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Children’s Ballet Book: The Furry Princess

December 16, 2018 by 4dancers

Furry Princess

Today we have a special guest – Vicki Crain, author of the new children’s book The Furry Princess. This book is centered around dance, and because of her background and experience in the field, she was the perfect person to write it. Vicki was kind enough to take the time to share some thoughts about the book, the illustrations, and the process of bringing everything together with us here today.


Can you tell readers a little bit about your background in both dance and writing?

I’ve been a dancer and writer for as long as I can remember. I was a dancer and teacher for a regional ballet company in Central Illinois. I also danced with a small modern company in Chicago for a season and performed for many years with a Chicago-based production company. In 2009, I started a dance blog – Rogue Ballerina – which covered dancers and performances in Chicago. That led to freelance writing opportunities with CS Magazine, TimeOut Chicago, Front Desk Chicago, SeeChicagoDance, and Dance Magazine, among others and eventually lead to my current job as Marketing Manager at The Joffrey Ballet.

What made you want to write this book? How did the idea present itself to you?

I was talking with my friend (and boss at the time) and he asked me what I wanted to do with my life. I thought for a second and said, “Write children’s books.” I think I’ve always wanted to, but never realized it as a real possibility until that moment. He wrote “furry princess” on a post-it (that was a nickname for his dog) and said, “OK then, do it.” I went home and wrote the original manuscript that night and gave it to him the next day.

The storyline is a very inspirational one. Can you give our readers the basic idea of the plot?

Princess Sasha is a tiger about to receive her royal tiara. She’s got big feet, she’s shy and clumsy, and is nervous about being presented to the kingdom. Her best friend and her Mom convince her to take ballet classes where she finds self-confidence, becomes more graceful, and falls in love with ballet. She meets many new friends (all animals) and learns a big lesson by the end of the book.

What do you hope children will take away from this book?

The main theme is Believe in yourself. If you fall down, get up and try again. Of course, I hope they fall in love with Sasha and find inspiration in her personal journey.

You have a very talented illustrator for this book. Would you share a bit about him and how you two met?

Chris (Christopher Scott Bell Illustrations) is so talented! We met at a restaurant where he was working. I was a former employee and came in for dinner and the bartender introduced us and said he was an artist. We immediately became friends and started discussing making the book. Chris was so enthusiastic and had so many great ideas to add – it was a perfect match! He went to art school and received a degree from the American Academy of Art, fine tuning concepts and the artwork for the book along the way.

What was your process for creating the characters? Were any of them based on people you know, or how did you form their personalities?

Sasha just came out of me. Her family and some of the other characters were initially named after and had some characteristics of my friends and family, but much of the original manuscript got cut once we started the illustration process where we decided what could be shown verses what we needed to say in words. The original story would have been a huge book if we kept everything in. Chris added some new characters and really built the world Sasha lives in. The three main characters – Sasha, Cami the Crane, and Mona the Monkey – all have different little bits of my personality.

Vicki Crain
Author Vicki Crain, photo by Cheryl Mann

Every creative project has a few magical moments. Special things that happen along the way. Can you share one or two of these?

The biggest magical moment was when Chris finally found Sasha. He had been revising and tweaking her style for a while. I loved all of them, but one day, he said “I found her!” He was so excited, and she was perfect.

Another is the addition of Cami and Mona to the story. One of Chris’s school projects was to create a cover for a book. He added in a monkey (he just likes monkeys) and a crane as a nod to my last name. They were so cute that we had to add them to the story. Honestly, I initially wasn’t thrilled about going back and adding to the story, but we are so happy with the final product. I can’t imagine the book without them.

Of course, the most magical moment was when we opened the first box and held the finished product in our hands.

It’s often challenging to collaborate with another artist. How did you stay on the same page for this project? 

Luckily, most of the time we were on the same page. There were a few instances when we had to talk through a change or addition. Chris can visualize what he wants, but I need to see it finished and then take time to think about it. For years, we met at least weekly (that’s how #tigertuesday started) and talked through every aspect of the story, the design, the text…everything! We took the book apart and put it back together to make it better many times. We really trusted each other and our talents and instincts.

