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Artists of Colorado Ballet by Mike Watson

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The day before the Colorado Ballet premieres a new ballet, school children are offered the opportunity to attend a full-dress matinee at a heavily discounted price. These special performances are essentially dress rehearsals complete with costumes, makeup, lighting, and orchestra. The crowd is young, loud, and rowdy, which is perfect for young kids who may otherwise have difficulty maintaining the formal decorum generally required of ballet attendees. On Thursday, February 27, my bouncing 8-year-old daughter and I, along with Yellow Scene editor, De La Vaca,  were treated to a delightful afternoon of Peter Pan in a theater full of elementary students.     

Almost everyone is familiar with the story of Peter Pan, the boy who never grows up, who takes Wendy and her brothers on a magical adventure to Neverland, a land of pirates, fairies, lost boys, and a Native tribe. The enchanting ballet is action packed, with high flying adventure, fighting, mild romance, and plenty of stage magic. Peter Pan is an excellent ballet to introduce the world of dance to children of all ages, and maybe reintroduce it to the child in all of us.

Peter Pan is originally choreographed by Michael Pink, who also choreographed Colorado Ballet’s Dracula. Colorado Ballet debuted the production in 2012, though it was first performed in 2010 at Milwaukee Ballet, of which Pink is the Artistic Director. It is loved by audiences, selling out quickly – possibly because of a shortened run; while The Nutcracker run had 26 performance dates, Peter Pan only has 9. Music was created especially for this ballet by Phillip Feeney and is performed by the Colorado Ballet Orchestra, with accompaniment by the Colorado Children’s Chorale.

Kevin Gael Thomas and Artists of Colorado Ballet by Mike Watson

One of the special challenges of performing this ballet is the trick of flying. The characters of Wendy, Michael, John, and Peter Pan each log some flight time, with the most extensive feats performed by Peter’s character. Our group’s afternoon experience was enhanced by a backstage tour, where we saw the rope and pulley systems that lift the dancers high above the stage; the flying effects in Peter Pan are provided by ZFX, Inc. A video on the Colorado Ballet website shows dancer Kevin Gael Thomas discussing how he and Francisco Esteves pull off that magic.

The dancers alternate performing the role of Peter with being backstage to call cues to the technicians lifting the onstage Peter. The flying that looks easy and natural onstage requires the precise coordination of at least four people. The dancers must learn to use their bodies in unique ways to create this wonderful fantasy of flight. Some of the more fantastical flight moments include Peter and the Darling children flying over London as they pass Big Ben and the Tower of London, and some of Pan’s antics, such as standing on Hook’s blade.

Also seen backstage was the gorgeous and intricate set piece of Captain Hook’s pirate ship. This large piece is cleverly designed by Rick Graham (Peter Pan Scenic Design) to be climbed by the dancers, glide across the stage, and be turned about to show both the outside of the ship and the rooms below deck. All of this shifting scenery is beautifully choreographed into the story. I appreciated a glimpse into the inner workings of the stage artistry which, we are told, is often done by other dancers helping out.

Leah McFadden by Mike Watson

Each of the beloved characters are brought wonderfully to life by the cast. The Tic Toc croc makes a wonderful, if brief appearance. The family dog, Nana is endearingly portrayed. Fernanda Oliveira’s Tiger Lily (alternatively danced by Asuka Sasaki) has powerful presence. Nicolas Pelletier (alternatively danced by Christophor Moulton) plays a dual role of Mr. Darling and Captain Hook, a clever contrivance, as Mr. Darling is a little bit of a bad guy in act one. 

My daughter was particularly charmed by the mischievous and feisty Tinkerbell. Her twinkling, light-up costume offered a new, non-Disney image to the familiar fairy. Kicking Peter in the shins, sticking her tongue out at the audience, and laughing after shooting Wendy from the sky, she’s quite impish, and played adorably by Mackenzie Dessens (alternatively danced by Leah McFadden). The children of the audience get a chance to interact with Tink by waving magic wands to bring her back to life. 

We caught a glimpse of the dancer backstage during our intermission tour as she scampered fae-ishly across the stage. I commented to our tour guide that she was staying in character, to which she replied that Mackenzie is just that fae in real life. Later that night, taken by the fairy’s naughty charms, our generally agreeable child perplexed her father by sticking her tongue out at him at bedtime.

Though I was captivated by most of the performance, a few issues grabbed my attention. Before going into the theater, I wondered how the story and appearance of Tiger Lily would be addressed in these current times, when we should all be aware of the issues facing Native people – and particularly Native women – who are missing and murdered at an alarming rate. Peter Pan was written in 1911 and is riddled with racism regarding Native representation. Some of today’s theater companies grapple with how to present the story while also honoring Native people. 

