NYC > Minneapolis > Chicago: Adventures on the Road and Touring Tips

September 17, 2016 by Rachel Hellwig

Touring with a professional dance company is a maturing experience. The process tests you in many ways. Since joining Miami City Ballet, I have toured to Vancouver, Ottawa, New York City, Minneapolis, and Chicago. Every city is culturally diverse, but all share an appreciation for dance. I look forward to sharing several touring experiences with you from my recent three-city tour with Miami City Ballet…

It is a dancer’s dream to perform at Lincoln Center. As the home of George Balanchine and New York City Ballet, Lincoln Center has a high level of historical importance. The backstage area, dressing rooms, and even the elevator reminds a performer why Lincoln Center is so remarkable. Our week there included three dress rehearsals and seven performances. Every performance highlighted a piece that was created for Miami City Ballet. Liam Scarlett’s Viscera, Alexei Ratmansky’s Symphonic Dances, and Justin Peck’s Heatscape were among these works. The company also performed works by George Balanchine and Twyla Tharp. On Wednesday evening, we performed Balanchine’s Serenade. It was a high point of the tour. The company also performed Twyla Tharp’s Sweet Fields. This particular work by Twyla first premiered in 1996. It is extraordinarily spiritual onstage and was a true highlight to bring it to the Koch Theater. In fact, the audience reacted so well that we returned for a curtain call after each performance.

To finish off the 2015-2016 season, we performed in Minneapolis and Chicago. Both cities presented new venues and different inspirations. Compared to the New York step of our tour, we presented similar programming which included Balanchine’s Serenade, Peck’s Heatscape, Scarlett’s Viscera, Balanchine’s Symphony in Three Movements, Ratmansky’s Symphonic Dances, and Balanchine’s Bourrée Fantasque. The audience stood on their feet after each performance.

Touring Tips on the Road:

While touring, learning to reset and refocus is important. Below are a few suggestions on how to approach touring with your best foot forward….

#1: Remember your goals. Touring is a very exciting element of company life. Usually, the first thing you want to do is explore the city, but, it is important to remember that you are there to perform and work.

#2: Plan ahead. I recommend researching the area around your hotel or near the theater so you have an idea of what is available. It is helpful to know where you can grab food quickly before or after the show.

#3: Stick to your routine. On tour, the theater, the distance to the theater, and the studio space are different. This means it’s important to stick to your regular routine for preparing for class and performances. If you usually spend 45 minutes warming up before class, make sure you do so.

#4: Eat! Be sure to bring good snacks for the trip so you do not get stuck trying to find something last minute. I like to have a variety of snacks like Cliff Bars, trail mix, and bananas. Check to see if there is a refrigerator at the venue or in the hotel. In this case, I would be sure to have yogurt, veggies, humus, or deli meat.

#5: Sleep! I recommend turning in a little earlier than usual.

#6: Keep you head held high and be positive. Touring is one of the most rewarding adventures a dancer can be a part of. Not only will you have the opportunity to perform in theaters around the world, you will also have the chance to be introduced to new audiences. A main reason I enjoy performing on stage is to bring audiences the emotion of our art form. So enjoy every minute and dance your heart out.

Dreams Come True... Samantha at Lincoln Center. Jonathan Taylor — Dreams Come True…Samantha at Lincoln Center. Photograph by Jonathan Taylor

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Balanchine’s “A Midsummer Night’s Dream”: Revisiting and Reimagining

April 6, 2016 by Rachel Hellwig

By Samantha Hope Galler

Samantha in Balanchine’s "A Midsummer Night's Dream" with Boston Ballet in 2006. — Samantha in Balanchine’s “A Midsummer Night’s Dream” with Boston Ballet in 2006.

“If you will patiently dance in our round

And see our moonlight revels, go with us.”

-Titania

In 1962, New York City Ballet premiered George Balanchine’s A Midsummer Night’s Dream, based on Shakespeare’s comedy of love and magic. I remember thinking how ingenious this ballet was the first time I saw it.

I first became involved with the classic love story while training with Boston Ballet. At age 16, I performed as a hound dog, a member of the court, and an epilogue fairy. Needless to say, it was an exciting and eye-opening experience. Also, it was my first time working with Boston Ballet.