What was the easiest part of this book project? What was the most difficult?

The easiest part, by far, was writing the story. The editing process was challenging mainly because it was so time consuming. Everything took much longer than we anticipated, but we wanted to take the time and make sure the final product was exactly what we wanted. That is the main perk of being self-published.

Can we expect another book from you? 

Yes! We are planning to publish three books in this series. We are tossing around plot ideas and hope to begin working on the second book in 2019.


If you’d like to purchase a copy of this lovely book, please visit the website for The Furry Princess.

Filed Under: Books & Magazines Tagged With: #tigertuesday, American Academy of Art, ballet book, chicago dance, Chidren's Dance Books, Christopher Scott Bell Illustrations, dance books, dance writer, dance writing, Princess Sasha, Rogue ballerina, The Furry Princess, vicki crain

Dance For Life Chicago 2017

August 16, 2017 by 4dancers

On August 19th, Dance for Life Chicago will once again take place at the Auditorium Theatre, and anyone who has attended in the past knows that this performance isn’t one to be missed. The atmosphere is always highly charged, as an enthusiastic audience comes together to support the dance community in our city. It’s a night like none other in terms of the variety of Chicago dance talent gathered together on stage.

Each year the performance is preceded by a Gala Celebration at Hilton Chicago, located nearby at 720 South Michigan Avenue. The show itself begins at 7:30, featuring performances from Giordano Dance Chicago, Joffrey Ballet, and Hubbard Street Dance Chicago, as well as Visceral Dance Chicago and Jessica Miller Tomlinson Choreography. Add to that a collaboration between Chicago Human Rhythm Project, Ensemble Español Spanish Dance Theater, and Trinity Irish Dance, and you have a full evening of dance – topped off by a finale choreographed by Randy Duncan. Carisa Barreca and Kevin Sciretta of The Second City will be the emcees for the night, adding a lighthearted touch to the festivities.

As if such a gathering of Chicago dance companies isn’t enough in and of itself, the proceeds from Dance for Life Chicago 2017’s benefit performance will be contributed to the AIDS Foundation of Chicago and Chicago Dancers United’s Dancers’ Fund, which provides financial support to dance professionals experiencing critical health and life issues. This yearly event has raised more than 5.5 million dollars since it began in 1992.

Visit Chicago Dancers United to learn more about the performance, the Dancers’ Fund, or to get tickets for this special event.


4dancers is a media sponsor for this event. We have supported Dance for Life for many years, and are proud to stand behind this cause and do our part to give back to the Chicago dance community.

Filed Under: 4dancers Tagged With: aids foundation of chicago, chicago dance, Chicago Dancers United, chicago human rhythm dance project, dance for life, Dane for Life Chicago, Ensemble Español Spanish Dance Theater, Giordano Dance Chicago, hubbard street dance chicago, Jessica Miller Tomlinson Choreography, joffrey ballet, randy duncan, Trinity Irish Dance, Visceral Dance Chicago

Dancing Christopher Wheeldon’s Nutcracker

December 23, 2016 by 4dancers

Joffrey's Nutcracker
Yoshihisa Arai and Cara Marie Gary dance in Christopher Wheeldon’s Nutcracker. Photo by Cheryl Mann

by Cara Marie Gary

I vividly remember the day Christopher Wheeldon came into the studio to start creating his world premiere of The Nutcracker. It was early August, and with enthusiasm, he said, “let’s crack some nuts!”. We instantly dove into the snow scene… I, however, might have dove a little too far. On that day I was attempting my first entrance as a snow soloist, where Christopher wanted the men to explode onstage with handfuls of snow and a few seconds later have the women burst from the wings and land horizontally in their arms. I was really excited to try my first step in the new production: run, run, run, jump…and that’s when I realized I had dove a little too far, bypassed my partner’s grip and literally found myself with my hands on the ground, my face inches from the floor. There were a few loud gasps and I could tell this definitely wasn’t the exact movement Christopher was hoping for, so without hesitating we gave it another try. This is not a moment I want to dwell on, but I tell this anecdote to portray how Christopher is a choreographer that inspires you to push your limits and go beyond your boundaries. His creativity and unwavering energy constantly drives you to try new things. I remember him once saying in rehearsal, “Let’s not think of it as fast, let’s think of it as exciting!”  The process of creating a new Nutcracker has been just that – fast and exciting. It has also been an experience I will treasure forever.

