Ok, I know everyone is freaking out, thinking, “I need my Inside the Dancer’s Studio fix right now. Where is Beau Lipton?” The answer to that question is: Beau Lipton has gone missing (he’ll be back … he just texted me, relax). On a happier note, Ballet West just got back from touring to Wolf Trap and Chicago!  I had the pleasure to travel with the company to Wolf Trap for three days. After a successful show in VA, half of the company traveled back home, while the other half of the company traveled to Chicago to perform Sinfonietta (Kylian) at the Chicago Dancing Festival in Millennium Park.

Monday was a traveling day, which, aside from some major turbulence in and out of Denver, went smoothly. Tuesday was packed with dancing for the company. We took class at Wolf Trap on the slipperiest floor in existence. Luckily we danced on our own linoleum for the actual show, because I don’t think the patrons’ tickets said “Ballet West On Ice.” Despite the Ice Capade, moving around after being on airplanes the day before felt great. A few minutes after class, everyone was about their business when suddenly the building started to rumble. That rumble quickly became a ferocious roar; the theater was trembling so badly people were losing their footing! Before I knew it, crew and company members were running around, screaming with terror, heading for an exit. EAAAARTHQUAKE!!! … (parentheses joke here) I wish the earthquake was that eventful. The truth is that some people in the basement didn’t even know there was an earthquake! Being from San Francisco, the shaker felt like a routine. Just to be safe, we all had to evacuate the building to allow the experts to make sure everything was “ok.” Even though the earthquake wasn’t a 1906 San Francisco devastator, DC’s buildings aren’t equipped for much shake at all, striking fear into everyone (everyone’s fine). After the time we spent waiting outside (some people partially naked to take advantage of the sun tanning opportunity … you know who you are), we had a dress rehearsal. Following the dress rehearsal was a dinner break, which was kindly provided by the Wolf Trap Presenters, and some time to relax before the “real” show. We opened the show with Balanchine’s The Four Temperaments, moved on to Susan Shields’ Grand Synthesis, and closed with Jiri Kylian’s Sinfonietta. The show went really well (they usually do).

One of the interesting aspects of going on tour for dancers is adapting to unfamiliar theaters. I blogged (I like saying blogged) about the summer’s Utah Arts Fest, having it’s own beasts to battle. Sticky floor, small stage, etc … My personal beast to battle at Wolf Trap was looking out into the pitch black cave that represented our audience. The well lit view of dancers tends to be the opposite view for the people dancing on stage. The Capitol Theater provides a brighter house and exit signs to orient yourself while dancing. Wolf Trap, not so much. Other than that, the evening was perfect with beautiful weather and crickets to set the mood just right. Plus, the theater is a massive structure made out of tons of wood slats: the construction at Wolf Trap is beautiful.

The company had a little free time on Wednesday before heading to the airport. I toured the White House! The White House is a lot smaller than you would think, though I found the tour really fun (except for the part where we had to wake up so early, most of us only got about four hours of sleep).

The Chicago Dancing Festival spans multiple evenings with different companies from around the world performing every night at various venues around Chicago. The massive metal structure that makes up the Pitzker Pavilion in Millennium Park (where Ballet West has performed the last two summers) is a work of art itself. I was not one of the dancers to dance in Chicago, unfortunately, but I did receive some good feedback from the dancers that traveled there.

This year, Ballet West opened the Saturday evening show with Sinfonietta. Aidan DeYoung begins the ballet, running on stage and then doing a huge leap across center. He told me, “Waiting in the wings, to be the first person that ten thousand plus people see made me feel like I was going to explode. You could feel the people waiting for the show to start, it was fantastic. That piece (Sinfonietta) has a heartbeat.” Adrian Fry-Guy also gave me some insight on their experience there in Chicago. The highlight on Thursday was going to a Cubs vs. Braves game. Ballet West dancers filled the seats of a whole row (number six), which happened to be the free hat row for that game! So everyone received free Cubs hats, but the Cubs still lost. On Friday the company had class and rehearsal in the Joffrey studios. Adrian said it was difficult to dance after a day off and being on planes so much. Apparently the rehearsal was rocky but the show the next day was amazing. Adrian’s favorite part about the Chicago show was the support the dancers from other companies gave each other. At the festival, video feed is projected on a jumbo-tron for people way back on the lawn to watch. That feed is also displayed backstage on a TV for the dancers to watch. All the companies gather in the back when they finish dancing and watch the show. The dancers clap and cheer for each other; it’s great. Adrian thought it was also funny that everyone was watching this live art form on a TV.

