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The Fervor of Tradition On Pointe: Contemporary Classics At Richmond Ballet

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At the opening performance of Richmond Ballet’s 2019-2020 season, prima ballerina Maggie Small gave a heartfelt farewell performance as new dancers made a strong first impression.

This past weekend kicked off the 2019-2020 performance season of Richmond Ballet, the state ballet of Virginia, with Contemporary Classics at the Dominion Energy Center. Featuring fan favorites choreographed by John Butler and George Balanchine, Richmond Ballet company dancers new and old impressed an immense crowd of family, friends, and children with poise and grace. “Themes and Variations” was performed by the company for the first time in the organization’s existence, and “Carmina Burana” was the send off to retiring prima ballerina, Maggie Small.

Sabrina Holland and Anthony Oates in Theme and Variations. Choreography by George Balanchine © The George Balanchine Trust. Richmond Ballet. All Rights Reserved. Photo by Sarah Ferguson.

With a live score provided by the Richmond Symphony, “Themes and Variations” is quite possibly my favorite Balanchine work performed by Richmond Ballet yet. Lead roles were held by Sabrina Holland and Tony Oates, and they were powerful displays of prowess within the art form.

Tchaikovsky’s chamber sounds were meant to be felt, accompanied by the long lines of ballet. From toe to finger, the audience was left enthralled, peering onto the Carpenter Theatre’s stage and witnessing effortless execution. I must say: brava, Holland. Artistic Director of Richmond Ballet Stoner Winslett said herself that she’s “been saving this for a company strong enough to perform. And after 40 years, we have it.”

After the intermission, and as the audience returned to their seats, the walls and aisles of the first and second floor began to fill with choral singers dressed in long black garb. One hundred operatic voices from the VCU Commonwealth Singers and the Richmond Symphony Chorus erupted into the resonant overture of “Carmina Burana,” a sixty-year-old ballet that is recognizable to even the least informed patron.

Maggie Small in Carmina Burana by John Butler. Richmond Ballet. All Rights Reserved. Photo by Sarah Ferguson.

With this mighty presence, and a subject matter as ripe as peaches, Maggie Small took the stage one last time alongside other leads by Cody Beaton, Fernado Sabino, and Ira White. Each were as phenomenal as you can imagine, sending Small off to retirement with gusto as she performed what some would call her magnum opus.

Contemporary Classics only showed three performances with a run-time of about 90 minutes, and the only thing I wish was different was that it lasted just a little longer. We all did not want the night to end, for Small to walk off stage one last time, for the Symphony to pack up their instruments. But like all good things, it came to an end, and I’m glad I had the opportunity to see it happen. This performance was by far the most meaningful concert I’ve had the pleasure to see from the Richmond Ballet.

Dancers of Richmond Ballet in Theme and Variations. Choreography by George Balanchine © The George Balanchine Trust. Richmond Ballet. All Rights Reserved. Photo by Sarah Ferguson.

There’s still time to purchase your tickets to Richmond Ballet’s next performance “Studio One,” running from November 5 through November 10. Tickets are available through their website.

Top Photo: Maggie Small with dancers of Richmond Ballet in Carmina Burana by John Butler. Richmond Ballet. All Rights Reserved. Photo by Sarah Ferguson.

With “Contemporary Classics,” Richmond Ballet Says Goodbye to Maggie Small

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Before her final performance this weekend, longtime Richmond Ballet dancer Maggie Small shares her thoughts about a career spent on her toes.

For the season opener of the Richmond Ballet’s 2019-2020 performances, the company presents Contemporary Classics at the Dominion Energy Center for the Performing Arts this weekend, Friday, September 27 through Sunday, September 29.

Paying homage to some of the ballet’s roots, Contemporary Classics will offer two ballets: “Themes and Variations” by George Balanchine and “Carmina Burana” by John Butler. The program is accompanied by live instrumentation presented by the Richmond Symphony, in tandem with 100 choral singers from the VCU Commonwealth Singers and the Richmond Symphony Chorus.

The 2019-2020 season for the Richmond Ballet is one of many firsts and a few lasts. This season will be the last for company dancer Fernando Sabino. With Contemporary Classics, Richmond Ballet also bids farewell to long-serving company member Maggie Small. After the conclusion of Sunday’s performance of “Carmina Burana,” Small will officially retire from performance and assume a position on the administrative and fundraising side of the nonprofit ballet company.

Before she goes, RVA Magazine had the opportunity to sit down with her and listen to the highlights and takeaways of a distinguished ballerina.

“I’m excited to go out on something that I really care about,” Small said, “and to share that with so many people between the dancers, the artistic staff [of the Richmond Ballet], and soon to be the audiences, I just feel so grateful and supported.” 

Maggie Small and Ira White in Carmina Burana by John Butler. Richmond Ballet 2019. All Rights Reserved. Photo by Sarah Ferguson.