Now, 10 years later, I am revisiting A Midsummer Night’s Dream in my professional career. This time, I have been given the opportunity to learn a variety of roles, including Hermia, Act II Divertissement, and Fairies.

Samantha (left) as a Hound Dog in 2006 with Boston Ballet.

The ballet was set in June 2015 by Sandra Jennings. Since then, we have been coached on various sections of the production. As the performances approached, Sandra put the final touches on the show before it opened in March.

Along with revisiting the ballet, I am also revisiting working with Sandra Jennings. When I first performed the production with Boston Ballet, Sandra was staging it. At the time, I was training with Sandra’s mom, Jacqueline Cronsberg, and continued to work with her for many years. It has been a rare opportunity to work with both of them in my career.

“The course of true love never did run smooth.”

– Lysander to Hermia

Samantha dancing Hermia for Miami City Ballet, photo by Daniel Azoulay.

During the staging process, I spent time reading Shakespeare’s A Midsummer Night’s Dream so I understood the characters on a deeper level. Most importantly, I learned that Shakespearian comedy is different from modern-day comedy. Shakespeare’s comedies are stories with happy endings–their main purpose isn’t to make the audience laugh, although they often contain many incidents of humor.

Once rehearsals started, I was able to shape the characters by what I read, especially Hermia. MCB Artistic Director Lourdes Lopez, who danced the role of Hermia’s rival Helena during her career, coached Hermia, Helena, Demetrius, and Lysander along with other characters in the ballet.

Lourdes also brought in playwright Tarell Alvin McCraney to help us act out conversations and misunderstandings between characters. Our narrative is visual, so learning how to lay out a conversation without words for the audience can be tricky. But challenges like these are among the many things that make this art form so rewarding and exciting. I look forward to continuing my journey in A Midsummer Night’s Dream during our final weekend of performances.

Act II Divertissement, photo by Daniel Azoulay.

Never harm

Nor spell nor charm

Come our lovely lady night.

So good night, with lullaby.

– Fairies’ song

Miami City Ballet’s A Midsummer Night’s Dream will be performed at the Broward Center in Fort Lauderdale from April 9-10, 2016.

Dancing In The Land Of Sweets

December 8, 2015 by Rachel Hellwig

by Samantha Hope Galler

This year marks my 16th Nutcracker season. I have had the privilege of performing seven of those seasons in George Balanchine’s version of the Nutcracker, which premiered in 1954 in New York City.

Samantha Hope Galler's first Nutcracker role, a Polichinelle for Northeast Youth Ballet. Photograph by Nordel Studios. — Samantha Hope Galler’s first *Nutcracker* role–a Polichinelle for Northeast Youth Ballet. Photograph by Nordel Studios.

It is common for The Nutcracker to be the first performing opportunity dancers have in their pre-professional career. Once training intensifies, the requirements for Nutcracker can become more demanding. My first Nutcracker experience was with the Northeast Youth Ballet under the direction of Denise Cecere. With the Northeast Youth Ballet, I spent six seasons performing most of the roles in the ballet including Clara and the Dew Drop Fairy. The last couple years of my training were spent performing in Boston Ballet’s Nutcracker under the direction of Mikko Nissinen. Performances with the Northeast Youth Ballet and Boston Ballet were crucial to my understanding of future professional life.

Samantha Hope Galler as Clara for Northeast Youth Ballet. Photograph by Nordel Studios.

In 2009, I was first exposed to George Balanchine’s The Nutcracker with Alabama Ballet. During my five seasons with the company, I was given opportunities to perform many roles including the Sugar Plum Fairy, Arabian, and Lead Marzipan. One particular role I fell in love with was Coffee, also known as Arabian. I was chosen to perform Coffee for all five seasons. This repetition gave me time to refine this specific role while also exploring the other personalities that make the ballet unique.

