually I realized that the panels themselves could enhance the work by becoming part of my choreography. The idea for the feathers came from looking out the window on an airplane, thinking how beautiful it would be to dance among the clouds.

Often I find the meaning of my work much after the premiere, when I’m able to achieve a little distance. Or even when audience members tell me their thoughts, my own ideas about the essence of the work can change. For me, the choreographic process is more of a discovery phase, and I try to work intuitively. I don’t have a concept that I am trying to adhere to no matter what.

This piece was made in 2008 for Hubbard Street Dance Chicago, what was the process like? Did it take a lot of time working with the walls to achieve the effects you were looking for?

Yes, a lot of time. It was the second piece I ever made, and because I had an unusual element on the stage, there was a lot of trial and error.

This work is danced in socks, not traditional ballet shoes or pointe shoes. Can you explain any reasons why you made that choice?

I find it easier to be grounded in socks. When the dancers wear socks as opposed to the usual shoes, it gives them a different approach than the other types of dance shoes. It puts them in a new state of work, and helps me produce something unique and different.

What is the thing you look for (or at) most when watching your own choreography?

I always want to be surprised. I try to re-invent myself and not repeat elements of my work.

I would hope that upon viewing multiple pieces of mine, you might not even be able to recognize that it is from the same choreographer, and I love that!

How would you describe your choreographic style?

I don’t want to describe it or put a label on it. That is up to other people if they wish. My goal is to grow and develop and be versatile and to find new things in every new work. I look for quality and artistry, however it may present itself.

What has been your experience working with Grand Rapids Ballet, and is it different working with a “ballet” company as opposed to a “contemporary” company such as Hubbard Street?

Every place is different, but the main difference could be in the style of approach to the work, which is something I stress from day one. It is not a big difference, but the corrections and notes are a little different. The dancers here are actually quite experienced in contemporary work which is wonderful. In general, classical ballet is mostly “up,” and my work is more “down.”

Finally, how did you choose the music for Extremely Close?

At first, I only had the first section of the Glass piano music to play with, and I loved how it worked with the panels. So I looked for more piano music to match the style for the rest of the piece.

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TALKING POINTS: a conversation with alejandro cerrudo

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photo by Scott Rasmussen

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Grand Rapids every Tuesday 12-12:45pm Holland every Monday 11:15am-12pm & 12:45-1:30pm Visit grballet.com/adaptive for more information.

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THE WOMEN OF

IBSEN Yuka Oba as Nora, Madison Massara as Rebecca, Cassidy Isaacson as Hedda, Connie Flachs as Ellida, Alexandra Meister-Upleger as Mrs. Alving, in Val Caniparoli’s Ibsen’s House; photo by James Sofranko

Val Caniparoli’s Ibsen’s House is a dancing and acting tour de force. Based on five of Norwegian playwright Henrik Ibsen’s most famous works, the dancers must embody some of literature’s most dramatic, complex, and emotive characters. While the ballet does not aim to impart the plot of each particular play, it offers us a glimpse into each woman’s psyche, and their relationships with the men in their life. Putting them each into the same “house” sheds a new light on Ibsen’s iconic characters and allows us the chance to compare and contrast these remarkable women.

NORA HELMER: A DOLL’S HOUSE Nora lives sheltered from the real world, acquiescing to societal norms and expectations of the time. But she has a secret she has been keeping from her husband—one that will ultimately change the course of her life and her family forever.

REBECCA WEST: ROSMERSHOLM Rebecca is in love with a man whose principles are torn between the new liberal free-thinkers and the more socially acceptable conservatives. She has manipulated him into caring for her in order to influence his decisions—resulting in a shocking conclusion.

HEDDA GABLER: HEDDA GABLER Hedda is trapped. She wants more out of life and will go to any lengths to ensure her survival—both financially and socially—even if that results in her own tragic demise.

ELLIDA WANGEL: LADY FROM THE SEA Ellida is a woman haunted by unrequited love. Does she stay comfortable with her husband or rock the boat and leave with the handsome stranger who has returned for her heart?

HELENE ALVING: GHOSTS Helene endures a miserable marriage to an unfaithful man. His sinful ways have infected her life and her son who asks her to make the ultimate decision between life and death in order to save him.

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READ COMPANY DANCER CONNIE FLACHS’ BLOG ABOUT THESE CHARACTERS AT GRBALLET.COM/BLOG.

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James Sofranko, Artistic Director

Cassidy Isaacson and Levi Teachout in Brian Enos’ Alice in Wonderland; photo by Eric Bouwens

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May 3-5 & 10-11 | Peter Martin Wege Theatre | grballet.com/alice2019

by Joshua Harmon Who is holy and who is just holier-than-thou? A dark comedy that tackles the divide between cultural identity and orthodoxy.

Feb 28 - March 10, 2019

James Sofranko, Artistic Director

by Jason Odell Williams If you’re a Republican running for re-election in Virginia, the Bible and the 2nd Amendment are sacrosanct. Or not.