 

Adrian told me something that was very interesting: even though we’re (Ballet West) very accustomed to performing Sinfonietta (in Salt Lake, Vegas, Wolf Trap and Chicago), dancing the piece feels like a different ballet at every new venue. For a dancer, the venue can make the exact same ballet a completely different experience. Touring is amazing in that respect.

I performed Serenade (Balanchine) at the festival last year. The moment I remember the most from last year was dancing a particularly serene section of Serenade (Balanchine) at twilight. The audience count was around eleven or twelve thousand (yes, 11,000 or 12,000 watching ballet). I felt so lucky that so many people (that don’t even know me) were sitting there, quietly watching me express myself on stage. I held Haley on pointe by her thigh as she slowly lifted her arabesque higher and higher until she about bent in half. The audience went from silence to a roar that I’ve never heard directed towards me in my life. I stood up, and the rush that filled my body was like none I’ve ever felt.

-Beau

Haley Henderson Smith

Soloist

Joined Ballet West in 2010

 

What age did you start ballet?

Really little … around three, recital stuff.

You danced in recitals when you were three?!

Yeah, I looked like Miss Piggy.  I had a lollypop and I curled my hair for every occasion.  But then it was really boring so I quit.  I started [dancing] again when I was eight.  It was called the Ballet Ventura School.  The name changed like fifty times though.

Where is that school?

That’s in Ventura, California.

How long did you train there?

From eight until I went to Royal Danish.

When did you go to Royal Danish?

I auditioned for the summer program when I was sixteen.  I turned seventeen that summer.  I actually turned seventeen the day they offered me an apprenticeship for the company.  So, I had two weeks to go home, pack and move to Denmark.

How was trying to find a place so quickly out there?

They (Royal Danish) found me an apartment, but it didn’t have a shower, it only had a bathroom.  It was like a converted office building.  So, we just had a toilet and had to shower at the theater.  But that was only for the first four months.

How long did you dance for Royal Danish?

Six full years, and when I started my seventh season I left.

Why did you leave?

Because I had been to ABT (American Ballet Theater) that whole spring and summer and became newly inspired.

So, what would you say are the differences between dancing overseas and dancing here in the states?

Well, I don’t know because Royal Danish is really specific.  Super job security, which can either create a very nice atmosphere or a lot of people that get “comfortable.”  So, in that company in particular I feel like they thought American people were really pushy and competitive.  And then you get back to America, and you see where it (the competition) can really push people to succeed.  Not having that job security and working in situations where you can get let go every year makes you work a little bit harder I think.  So, I found the drive and inspiration here.

What do you like the most about being here at Ballet West?

I mean, it’s the best company situation I’ve ever seen.  Salt Lake is such a nice place to live, and you’re paid enough to have a home.  It’s the perfect size company, so no one gets lost.  Adam [Sklute] is just really nice and normal and easy to talk to, which I’ve never ever seen in a director.  And I like all the people, and I like the rep.  I really like it here, a lot.  I’m not just saying this because of the blog.  People are so unhappy in ballet companies.  People here are content cause there’s not that much to complain about.

So, those are obviously all good things.  What is the most difficult thing about being a professional dancer for you?

(pause for about a minute) … I don’t know; it’s pretty good.  I mean, by Friday I’m pretty tired, but it’s a good tired, you know what I mean?

Do you have a routine getting ready for a show?

I get ready really fast.

Do you come to the theater last minute?

No … I always give myself plenty of time, just incase.  But I get there, and I’m ready in around ten minutes.