Group photo after Opening night in Chicago Photo Credit: Michael Smith
Group photo after Opening night in Chicago Photo Credit: Michael Smith

Just as Robert Joffrey’s 1987 version of The Nutcracker debuted at the Hancher Auditorium in Iowa City, Iowa, our first preview performances of the Christopher Wheeldon’s production took place at the Hancher, thanks to its longstanding partnership with Joffrey. I found this experience in Iowa City before the ballet’s world premiere in Chicago to be a tribute to the previous generation’s iconic rendition and also a memorable way to introduce the new generation’s reinterpretation.

What makes this Nutcracker unique from other traditional versions is that there is a new setting and storyline unique to our city and its history. The story takes place in Chicago on the Christmas Eve of 1892, before the grand opening of the World’s Columbian Exposition. Now focusing on an immigrant worker’s family instead of a wealthy Victorian family, the audience follows the story of Marie, her younger brother, and their widowed mother (who is revealed to be the sculptress for the fair).

I’m honored to be a member of the original cast of Christopher Wheeldon’s Nutcracker. Not only did I get to work with one of the best choreographers of this generation and 2015 Tony Award® Winner for Best Choreography for “An American in Paris”, but getting to meet and work closely with his creative team has been incredible! I’m forever grateful for the encouragement, corrections, and insight I gained from working with Christopher’s assistant, Jackie Barrett. She has a keen eye for details and kept the company on their toes–as she wouldn’t let a single step go unnoticed. The award-winning team also included author and illustrator Brian Selznick, Tony Award-nominated set and costume designer Julian Crouch, Obie and Drama Desk award-winning puppeteer and MacArthur Fellowship recipient Basil Twist, six-time Tony Award-winning lighting designer Natasha Katz, and Tony Award®-winning projection designer Ben Pearcy.

Cara as Marie with Yoshihisa Arai and Fabrice Calmels.
Cara as Marie with Yoshihisa Arai and Fabrice Calmels. Photo by Cheryl Mann

Knowing the experience and achievements of all of these people was a bit daunting, but working with them and learning from their expertise was a fascinating part of this creative process. Early on, the company worked directly with Basil Twist. We had multiple rehearsals where we’d discuss puppetry ideas that might be incorporated into the production, and he taught us techniques for working with silks to create movements that had life to them. We spent time learning how to maneuver puppet rats and create shadow effects, and in the beginning some of the puppetry was very raw and the techniques seemed a bit unclear. As dancers it was somewhat challenging to grasp how the puppetry would turn out, but Basil blew our minds with the final products; they were so realistic and created a powerful and dramatic effect!

During the creative process, it seemed that Christopher never slowed down or seemed tired. As a choreographer in high demand traveling back and forth to Chicago, he’d often step off an airplane, jump in a taxi, and walk straight into Joffrey Tower, ready to start rehearsals with enthusiasm. True to form, when he fell into the orchestra pit and broke his ankle during our technical rehearsals in Iowa, Christopher went to the hospital, got a cast boot, and came back to finish the rehearsal!

Working with someone like him is also inspiring because of the way he relates to his dancers – even the many children that are included in this production. Without ever raising his voice, his energetic presence was enough to keep the attention of the children, and he wasn’t forced to diminish the quality of his style; instead, he expressed how he wanted the steps to be executed in creative ways that children could comprehend.