Samantha Hope Galler as Coffee (Arabian) in George Balanchine’s The Nutcracker, Alabama Ballet. Photograph by Melissa Dooley Photography — Samantha Hope Galler as Coffee (Arabian) in *George Balanchine’s The Nutcracker* with Alabama Ballet. Photograph by Melissa Dooley Photography

At Miami City Ballet, rehearsals for George Balanchine’s The Nutcracker begin in September. It is a special time of year in which you hope to gain new experiences and bring something different to your audience. Performances span from the beginning of December until New Year’s Eve. This will be my fourth season performing as the Sugar Plum Fairy and my second with Miami City Ballet. Along with performing the Sugar Plum Fairy, I will performing the roles of Lead Spanish, Demi-Soloist Flower, Marzipan, Flower, Snow, and Party Parent.

As a little girl I had always dreamed of dancing as the Sugar Plum Fairy. Last season, when I saw my name on the casting list to dance the iconic role, I couldn’t wait to get to work. It was a new opportunity to perform a very rewarding and challenging role in a new home. On top of that, I was paired with a partner, Ariel Rose, who I had spent time dancing with in Balanchine’s Who Cares? at Boston Ballet. It has been really special to work with Lourdes Lopez on this principal role. The time Ariel and I have spent with Lourdes and Arnold and Joan Quintane this season has allowed us to bring our own interpretation to the dance.

George Balanchine’s The Nutcracker: The Sugarplum Fairy 2014: Miami City Ballet. Partnered with Ariel Rose. Photograph by Daniel Azoulay. — Samantha Hope Galler as the Sugar Plum Fairy in *George Balanchine’s The Nutcracker* with Miami City Ballet, 2014. Partnered with Ariel Rose. Photograph by Daniel Azoulay.

In George Balanchine’s The Nutcracker, the Sugar Plum Fairy holds a large amount of responsibility. She is the first and last Sweet to perform in Act II and is responsible for showing Marie and the Prince their way. When I revisit classic roles like the Sugar Plum Fairy I hope to show audiences what I’ve been working during the rest of the season.

Personal and professional lives are usually combined during Nutcracker season. It can be difficult to spend time with family and friends because of performances and rehearsals. We perform five to six times a week while also preparing for our second repertory program. Fortunately, my family usually comes to visit and see some of the performances. During my time off I like to read, write, or watch old TV shows like Friends on Netflix. Having an outlet allows me to reset and rest my brain from ballet.

Miami City Ballet will be performing George Balanchine’s The Nutcracker December 5-7 in Naples, FL, December 11-13 in Fort Lauderdale, December 17-24 in Miami, and December 27-29 in West Palm Beach.

Samantha Hope Galler. Photograph by Daniel Azoulay.

Contributor Samantha Hope Galler, a Bedford, Mass. native, spent 13 years training with The Ballet Academy, Inc., under the direction of Frances Kotelly in the Cecchetti Method. She performed six seasons with The Northeast Youth Ballet under the direction of Denise Cecere. She continued training, on scholarship, with Boston Ballet School and received the PAO Merit Trainee Scholarship. She received the NFAA Honorable Mention Award in Ballet. Galler spent summers training at Boston Ballet, Central Pennsylvania Youth Ballet and Boston Conservatory. She danced with Cincinnati Ballet in their 2008-2009 season under the direction of Victoria Morgan.

Samantha spent five seasons with Alabama Ballet under the direction of Tracey Alvey and Roger Van Fleteren. During her tenure there, she was promoted to principal dancer. She had the honor of performing some of her dream roles including Juliet in Romeo and Juliet, Odette/Odile in Swan Lake, The Lilac Fairy in The Sleeping Beauty, The Sylph and Effie in La Sylphide, Myrtha and Moyna in Giselle, Dryad Queen and Mercedes in Don Quixote, the Rancher’s Daughter in Agnes De Mille’s Rodeo. Her Balanchine roles included Dark Angel in Serenade; The Sugarplum Fairy, Arabian and Lead Marzipan in George Balanchine’s The Nutcracker™; and the principal roles in Allegro Brillante and Tarantella. She has also performed in Jiří Kylian’s Sechs Tanze, and Van Fleteren’s Shostakovich and Romancing Rachmaninov, both world premieres.

Samantha joined Miami City Ballet as a member of the corps de ballet in 2014. Since joining Miami City Ballet, Samantha has performed in various roles including as the Sugar Plum Fairy in Balanchine’s The Nutcracker and as the Harp Soloist in Balanchine’s Raymonda Variations.

Follow Samantha on her website and blog.