Small is a Richmonder through and through, having taken advantage of the multiple programs the Richmond Ballet currently has that promote and give opportunity to children who might not get exposure to ballet. She was a student of the School of Richmond Ballet and became an apprentice at 17, while still in high school. After working her way through both professional companies to a principal dancer, Small has accrued notable accolades for her career in ballet, including a cover shoot for DANCE Magazine in 2012.

“What I love about dancing is the way it builds between people,” Small said. “It’s an art that’s handed down from generation. There’s moments where you’re working with a ballet master and they translate how you work with people in the room into dancing. We’re family here, too. If we don’t work together, it just won’t work.”

Small, who could honestly say that ballet is her life, was the first to admit that it’s a hard line of work. There’s mental and physical exhaustion, torn ligaments, and broken bones — but she wouldn’t have had it any other way. The Richmond Ballet offered her a home when she was just five years old, and it will continue to be her home as she steps away from her principal role into a development role writing grants for the nonprofit. Who better to tell the story of the ballet than its own ballerina?

Sabrina Holland and Anthony Oates in Theme and Variations by George Balanchine. Richmond Ballet. All Rights Reserved. Photos by Sarah Ferguson. Choreography by George Balanchine © The George Balanchine Trust.

You can come say “thank you” to Maggie Small this weekend only at the Dominion Energy Center’s Carpenter Theatre. Friday and Saturday shows start at 7pm, and the Sunday show starts at 2pm. Tickets start at $25 and can be purchased on Richmond Ballet’s website.

Top Photo: Dancers of Richmond Ballet in Carmina Burana by John Butler. Richmond Ballet 2019. All Rights Reserved. Photo by Sarah Ferguson.

Richmond Ballet Opens New Doors with Performance Season Closer ‘Studio Three’

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Richmond Ballet’s annual performance season ended with the “Studio Three” concert, as a professional ballet company now entering its 35th year, and the 2018 Studio Three production on opening night resounded what I believe the Ballet represents: refined professionalism and paramount artistic expression. Richmond Ballet has operated as a non-profit organization for 61 years, awakening and uplifting the human spirit through the art form of ballet. One of my preferable forms of their enlightenment is their educational outreach through the School of Richmond Ballet and the Minds in Motion program instituted within Richmond Public Schools. These endeavors were strengthened after Studio Three’s opening night as Richmond Ballet held a ribbon-cutting ceremony for two brand new studios on their facility’s ground floor.

The performance opened with the reproduction of a 2012 premiere, “Gargoyles.” This piece stood as cornerstone for what ballet can do with classical repertoire, classical music, and a fresh theme. As always, dancer Eri Nishihara’s refined technique took my breath away with the poise she possesses, and Cody Beaton’s repetition of clawed hands while being seemingly manipulated by her partner was the most thought-provoking movements series of the night. Abi Goldstein and Thel Moore’s partnering had a blip of continuity that could have been interpreted as a mistake, but that was not my opinion. I was able to see, for the first time of my concert-going experiences, that these dancers are human, and that these dancers make a career in the performing arts. One of the most difficult jobs available. However, the duo owned that stage.

After a short intermission, Mayor Stoney entered the room and sat just in front of me for the world premiere of Katarzyna Skarpetowska’s “Awkarium.” This number featured 12 of the Ballet’s best, and it simply did not disappoint. Following the theme of a fluorescently lit aquarium, costume designer Fritz Masten, this year’s recipient of the Irene Sharaff Award, clad the dancers in leotards of blue and green with yellow stripes, making them truly reminiscent of a school of saltwater fish. Unique choreography and real fluorescent light stripes as a backdrop made the dance an experience, taking me inside the water. The piece featured excellent pointe, and when the company takes the piece to Salt Lake City on tour, the rest of the world’s ballet community will be in for a contemporary treat.

The audience was welcomed to the first-floor lobby at the end of the performance for a special ribbon-cutting ceremony of two fresh dance studios, named after founding board members and donors, aiming to increase School of Richmond Ballet students and Minds in Motion participants. After speeches from the nonprofit’s board, the Artistic Director, and Richmond’s mayor, three alumni from the School cut the ribbon, ushering in a new capacity for the historically-renovated building of Reynolds Metal Company. Alumni Ira White, Maggie Small, and Anthony Oates were the first among the crowd as Mayor Stoney followed just behind for the public unveiling.

Photos By: Sarah Ferguson

Review: Richmond Ballet’s ‘The Nutcracker’

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“The Nutcracker” on opening night was something to behold. On Sat. Dec. 9, Richmond Ballet premiered its annual festive production at the Carpenter Theatre for families and dance enthusiasts alike. With extravagant costumes and detailed set design, Richmond Ballet’s rendition of “The Nutcracker” is iconic.

The performance’s symphony played in the pit, and the curtains rose to the overture put forth from clarinets, violins, and French horns. Apart from the dazzling story, the live music was the most enjoyable part of the evening. Hearing that bassoon rip the run in “Dance of the Sugar Plum Fairy” was immensely satisfying.