Ten minutes to go on stage and dance?!

No … Make-up, hair, costume.  Then I do a warm up.  I don’t have any lucky things I do.  I pray, but that’s not lucky.  I never go on stage without doing a barre.  I couldn’t even do that when I was young.  They say that’s a young thing (not taking barre before going on stage), but I always had to do it.  I pretty much have to try stuff on stage before I do it either by myself or with my partners.  That’s a little bit annoying during Nutcracker for Easton …

What would you say is your biggest asset as a dancer to the company?

I hate questions like that.  No matter how you answer it you sound conceited.  Years of professional experience, I guess.  That always helps a company.

How do you think your experience helps Ballet West?

I learned a lot at Royal Danish.  So much performing experience … we would do 130 shows a year.  The older dancers would teach you how to act and mime on stage, and really be a character.  And then when we (Haley and Easton) were on Broadway, we learned how to act.  That’s something I think I can bring to the company.  Especially for younger dancers, it’s helpful for them to see that you don’t have to be self conscious.  Because I know that I was when I was younger.  Maybe it’s just a confidence that comes with performing a lot.  I feel like when you’re young you’re so embarrassed that someone is going to look at you and think, that is so stupid.  And that’s all that really holds you back is feeling like you’re going to look stupid.  So, if you see someone that doesn’t care if people think they look stupid, I think that can really help to set an example.

Is there a role that you’ve always wanted to perform before you retire?

Oh yeah, the lead in Swan Lake.  Definitely.

Me too.

Odette?

Yeah, well, Odile too of course.  What is your favorite role you’ve done so far with Ballet West?

Chaconne (Balanchine).

What is your favorite ballet step?

Definitely not anything at the barre … I’d have to say an arabesque.

What’s your least favorite ballet step?

I know exactly what it is … Attitude pirouette, plie into en dedans pirouette (everybody get that?).  I freaking hate that.  They gave that once in an audition and I was like, are you kidding me?  That is the worst step in the world.  Hate it …

Yeah, I had to do that today in ballet class …

The worst step in the world …

HAHA!  So, What do you like to do on the weekend when you’re not dancing?

I always feel so lame ‘cause I’m not artistic.  Everyone else has a thousand hobbies.

Well, you’re obviously artistic.  Isn’t that why you’re sitting here doing this interview?

I don’t know though.  I don’t know if artistic in that way (dancing) really transfers over to artistic in any other way.

But that is your way of expressing your artistry, right?

Yeah but mine (artistry) pretty much ends with ballet.  I like spending time with my husband (Easton).  And I like spending time with my dogs, a lot.  And I like decorating my house.  I work in the yard a lot.  I’m very involved in church.  What else, I like reading, watching movies.  See, I don’t paint, I don’t craft or scrapbook.

Well, you like decorating your house.  That’s artistic.

Yeah, I love doing that.  I wish the budget was endless.

Everybody does.  What is the weirdest thing you have in your dance bag right now?

I mean, I have that big army knife, but that’s not that weird.

Big army knife?

Well, it’s like that big razor thing.  It’s huge … But that’s to shave the bottom of my pointe shoes.

It’s not to kill anyone or anything?  You know, people reading the blog would probably think that’s pretty weird.

Really?

Yeah … I mean, a big, huge knife in your bag?  That’s pretty weird.

 

Ok, new question … What’s the first thing that comes to mind when I say the word … Fiduciary?

(laugh for about a minute)

What’s the first thing that comes to mind?

Easton … Asking what fiduciary means eight thousand times in the [medical staff] meeting.  I actually started crying and shaking, I was laughing so hard.  That is not written down is it?

What?

Fiduciary.

On my question list?

Yeah.

Oh, yeah, look … (as I point to the word on my computer screen) “Fiduciary.”

-Beau “Lipton”

 

 

We were privileged this past week to have former Joffrey Prima Ballerina Maia Wilkins in the Ballet West studios to teach our dancers Gerald Arpino’s last creation “Ruth, Ricordi Per Due”.