In Colorado Ballet’s production, I appreciated that Tiger Lily and her tribe of all women were depicted as brave and independent, fighting off the pirates on their own. Their costumes seemed skimpy and exotified in relation to traditional regalia and clothing, and compared to the costumes for the rest of the cast. A Native American woman who accompanied De La Vaca later in the evening for the final dress rehearsal found them skimpy but also well made and not plastic and cheap looking, as is wont in festivals and party representation all over, though we’d love if the costumes were made by actual Native people in appropriate fashion. 

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Christophor Moulton and Artists of Colorado Ballet by Mike Watson

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In Act 3, the Native women are captured by the pirates. They interact with their captors who seem to be celebrating, by alternately entertaining them with dances, and pushing them away. Some are then carried off into the rooms under the ship by the drinking pirates, leaving me to question what happens to them next, and whether this depiction bumps the rating of this children’s production to PG-13. When I checked in with my daughter, the nuances of this scene had gone, fortunately, over her head. 

As a parent, I believe it is my responsibility to balance fantastical depictions of culture with real cultural experiences and education. Our family has attended several local PowWow gatherings, where we can witness Native people in traditional regalia that they have made, participating in traditional dances and music. We will be sure to attend more of these gatherings and discuss differences between what we see there and what was depicted on stage.

Asked about these cultural concerns, Colorado Ballet provided a statement, not dissimilar to the one Disney+ added to their recently released collection: “Colorado Ballet respects and embraces all cultures. This story is an adaptation of the Peter Pan novel originally published in 1902 by J.M. Barrie and may contain cultural depictions that were common during that era.” 

Peter Pan captivates, with all the daring your childhood self remembers, brought to life brilliantly yet again, with explosions sure to startle, leaps into imagination guaranteed to make you crane your neck, and emotion enough to make you weepy. Make sure to see Peter Pan by the Colorado Ballet. Bring your sense of wonder with you. 

You can catch a performance of Peter Pan at the Ellie Caulkins Opera House from now until February 9. The Colorado Ballet is also hosting A Night in Neverland: A Colorado Ballet Gala on Thursday, February 6, 2020 at the Ellie Caulkins Opera House. Check it out online and make sure to attend this very exclusive trip to Neverland. PowWow gatherings in Colorado can be attended throughout the year. 

Leah McFadden and Artists of the Colorado Ballet by Mike Watson

Kevin Gael Thomas, Morgan Buchanan,and Chandra Kuykendall by Mike Watson

Kevin Gael Thomas, Christophor Moulton, and Artists of the Colorado Ballet by Mike Watson

Kevin Gael Thomas by Mike Watson

Kevin Gael Thomas and Simon Zinabu Costello by Mike Watson

Kevin Gael Thomas and Morgan Buchanan by Mike Watson

Kevin Gael Thomas and Leah McFadden by Mike Watson

Kevin Gael Thomas and Leah McFadden by Mike Watson

Kevin Gael Thomas and Leah McFadden by Mike Watson

Kevin Gael Thomas and Christophor Moulton by Mike Watson

Christophor Moulton and Artists of Colorado Ballet by Mike Watson

Christophor Moulton and Artists of Colorado Ballet by Mike Watson

Artists of Colorado Ballet by Mike Watson

Artists of Colorado Ballet by Mike Watson

Artists of Colorado Ballet by Mike Watson

Artists of Colorado Ballet by Mike Watson

Arianna Ciccarelli and Artists of Colorado Ballet by Mike Watson

The post Peter Pan Flies High with Colorado Ballet | Review appeared first on Yellow Scene Magazine.

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Francisco Estevez by Allen Birnbach for Colorado Ballet

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The time of Fall feasting has passed and December is upon us. You may now celebrate your chosen winter holiday with full enthusiasm. What more classical way to herald the magic of Santa season than by attending a live performance of The Nutcracker? Full of everyone’s favorite holiday traditions: partying, toasting, dancing, that one weird relative, gifting, fighting, candy, and a fantastic dream sequence (or was it real?), the ballet is set to Tchaikovsky’s beloved suite, by far the best holiday music. Over a century later, we’re still not tired of it.  

The Colorado Ballet opened their 59th annual Nutcracker production on November 30, running through December 29 at the Ellie Caulkins Opera House. The production has been a staple of the Colorado Ballet since its beginning, and has evolved over the years as the company has grown from small theaters into the company’s current home in the gorgeous Ellie Caulkins Opera House.

I attended the evening showing on December 1 with my 8-year-old daughter. She joyfully joined the ranks of the many who can say that The Nutcracker was their very first ballet. As the curtain rose, along with the musical score, played by the Colorado Ballet Orchestra, conducted by Adam Flatt, my young companion and I slipped into the magical realm of sweets. As we both became absorbed in the story, it slowly dawned on me that, though I have watched numerous Nutcracker productions on television, sometimes badly dancing along, this was my first live viewing. As always with live performance, the depth and quality of the experience is enhanced by being submerged in the same space as the performers, breathing the same air, exchanging our appreciation for their offering.

