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A Dancer’s Reflections: COVID-19, Social Media and Art

June 23, 2020 by 4dancers

by Luis Gonzalez

Luis Gonzalez dancing
Luis Gonzales. Photo by Luis Coronas.

It’s hard to put into words how it feels to be an artist during this time. There is so much that we are undergoing that no one was prepared for. Globally people are dying, economies are on the verge of collapse, theatres are closed, ballet companies can’t perform or rehearse, dancers all over the world are going unpaid–with no promise of upcoming paychecks. Careers in the arts are decidedly of an uncertain nature, and so in that sense I suppose the lifestyles we’ve led have in some ways provided insight into what it takes to navigate chaos; and maybe sometimes to even thrive in it.

The enterprise of abrupt change bleeding into our lives can feel like a merciless, consistent and destructive threat as it does to many of our livelihoods and mediums for expression right now. Still all one has to do is look around and see where people are finding shelter from the anxiety and where they find the ability to still be exposed to growth from different perspectives. Art, music, dance, movies, and television shows. Stories are being told through many different mediums that make life within our bland confinements have color. If anything, the global pandemic has shown us all the level of resilience that the art within us can provide. 

I am no stranger to anxiety, and as I write I know that this is one of the many generous mediums I frequent whenever I find myself in need of the kind of peace that is only rendered through the process making a thing. I’m sitting at my desk with a cup of hot black coffee, looking out on to a rainy Georgia morning–just trying to process the fact the state of the world as it was when I went to bed just a few weeks ago was stripped out from under us. The one we woke up to was sick and uncertain and lonely, and – although some of them tried to convince us otherwise – no mentor, no politician, no figure of authority had any of the answers.

Luis dancing the Jester in Victoria Morgan’s Cinderella for Orlando Ballet.
Picture by Michael Cairns 

I remember having the feeling for the first time in a long time of not knowing what to do with myself. My season had dropped off at a time when I was probably in the best shape I’ve been in my entire career. I had come off doing a full length classical ballet where I was pushed to dance dynamic virtuoso steps that were outside of my comfort zone as the Jester in Victoria Morgan’s Cinderella, and we were going full speed ahead into the next triple bill which included Jessica Lang’s Lyric Pieces, Robert’s Visions, and Val Caniparoli’s Lambarena. My body, my heart, and my art felt in sync. In my experience, as well as experiences that have been shared with me, no career gives you that feeling all the time, and some don’t have it at all, but when it happens in dance it’s one of the most euphoric states one can experience. In many ways an abrupt drop-off from that can feel like withdrawal.

[Read more…]

Filed Under: 4dancers Tagged With: artistic process, covid-19, creativity, dancer, jessica lang, joffrey, Luis Gonzales, making art, Val Caniparoli, Victoria Morgan

Pushing Your Own Boundaries As A Dancer

December 1, 2017 by 4dancers

The Joffrey Ballet performs the snow scene from Christopher Wheeldon’s Nutcracker – photo by Cheryl Mann

Today we’d like to introduce you to Luis Eduardo Gonzalez, a company member from The Joffrey Ballet who will be writing for us here! Naturally, his first post for us will have a Nutcracker theme, since it is that time of year. We look forward to hearing more from him throughout the season!


by Luis Eduardo Gonzalez

The annual occurrence of Nutcracker, for most dancers in the United States, has become as inevitable as Christmas or winter. Just like the holidays and the weather, people have different ways of approaching the seasonal change. Some dread the cold and feel lonely around the intensely marketed time of the year, while others start playing Christmas music and whip out a Christmas tree the day after Halloween. We all know the music, the story, the process; it is easy to give in to the monotony and start to dread your 27th show of Waltz of the Flowers before you’ve even opened. We’ve all felt this way at one point or another, and maybe not even just with Nutcracker. Getting caught up with the potential stagnancy that routine can bring is a difficulty that we are all susceptible to at any point in a dance career, or in any career. There are, however, moments that if approached in with the right perspective, and with enough attention, can remind us to live in the now, and bring us back to appreciating how lucky we are to do what we do. It is too easy to forget that we have a career, or rather a medium, through which we use our gifts to provide special moments, and feelings to other people.

The casting journey

Christopher Wheeldon choreographed a completely new version of The Nutcracker at The Joffrey Ballet last season, after almost thirty years of the Company performing Robert Joffrey’s version of the production. The project was high stakes, and an ambitious undertaking for him, for us, and for everyone involved. To make sure that we had enough time to bring his vision to life, the snow music was waiting for us as soon as we got back from summer break in August. There are four male soloists in his version of snow, and because the dancer I was learning got injured, I was now one of them, and for my second season in the Company it felt like a great opportunity. We rehearsed for a little over a month. Day in and day out, altering steps, repeating sequences over and over, and trying to make sure we were doing the steps the way Chris imagined they would look. Casting came out a few weeks before the performances, and my name was not on it. I was confused, disappointed, embarrassed, and maybe a bit angry. No one had talked to me, no one had given me notes on how I could have improved on the work; it was as if my work for the last month meant nothing, like it had just been erased. Looking back, it seems silly to get upset over one role. In the large scheme of things this was definitely not a matter of life or death, but being a professional dancer means that you are the product your selling. Attaching your self-worth to the roles that you do or don’t get happens almost naturally.