From maiawilkins.com:

 

Christopher “Anderson” Anderson

Demi-Soloist

Joined Ballet West in 2001, promoted to Demi-Soloist in 2010

 

When did you start ballet?

I started ballet as a freshman in high school.  So, I was fourteen.

Where did you start ballet?

In Baltimore city at the Baltimore School for the Arts.

Is the Baltimore School for the Arts where you primarily trained?

Yeah, I didn’t have any training before then.  So, that’s when I started with ballet and modern dance.

What got you into ballet?

When I was a kid I did musical theater.  My mom was always trying to find activities for us to do as kids.  So, I didn’t want to go to the local high school, I wanted to go to the arts high school.  Then I couldn’t decide whether to go for theater or music.  I couldn’t do both (music and theater), so I was having trouble deciding.  The woman that was running the dance department somehow talked me into joining dance while I figured things out.  She assured me that I could always leave and do one of the other things (music or theater), and I just never left.

What’s your favorite thing about being a professional ballet dancer?

I like the challenge of what we do.  I like the athleticism of what we do.  I think that would be my answer.  I like being physical, and it’s nice doing something that you really enjoy doing as your vocation.

As far as the challenge of dancing is concerned, do you enjoy the physical part of the challenge?  The mental part?

Well, I guess we do a lot of the same stuff everyday or every season, but in a way we do a lot of different stuff.  So, we get to challenge ourselves in different aspects of movement, in different ways of the art form.  As far as the dance spectrum goes, I think we do a lot of different things, really classical stuff and really contemporary stuff.  So, it’s challenging in the sense of the adapting part, the actual dancing part.

What do you like most about being a part of Ballet West?

I like Salt Lake City a lot.  I like the lifestyle here; it’s a little bit laid back.  I like how, particularly now, we’re (Ballet West) forging a new path in the community.  We’re kind of finding a different identity as far as what we do.  We’re doing more contemporary work.  I feel like we’re drawing in a fresh audience and expanding the minds of Ballet West’s older audience base.  We’re trying to evolve, I like being a part of that.

Do you feel like the company has made that change because of Adam [Sklute] coming in as Artistic Director?

Well, I feel like when I first came here under Jonas [Kage], the new works that we were doing were in the same sort of direction.  That was a valid direction, but I feel like with Adam we’re doing a lot of new works in different directions.  It’s a lot broader.

Is there a role or a ballet that you’re dying to perform before you retire?

Not that I can really think of.  I mean, when I first started dancing I never thought that I would dance for as long as I have.  I was never one of those people that set a goal off like, “Oh, I really want to do this role!”  or anything like that.  I guess I’ve always been one of those people that’s more about the work.  For me, dancing the role in the studio is almost as rewarding as dancing the role on stage.  Obviously you don’t get the feedback from the audience, but for me it’s about doing the work.  I find the work of getting the movement the rewarding part of it.

So, you can enjoy everyday in the studio instead of just when theater week comes around.

Yeah …

Do you have a routine that you do to get ready for a show?

Ummm … not particularly.  I mean nothing out of the ordinary.  I come in and do class and go and dance, you know?

You don’t have a ritual or anything?

No … there was a principal at Boston Ballet that would have a cup of tea before he went on stage.  I don’t do anything like that.

You choreographed for Innovations last season.  What did you learn from that process?

You know, the thing I took away from doing that is how good the dancers were that I was working with.  I assume that translates across the company.  The dancers are just so good at what they do.  When I was younger in college I had to choreograph as part of the curriculum, but we had to do it so much that I didn’t really enjoy it, so it was kind of like work.  So then, fast forward twelve years later after being out of school, to choreograph without the burden of it being required and to be able to explore it was a lot more enjoyable.

Do you have a favorite Ballet West moment that sticks out in your head?

I’m sure I must … ummm … well I have one but I don’t think I can put it in the blog.

!!!