Snow scene, Nutcracker
Snow Soloist, Cara Marie Gary (right), with Joffrey dancers. Photo by Cheryl Mann

With the company dancers, when tensions got high, Christopher told us to have confidence in ourselves and remember that with anything new it takes time to refine the details. He reminded us that it was a process and that we didn’t need to pressure ourselves to execute the steps perfectly on the first try. Although it sometimes felt like chaos, he assured us that everything would come together in the end, and it did!

I really appreciated how Christopher led us to approach our movement with layers and texture. He challenged each person to develop their own characters and come up with an inner dialogue – to find a personal story, believe it, and use it to add nuances to the choreography. I was very fortunate to be cast to learn the role of Marie, and in one of our final rehearsals, Christopher reminded me that Marie has a journey in this ballet. He told me the audience must follow her story and see it completed. As Marie, I not only physically placed myself in the scenes Christopher and his team developed, but I tried to incorporate myself emotionally in those scenes as well.

This was a fun process, because Marie has a younger brother, Franz, and in real life I have a younger brother, Coleman. He’s not so little anymore and doesn’t need my assistance with much, but I would do anything to protect him. Throughout the ballet I get to channel different emotions in this relationship – I’m protective when the teenage boys pick on him, sad when he breaks my Nutcracker, nurturing when I tuck him into bed, frightened when rats drag him away from me, terrified when the Rat Catcher threatens to kill him, and desperate when he’s tied up and held captive.

A deeper element that I was able to quickly relate to was the void in Marie’s family situation, as her mother is a widow taking care of her two children. In the ballet, Marie is surrounded by immigrant families with both parents and her dream is to have a complete family again. Marie’s imagination is piqued when the Impresario arrives on Christmas Eve and she witnesses him interacting with her mother – she finds herself hoping that one day they might end up together and fulfill that longing for wholeness.

Similarly, my father recently became a widower after my mother passed away due to ovarian cancer, and my dad, my brother, and I are learning how to do life in a different way, which is incredibly hard. I have a constant yearning to have my mother back in our lives, and the void she left feels irreplaceable. Although my personal experience is not exactly the same as Marie’s, many of these emotions naturally transfer to the way I portray her story and her feelings along the journey that she takes.

Photo of myself, Christopher Wheeldon, and Yoshihisa Arai Photo Credit: Alberto Velazquez
Photo of myself, Christopher Wheeldon, and Yoshihisa Arai Photo Credit: Alberto Velazquez

Of course, it wouldn’t be The Nutcracker without the title character! This is an element that has been kept close to many traditional versions – Marie’s Nutcracker doll given to her by the Impresario is transformed into a Prince named Peter, danced by my wonderful partner and friend, Yoshihisa Arai. Yoshi and I joined Joffrey Ballet at the same time in 2012 and this is our first full length ballet together as partners. He has been so encouraging throughout this process and I always have a sense of calmness when we dance together – a great asset when approaching a new character and dancing in a challenging production.

From the first days of my “crash course” in the snow scene to our currently full schedule of performances each night in Chicago’s historic Auditorium Theatre, I’m grateful to have had the opportunity to work with a world renowned choreographer and a powerful creative team on this fascinating world premiere. I’m also thankful for Joffrey Ballet’s artistic staff and my fellow coworkers who have worked diligently during this process, which has taken strong commitment, teamwork, responsibility, and determination from everyone involved. In the end, we know that our art form creates magic onstage for our audience members, and we look forward to sharing the magical experience of Christopher Wheeldon’s Nutcracker with people for many years to come.


Joffrey performs The Nutcracker through December 30th, 2016 at Chicago’s Auditorium Theatre.


Cara Marie Gary
Joffrey Ballet dancer Cara Marie Gary

Contributor Cara Marie Gary is a native of Belton, South Carolina. She joined The Joffrey Ballet in July 2012. Prior to joining The Joffrey Ballet, Ms. Gary danced with American Ballet Theatre’s ABTII and was an apprentice with Orlando Ballet. Ms. Gary began her formal ballet training at International Ballet Academy in Greer, South Carolina, under Hennadii Bespechnyi and Vlada Kvsselova. Ms. Gary received additional training at summer intensives with American Ballet Theatre, Brianskv Saratoga Ballet Center, Ukrainian Academy of Dance South Carolina Governors School, Ballet Spartanburg, and Chautauqua Institution. Ms. Gary graduated with honors from Belton-Honea Path High School and is currently pursuing a Business Administration degree online through North Greenville University.