Photo by Branden Wilson

The first act of the production begins as a story through movement with musical accompaniment, telling the old tale of a girl, a mouse, and a nutcracker. From the start, Richmond Ballet’s incorporation of their students in the School of Richmond Ballet and Richmond Ballet’s Minds in Motion Ambassadors into “The Nutcracker” is the program’s strongest quality by far. Yes, the art and skill are phenomenal, but to see Richmond Ballet put children from their dance programs alongside their company dancers – that accessibility is what makes this community stronger.

The props, pyrotechnics, and tech crew deserve shoutouts for their execution in that first act, as well as Lauren Archer and Matthew Frain’s performance. The second act is when the remaining company dancers take turns on the stage. Costuming from around the world accompanied cultural dances in the guise of ballet. Chinese, Spanish, Russian dances and more provided rich context in the “Kingdom of Sweets” for children and parents.

My favorite performances of the night went to “Marzipan (Mirliton Dance)” with Sabrina Holland, Marty Davis, and the cutest lambs I’ve ever seen. This piece epitomizes that accessibility for Richmond Ballet children to get an opportunity to perform with professional dancers. And the “Grand Pas de Deux” from Maggie Small and Fernando Sabino was breathtaking. Magnificent all around.

Photos by Sara Ferguson 

Richmond Ballet presents The Nutcracker

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The Nutcracker shines brighter than ever with redesigned costumes, heavenly new scenery, and brand new characters— including an elegant Swan Sleigh—all added to the 2015 production of the Richmond Ballet holiday classic. The wonder and magic of the season are set to come alive once again with sugarplums, chocolates, marzipan, coffee and tea, a dancing bear, life-like dolls, and sparkling flowers. From a battle beneath the branches of a mystical Christmas tree, to a winter white forest, and then off to a far-off kingdom of delectable sweets, The Nutcracker has become a favorite tradition for Richmond audiences, and with Tchaikovsky’s beloved score, this dazzling production is sure to bring joy to everyone’s December.

CLARA’S TEA PARTY

Join Clara and her friends for a special party after select matinee performances of The Nutcracker! Set in Dominion Arts Center’s festive Rhythm Hall, guests will enjoy meeting their favorite characters from the Kingdom of Sweets along with an elegantly seated tea and tasty sweets all accompanied by live piano. This intimate family event is an experience not to be missed.
Saturday, December 16
Friday, December 22

Review: Richmond Ballet’s “Trio” Uplifted Every Spirit Watching

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Richmond Ballet’s “Trio” transformed the Carpenter Theatre into three separate worlds with three remarkably presented ballets. Prior to the 2017 premiere of the “Trio,” RVA Mag was able to join the Richmond Ballet’s Company dancers as they prepared to present their repertoire to not only Richmond, but Norfolk as well. The rehearsals of “Gloria,” “Silence,” and “Journey” reflected what was executed on the main stage; the ballet master meticulously spot -checking and polishing routines for consistency and poise.

The curtain rose to “Gloria,” a choreographic interpretation of Vivaldi’s classic, and the work featured a marvelous collaboration between the Ballet, the Richmond Symphony, and the Virginia Commonwealth University Commonwealth Singers. This grandstanding, traditional ballet encompasses what dance is capable of in a multi-media digestion of artistic content. Vivaldi, a classic, would receive classical treatment within the confines of ballet, which I find boring from repetition, but this was never the case while I watched “Gloria.” The most notable performances of the piece coming from the second movement, comprised of three sets of gorgeous partnering, and the tenth movement, which featured a striking, articulated solo from Eri Nishihara.

My personal favorite of the night came with the second ballet, “Silence.” Originally a smaller work that premiered at New Works, choreographer Gina Patterson was commissioned by the Ballet to travel to Richmond and fully produce the work. This is how the floating pillar came to be, as well as the walking red dress performer. But, what truly captivated my interest about the choreographic layout was the highly-occupied space of dancers in a perpetual state of redress and organic redirection. With so much occurring at once, I always knew where to look. “Silence” is an outright breathtaking pillar of contemporary ballet. Also, special kudos to Fernando Sabino and Maggie Small’s performance.

Last in the “Trio” lineup was “Journey,” a form-breaking ballet consisting of an all-male cast. No other words can describe these twelve professional male dancers besides virtuous and essential. The piece’s original choreographer, Salvatore Aiello, crafted the work to honor the male dancer, who he had believed broke a glass ceiling in the industry. Men don’t just have to lift the women, but they can be lifted themselves. The most thought-provoking quote uttered during those rehearsals rang a little like, “You’re not lifting them, you’re catching them, so they don’t fly away.” That tenderness is the point, and that tenderness received a standing ovation.

Richmond Ballet’s next performance will be “The Nutcracker,” premiering on Sat, Dec 9, at the Dominion Arts Center.

Photo Credits: Sarah Ferguson