Chandra Kuykendall, Christophor Moulton and Artists of Colorado Ballet by Mike Watson

Everyone has their favorite Nutcracker dance sequence. Invariably, I get excited about the Arabian Coffee dance. I’m always hoping to see it performed with a slinky sensuality that matches the music. And maybe sometimes when I’m arabesque-ing around my living room, I try to emulate that sinuous style. Chandra Kuykendall and Christopher Moulton performed the Arabian dance with perky precision, like a perfect morning cup, hitting each lift and spin with clean efficiency. My daughter loved all of the internationally flavored dances of Act II, but was most tickled by the antics of Mother Ginger. The large puppet contraption, manned by Alejandro Perez, comically cavorted through a series of moves which all elementary aged kids will recognize, such as Orange Justice, the Dab, and the Sprinkler.

I tried to keep the bouncing enthusiasm of my child in check, but when the entire audience became rowdy, whistling and yowling for Sugarplum Fairy, Dana Benton, and Cavalier, Yosvani Ramos, she gleefully let loose. I’d previously attempted to lecture her on how one behaves at the ballet, but, apparently, woo-hoo-ing is acceptable Nutcracker decorum. They were marvelous and absolutely deserved the positive feedback. Yellow Scene editor, De La Vaca, attended a student performance a few days later and personally attests to the glorious irreverence of children engaging this fantastic production, an overwhelmingly gleeful enthusiasm often lost in adult only audiences.

What fun it was to be cheering as one among the more than 50,000 audience members who attend a Colorado Ballet Nutcracker performance annually. As well as offering public Nutcracker performances, the Colorado Ballet serves the community through their Education and Community Department, which company director, Gil Boggs calls one of Colorado’s hidden gems. This branch of the company offers free Nutcracker performances by Colorado Ballet Academy students to Title 1 schools, and steeply discounted $2 ticketed performances to DPS schools.  

The production is so loved that audiences voted it Best Nutcracker in the Nation for Gold Star’s 2016 award. Charmed by the lively sets and sparkly costumes, and the classical choreography after Marius Petipah, the original Nutcracker choreographer, we could quickly see why this production is so esteemed.

What we could not see clearly from the audience, we learned later in a press event held by company director Gil Boggs, is how the beautiful sets and costumes are falling apart. Clara’s nightgown is shredded and torn. The great Mother Ginger puppet is taped together. The Rats must wear goggles to keep costume debris from blinding them inside of the costume helmets. The Nutcracker doll’s head is glued on. Once, during a performance, the Nutcracker’s head popped off, and its arm broke off, sliding into the orchestra pit. And the smell of the Prince’s tunic, we are told, could probably lift the Sugarplum Fairy all on its own.

Emily Speed and Sean Omandam by Mike Watson

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The costumes were created thirty years ago for the San Francisco Ballet, and purchased second-hand by the Colorado Ballet fifteen years ago. They have been worn since then for 28 performances per year. That’s quite a lot of wear, tear, and sweat buildup. The costumes and sets require more and more repair work after every performance, and after each year, and are ready to be retired. This will be the final season for the current set and costumes.

The company has launched #GOFUNDTHEMAGIC, a crowdsourcing campaign to help fund new sets and costumes, so Colorado Ballet’s The Nutcracker may continue to delight audiences for years to come. Managing Director of Advancement, Adam Sexton, says that $1 million of the $2.5 million price tag has already been covered by company reserves and early donor gifts. The steep price includes costumes that will be handmade in the USA, and a warehouse to store the costumes and sets. One of the five costume companies they will be employing is here in Denver. Boggs says that he has already found two designers, and that he plans to keep the look and feel of the production traditional. He says this will be your grandmother’s Nutcracker. 

The crowdfunding campaign offers the community a chance to invest in a Colorado holiday tradition. Sexton reminds us, “This is Colorado’s Nutcracker. This is Denver’s Nutcracker. We wanted everyone to have a stake in this. The $100,000 [GoFundMe] goal is only 1/25th of our overall campaign goal, but we feel it’s really important to get buy-in from our entire community in building this.” 

Indeed, the Colorado Ballet’s Nutcracker is a holiday institution for the whole community. Those who donate to the campaign can consider themselves part of the magic.

 All images courtest of the Colorado Ballet.

Artists of Colorado Ballet by Mike Watson

Asuka Sasaki, Francisco Estevez and Artists of Colorado Ballet by Mike Watson

Emily Speed, Gregory K. Gonzales and Artists of Colorado Ballet by Mike Watson

Gregory K. Gonzales and Simon Zinabu Costello by Mike Watson

Gregory K. Gonzales by Mike Watson

Sean Omandam and Artists of Colorado Ballet by Mike Watson

Tyler Rhoads and Artists of Colorado Ballet by Mike Watson

The post #GoFundTheMagic – Colorado Ballet to Buy New Nutcracker Costumes, Sets with Community Investment appeared first on Yellow Scene Magazine.