After a night with a little Malbec, and a call with my family, I realized that at I had a decision to make. I could give into righteous resignation, make myself a martyr in my own head, and give up or I could fight for an opportunity to grow through this. One very helpful thing that came up in my memory was my teacher telling me that when you fall, making excuses stops the process for figuring out what lead to the fall. Defending yourself from something that might hurt you in a way stops you from growing. If the situation was hurting me, then there must be something to learn. This made me think of all the opportunities that we as dancers sometimes don’t take full advantage of. The truth is that we love what we do, passionately. We know this because the career is too difficult and requires too much sacrifice to do it without love, and it is that passion that hypersensitizes a fear of not being allowed to do it. With that in mind it’s easy to see how it’s silly to let changes in circumstance (the ballet, the choreographer, who is teaching class, the role you’re dancing) affect how much joy you get out of doing something that has such a significant place in our hearts.

Luis Eduardo Gonzalez photo by Michael Cairns

I remember the day that Chris came in to talk to the Company about the changes to the traditional story he wanted to see in his new version. The plot would now circle around the 1893 construction of the Chicago World’s Fair. The Land of the Sweets was re-envisioned as a still magical, but somehow more relatable and true wonderland of pavilions where the Waltz of the Flowers, was now the Fair Visitors, and Candy Cane, changed to Buffalo Bill. The best change he made, in my opinion was making Marie a humble immigrant girl in Chicago, raised by a single mother. Although the traditional story is beloved, and still heart warming the opulence of it was really not true to “the spirit of Christmas” but more importantly Chris’s nature. [Read more…]

Filed Under: 4dancers Tagged With: christmas ballet, christopher Wheeldon, joffrey, Luis Eduardo Gonzalez, Michael Cairns, nutcracker, snow scene, the joffrey ballet, the nutcracker

Battling Injury As A Dancer…

February 14, 2017 by 4dancers

Joffrey dancers
Cara Marie Gary with partners Fernando Duarte and Edson Barbosa. Photo credit: Cheryl Mann.

by Cara Marie Gary

My career as a professional dancer has been an incredible journey–and it has taught me many life lessons about discipline, commitment, sacrifice, and patience. Dance has always been my outlet for creativity and expression. I’ve gathered a variety of special moments throughout the years. For example, I still remember the exhilarating feeling I had after nailing my first challenging sequence of fouettes on stage. I’ve been blessed to travel and perform in incredible theaters all over the world, one of my favorite moments was performing at the Kennedy Center as Clara in Robert Joffrey’s The Nutcracker. I’ve also had stressful hair situations; in Christopher Wheeldon’s rendition of Swan Lake it was choreographed for me to entered the stage with my hair completely down and in a few seconds style it into a french twist that had to last throughout Four Little Swans and the entire ballet! I’ve had crazy things happen at gala performances like music stopping in the middle of a pas de deux and having to exit the stage and start completely over. As a dancer, you learn to be “ready for anything” and to be able to improvise if something doesn’t go exactly the way you rehearsed it.

However, what I wasn’t prepared for was an injury. [Read more…]

Filed Under: 4dancers Tagged With: cara marie gary, dance injury, dancer injury, joffrey, physical therapist, physical therapy, physical therapy exercises, professional dancer, rehabilitation, the joffrey, the joffrey ballet

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

Robert Joffrey’s Nutcracker – The Final Run

December 5, 2015 by 4dancers

Joffrey's Nutcracker
The Joffrey Ballet presents The Nutcracker. Photo by Cheryl Mann.

by Catherine L. Tully

The Joffrey Ballet opened its holiday classic, The Nutcracker on December 4th at the Auditorium Theatre. Many people have come to see this ballet as a “holiday tradition,” but next year Chicago will ring in a different version of this popular ballet…

A look back…

The current version of The Nutcracker was choreographed by Robert Joffrey in 1987. Performing the same version of this ballet for many years leaves a bittersweet feeling for many dancers as they look to the next season, and reflect on the past years…

This year’s opening night featured a combination of newer company dancers and those who have been around for a while in the cast. The underpinning similarity was that they were all radiant–from the party scene, through the finale. It can be challenging to bring a fresh approach to this ballet after so many years, but the energy was alive in well in the Auditorium on opening night. Of course, it certainly helps to have the live music provided by the Chicago Philharmonic, under the direction of Scott Speck.*

Joffrey’s production is indeed a beautiful one, complete with a stunning snow scene, lovely costumes, and many rich details. It has a very old-fashioned feel to it, which may make it a bit difficult to let go of in order to make room for the new production next year.

Looking forward…

That said, Joffrey has commissioned none other than Tony Award™ winning choreographer Christopher Wheeldon to re-envision the new Nutcracker for 2016, which definitely adds an air of anticipation and excitement to the mix. It also gives people in the Chicago area a unique opportunity to attend the last run of Joffrey’s old favorite one last time before they unveil the new version.

It should be a wonderful year to see this ballet, as the dancers will be putting their all into the roles that will be danced on the stage for the last time. A historic season!


Joffrey’s Nutcracker runs from now until December 27th. Both evening and matinee performances are available.


*Scott Speck is a contributing writer to 4dancers.org

Filed Under: Reviews Tagged With: Audtorium Theatre, Chicago Nutcracker, chicago philharmonic, christopher Wheeldon, joffrey, Joffrey's Nutcracker, scott speck, the joffrey ballet, the nutcracker

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