In 2010, Ms. Gary was a competitor in the IX USA International Ballet Competition held in Jackson, Mississippi. She was a top twelve finalist in the Youth America Grand Prix National Finals in 2008 and 2009. She also received the overall Grand Prix Award in the 2009 YAGP regional semi-finals. In 2006, she was awarded a Diploma of Laureate at the VI Serge Lifar International Ballet Competition held in Kiev, Ukraine.

Ms. Gary has had the opportunity to tour throughout the United States and Europe. Ms. Gary has performed the title role in classical ballets such as The Nutcracker, La Sylphide, Don Quixote, Paquita, Markitanka pas de six, and Coppelia. Her repertoire with ABT II includes roles in the Flame of Paris pas de deux, Jerome Robbins’ Interplay, Antony Tudor’s Continuo, George Balanchine’s Allegro Brillante and Stars and Stripes pas de deux, Jessica Lang’s Vivace Motifs, Roger Vanfleteren’s Pavlovsk, Jodi Gate’s A Taste of Sweet Velvet, Aszure Barton’s Barbara, and Edward Liang’s Ballo Per Sei. Ms. Gary has performed roles in new choreography by Robert Hill. Her repertoire with Orlando Ballet also consists of Sleeping Beauty, The Nutcracker, and Swan Lake.

 

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Filed Under: 4teachers Tagged With: Auditorium Theatre of Roosevelt University, Basil Twist, Ben Pearcy, cara marie gary, chicago dance, christopher Wheeldon, Christopher Wheeldon's Nutcracker, Hancher Auditorium, Joffrey Tower, Julian Crouch, Natasha Katz, Obie and Drama Desk, robert joffrey, the nutcracker

The Magic Remains – Joffrey’s Nutcracker Transformation

December 13, 2016 by 4dancers

Joffrey's Nutcracker, Snow
The Joffrey Ballet in Christopher Wheeldon’s The Nutcracker. Photo by Cheryl Mann.

by Catherine L. Tully*

A different type of excitement buzzed throughout the Auditorium Theatre lobby Saturday night. In years prior the hum has always been the lively anticipation of a ballet that was a familiar favorite–a tradition for many people in the Chicago area. But Saturday the crowd whirred with a sort of nervous tingle, awaiting the reveal of Christopher Wheeldon’s new Nutcracker, choreographed just for Joffrey. Would it be as engaging? Could the production live up to its predecessor? And for many–will this ballet continue to be worthy of inclusion in holiday tradition?

As I write this, I’m doing so without my traditional reviewer’s hat, because The Nutcracker is supposed to be about capturing the essence of the magic that goes on this time of year. Magic can’t be dissected easily–nor should it. So instead I attended opening night as a Chicago dance lover, waiting with everyone else to see if this ballet would fill me with the spirit of the holidays as the lights began to dim and the crowd settled in all around me.

I won’t take you through the story piece-by-piece, but I would like to highlight a few things that are standouts in terms of adding a new dimension to this old favorite, starting with the sheer scale of the production. This version of the ballet brings the setting home to Chicago, around the time of the Columbian World’s Exposition. The set design and costumes by Julian Crouch are nothing short of spectacular, from the rapidly growing Christmas tree to the glittering skirts in the snow scene. Everything really looks fresh and new. Coupled with Benjamin Pearcy’s projection design and live music provided by the Chicago Philharmonic, all the elements are in place as a perfect foil, allowing the dancers to bring the story to life.

Chinese Dancer in Joffrey's Nutcracker
Joffrey Ballet company member Fernando Duarte as Chinese Dancer in Christopher Wheeldon’s The Nutcracker. Photo by Cheryl Mann.