The Stages Of A Swan

October 20, 2015 by Rachel Hellwig

By Samantha Hope Galler

Before I could even understand the true meaning of ballet, I dreamed about dancing in Swan Lake. I would even fall asleep listening to the music of Tchaikovsky. In 2001, my mom took me to see a performance of American Ballet Theatre’s Swan Lake. Paloma Herrera danced the principal roles of Odette and Odile. I was so completely entranced. That performance solidified my love for dance.

Five-year-old Samantha (on the right) in dance class. — Five-year-old Samantha Hope Galler at the barre.

Years later, while I was dancing with Alabama Ballet, I had the opportunity to perform as Odette and Odile in the four-act Petipa/Ivanov version of Swan Lake.

Swan Lake was first was created by Julius Reisinger in 1877, but redeveloped by Marius Petipa and Lev Ivanov in 1895. The Petipa/Ivanov version stands as a base for many versions today.

[Read more…]

Inside My Dance Bag: Miami City Ballet’s Samantha Hope Galler

August 18, 2015 by Rachel Hellwig

Samantha Hope Galler as the Sugar Plum Fairy in Miami City Ballet’s "George Balanchine’s The Nutcracker". Photograph by Daniel Azoulay. — Samantha Hope Galler as the Sugar Plum Fairy in Miami City Ballet’s “George Balanchine’s The Nutcracker”. Photograph by Daniel Azoulay.

How many years have you been doing ballet?

I began ballet at the age of five, so twenty years now.

What are some roles you’ve danced with Miami City Ballet?

I joined Miami City Ballet in 2014. Since then, I have performed roles such as the Sugar Plum Fairy in Balanchine’s The Nutcracker and as the Harp Soloist in Balanchine’s Raymonda Variations.

What’s your favorite thing about ballet?

Being completely swallowed by light on stage.

What’s inside your dance bag?

I usually have about 6-7 pairs of Capezio Arias to rotate, gel toe pads, second skin, toe spacers, Sansha ballet slippers, two rollers, stretching stick, headphones, iPad, grey theraband, shoe scraper, fashionable duct tape, band-aids, Oragel, scissors, towel, hand cream, alcohol wipes to clean my feet at the end of the day, alcohol spray for pointe shoes, extra rosin, perfume, garbage bag pants, purity face wash, wine holder for my pointe shoes, Salonpas deep relief roll on, pliers, sewing kit, red stretch strap, and, for snacks, I always have Gu Brew and Quest bars to get me through my day if needed, plus tic tacs or mints.

Samantha Hope Galler. Photograph by Daniel Azoulay.

Samantha Hope Galler, a Bedford, Massachusetts native, spent 13 years training with The Ballet Academy, Inc., under the direction of Frances Kotelly in the Cecchetti Method. She performed six seasons with The Northeast Youth Ballet under the direction of Denise Cecere. She continued training, on scholarship, with Boston Ballet School and received the PAO Merit Trainee Scholarship. She received the NFAA Honorable Mention Award in Ballet. Galler spent summers training at Boston Ballet, Central Pennsylvania Youth Ballet and Boston Conservatory. She danced with Cincinnati Ballet in their 2008-2009 season under the direction of Victoria Morgan.

Samantha spent five seasons with Alabama Ballet under the direction of Tracey Alvey and Roger Van Fleteren. During her tenure there, she was promoted to principal dancer. She had the honor of performing some of her dream roles including Juliet in Romeo and Juliet, Odette/Odile in Swan Lake, The Lilac Fairy in The Sleeping Beauty, The Sylph and Effie in La Sylphide, Myrtha and Moyna in Giselle, Dryad Queen and Mercedes in Don Quixote, and the Rancher’s Daughter in Agnes De Mille’s Rodeo. Her Balanchine roles included Dark Angel in Serenade; The Sugarplum Fairy, Arabian and Lead Marzipan in George Balanchine’s The Nutcracker™; and the principal roles in Allegro Brillante and Tarantella. She has also performed in Jiří Kylian’s Sechs Tanze, and Van Fleteren’s Shostakovich and Romancing Rachmaninov, both world premieres. Samantha joined Miami City Ballet as a member of the corps de ballet in 2014.

Follow Samantha on her website and blog.

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