June 13 - 23, 2019 Jewish Theatre Grand Rapids productions are at Spectrum Theater, 160 Fountain St. NE on the campus of Grand Rapids Community College.

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Shows are on Thursdays & Saturdays at 8 p.m. ith & Sundays at 3 p.m. (no w s n o i t c u d o r trical p ality theare universal in appeal. performances Fridays) ting qu a presen h themes that Jewis You don’t have to be Jewish to love Jewish Theatre

EnPointe BE A PART OF OUR ART.

Volunteer for Michigan’s only professional ballet company today and enjoy great benefits.

To learn more, visit grballet.com/volunteer

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Henry Matthews and Timothy Chester Janice R.F. Snyder Melissa Massara Scott and Rebekah Wierenga Nancy Bailey Abby Dilley Bari Johnson Michael and Nancy Dodge Ann Houser and Nancy Field Arthur and Gail Besteman Barbara O. Fisk Christine and Peter Albertini Clarice Geels Douglas and Patricia Klein Douglas and Rachel VanStrien Frank Kwiatek and Karen Maczuga Glen and Betsy Borre Susan Wold Thomas and Alexis Boyden Heather Monroe Thomas A. Wysocki Roy Brown Catherine Southwick Greg Carnevale and Diane Mahon Harvey and Phyllis Gendler

James and Mary Kay Wemple Jean Enright Jennifer McManus and Matt Borgula Joan Wilson JoAnn Abraham Joe and Linda Kirpes John R. Martino Jerry and Cheryl Bentley Julie Otterbein Karl & Joanna Van Harn Laura Kozminski Linda Campbell Thompson Mark Chancey and Thomas Owens Nancy Yagiela and Peter Spring Revs. Maurice and Sara Fetty Robert Heidenreich Twink Frey Chris Musil & Elizabeth McCarthy Musil Kathleen S Ponitz Adam McKeague Kevin J. Patterson Ben Tobar Jordan Hill

IN MEMORIAM Rebecca Woods (Frank Woods) Cyndi Ruffer (Nancy and Carter Huffman & Camilla and Maggie Martin) Joseph Aaron Wojczynski (Jim and Sandra Wojczynski) Clare D. Snyder (Janice R. F. Snyder)

Be a part of the art!

To make a gift, please contact Development Director Elizabeth McCarthy Musil at 616.454.4771 ext. 11 or elizabethm@grballet.com.

YOUR GRAND RAPIDS BALLET STAFF COMPANY Artistic Director James Sofranko Executive Director Glenn Del Vecchio Development Director Elizabeth McCarthy Musil Marketing Director Michael Erickson Production Stage Manager Mellissa Slack Asst. Costume Shop Managers Danielle Truss Brennan Smith Costumer Sadie Rothenberg Company/Facilities Manager John Ferraro Box Office Manager Kelly Herremans Artistic Coordinator/Ballet Master Dawnell Dryja Black Asst. Ballet Master Steven Houser Guest Services Manager Errol Shewman Pianists Brendan Hollins Lonnie Ostrander

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PRODUCTION CREW Asst. Stage Manager Margaret Elise Petersen Production Electrician Glenn Gould Production Properties Ben Knudstrup Production Audio Randy Hoekstra SCHOOL Director & Junior Company Director Attila Mosolygo Curriculum Coordinator Mindy Mosolygo Administrator SarahJean Bos Faculty Lara Faucher Connie Flachs Jillian Gasper Ednis Gomez Gina McFadden Claire Millard Yuka Oba Taryn Ortega-Furgeson Kara Taylor Jessica Winter-Troutwine Pianists Ryan Blok Kenneth Creager Idalmira Lopez Mark Moran Lonnie Ostrander Night Receptionists Mary-Ann Carpenter Madeline Harrington

CO M ING SO O N

CHART YOUR PATH TO

A New Adventure Be part of something special. Join a community that celebrates its ties to local culture, practices and appreciates the arts and gratefully honors the natural landscape. That’s Keller Lake.

AT KELLER LAKE NEW 62+ INDEPENDENT LIVING

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616-229-4808 | www.ClarkRetirement.org/Ballet

Every day in We s t M i c h i g a n , more than 3,300 young people experience homelessness.

Source: Michigan’s Center of Educational Performance and Information

Yo u c a n h e l p t h e m g a i n s t a b i l i t y .

Arbor Circle’s Host Home Program is designed to address the needs of youth experiencing homelessness by connecting them with caring adults who can provide safe housing and support. This community-based approach is available to youth ages 18-20 and is made possible by caring adult volunteers like you.

To learn more, please visit our website: www.arborcircle.org/host-homes or contact Andrea Martin, Arbor Circle’s Housing Coordinator, at (616) 451-3001 or amartin@arborcircle.org.

1115 BALL AVE SE • GRAND RAPIDS, MI • ARBORCIRCLE.ORG • 616.456.6571 41

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2135 Wealthy SE, East Grand Rapids 43

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Learn about our legal services and our commitment to the performing arts at wnj.com.