Much like a successful movie director, Wheeldon is careful to preserve some of the story elements that are beloved to the audience, including the snow scene and the Arabian dancers. Other portions have been tweaked a bit, with Buffalo Bill and his ladies replacing the Russian dancers, and the addition of two large paper dragons alongside a lone Chinese dancer. Children are incorporated seamlessly into the ballet as snowflakes, soldiers, walnuts, and more, adding a bit of delight and humor to the mix. I love the fact that musicians are brought onto the stage and included as part of the cast, and Basil Twist’s puppetry is such a highlight that I found myself wishing his rodents had played a larger part in the story.

Wheeldon’s choreography vacillates between traditional classical movements and more innovative patterns throughout the ballet, challenging both dancers and the audience to reach a little bit beyond the standard, basic Nutcracker fare. At times I found myself missing things such as the “usual” pas de deux, but to be fair, it can take time to embrace change fully. On the other side of things, I welcomed modifications such as the shift away from waltzing flowers to the “fair visitors”, which expands the role of men a bit more in this ballet.

Undoubtedly, new favorites will emerge as this production takes the place of the old. It is difficult to re-vamp a cherished holiday tradition, but doing so allows for the possibility of renewed spirit that often comes with a fresh perspective. For Joffrey’s Nutcracker the magic remains–it has just been transformed into a delightfully new holiday experience.

*Disclosure – Joffrey dancer Cara Marie Gary and Music Director Scott Speck are contributors to 4dancers.org

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Filed Under: 4dancers Tagged With: Basil Twist, Benjamin Pearcy, chicago dance, Chicago Nutcracker, christopher Wheeldon, joffrey, New Nutcracker, the auditorium theatre, the joffrey ballet, the nutcracker

Preview: The Joffrey Ballet: Bold Moves

February 9, 2016 by 4dancers

Joffrey Ballet in RAkU
                         The Joffrey Ballet in RAkU. Photo by Cheryl Mann

by Catherine L. Tully

The Joffrey Ballet opens its Bold Moves program Wednesday, February 10th at Chicago’s Auditorium Theatre with one world premiere and two audience favorites. The evening will feature live music from The Chicago Philharmonic, with Joffrey Music Director Scott Speck at the helm.

Joffrey Ballet in Forgotten Land
Christine Rocas and Rory Hohenstein in Forgotten Land. Photo by Herbert Migdoll

Jirí Kylián’s Forgotten Land is the opening piece, set for 12 dancers, with music by English composer Benjamin Britten. Last performed by the company in 2012, this well-received ballet was inspired by an Edvard Munch painting of women staring at the sea from the beach. The choreography does indeed evoke water, its many lifts and swirling motions resembling the ebb and flow of waves.

Preview of world premiere:

Another work for 12 dancers, Ashley Page’s world premiere, Tipping Point, is the next item on the program. This piece is centered around the music, Thomas Adès’ violin concerto Concentric Paths. An award-winning choreographer, Page has a strong background in ballet, but this abstract piece focuses on highlighting human behaviors that are illuminated by the shifting tensions of the score. Take a closer look at how Page came to work with Joffrey in this post on Art Intercepts.

Joffrey dances RAkU
Fabrice Calmels and Victoria Jaiani in RAkU. Photo by Cheryl Mann

RAkU is the final piece in the Bold Moves program, and it is a truly unique offering. First created for San Francisco Ballet in 2011, Yuri Possokhov’s contemporary story ballet is based on the burning of Kyoto’s Golden Pavilion. The choreographer commissioned a score by composer Shinji Eshima, and the music illuminates the love story beautifully. A stunning visual piece as well, RAkU fits nicely with the program’s theme, as it leaves quite an impression.


Bold Moves runs from February 10th through the 21st at Chicago’s Auditorium Theatre.


Take a quick peek at the three program pieces here:

Filed Under: 4dancers Tagged With: Ashley Page, auditorium theatre, Bold Moves, Chicago Ballet, chicago dance, forgotten land, Jiří Kylián, joffrey ballet, RAkU, the joffrey ballet, Tipping Point, yuri possokhov

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