I would say one of my favorite Ballet West moments was when I filled in (the role of Pinkerton) doing Madame Butterfly (Stanton Welch) the night before I was supposed to do the next matinee.  I remember being at Starbuck’s and Adam [Sklute] calling me and telling me that I was going on that night.  Just kind of surviving that whole experience, coming to the end of that performance, and taking that curtain call … As far as a performance highlight for me I would say that was my favorite moment.

What do you think is your biggest asset as a dancer to the company?

I think I’m a pretty good partner.  I really enjoy partnering.  I think I can offer a lot of good advice for some of the younger guys.  I think I’m pretty good at picking things up and sorting through the logistics of things.  So, when it helps to have clarity from the dancers’ side, I feel like I can sometimes be of assistance when we’re resetting works that I’ve done before, that sort of thing.

What do you like to do on the weekend?

I like to do all kinds of things.  I like to play tennis with Beau Pearson.  I like to cycle a lot.  Road biking.  Mountain biking.  I like to do a lot of recreation sorts of things.  Going hiking with my dogs, stuff like that.

So, you like the nature aspect of Utah?

Yeah, but not camping.

The bugs?

Yeah, don’t dig the bugs.  Just the sleeping outside …  Now, if you get a nice cabin, that I’m down with.  But the tent on the ground … with the spiders … I have spider allergies actually.  I got bit by a spider when I was really young in Tennessee.  I had to be rushed to the hospital because it was like, “throat closing.”  So, there’s a little bit of justification behind being averse to camping.

Ok … last question.  If you were an animal, what would it be?

I’d be a dog.

What kind?

What kind of dog? … I would probably be … maybe a dachshund.

A dachshund?

Maybe a dachshund, you know?  Because they kind of have a mind of their own.  They’re willing to do what you want most of the time, but a lot of the time they’ll be like, I’m gonna do what I’m gonna do.  You know?  So, maybe a dachshund … I’m gonna go with that.

-Beau “Lipton”

Ballet West II hit the ground running last week, working all day on works under new direction.  Principal dancer, Christopher Ruud, has taken leadership as interim director of Ballet West II during Mark Goldweber’s leave of absence.  Ruud and other staff have been working hard with the dancers in class and on a broad repertoire.  For everyone that doesn’t know, Ballet West II is an exciting company that never lacks young energy and talent.  The dancers are busy all season performing at schools around Utah (Ballet West for Kids), working on their own repertoire, touring, and performing with the main company (Ballet West).  Fun fact: fourteen dancers from the current Ballet West roster started their careers in Ballet West II.

-Beau

During the summer I thought of an idea to bring the community closer to Ballet West by interviewing a randomly selected dancer each week.  I hoped this would help everyone learn more about the dancers they see on stage.  This idea made me think of James Lipton, so I’m calling the blog segment Inside the Dancer’s Studio with Beau “Lipton” Pearson (of course).  Along with the title comes a bit of humor (I can’t help it) as I and many others correlate with James Lipton’s genius (I also can’t help writing side notes in parentheses).  The first dancer who’s name was pulled from a [green, very expensive] hat was Whitney Huell, and I had the privilege to sit down and talk with her.

 

Whitney “Whitty” Huell

Artist

Joined Ballet West II in 2007, Ballet West in 2009

 

The famous question, when did you start ballet?

When I was five years old.  I didn’t start dancing seriously until high school at the South Carolina Governors School for the Arts and Humanities.  We did ballet about six hours a day.

Why did you start dancing when you were five?

I saw one of my sister’s [ballet] recitals when I was little, and my Mom asked me if I wanted to do that and I said yes, so I started ballet.  One day in class my teacher showed the students a video of the Kirov Ballet, and I saw adults dancing.  I didn’t realize that dancing is an actual profession, so I was like, oh cool, I want to do that.  I also did gymnastics from age eight through eleven.

What is your favorite thing about being a professional ballet dancer?

Having a fun job … not having to put on work clothes.  Getting up in the morning and taking ballet class.  I know that sounds weird but I love ballet class in the morning.  And just the fact that we don’t have a desk job.  That we get to move around all day.

So, that’s your favorite thing about being a pro.  What’s the hardest thing for you about being a professional?

Probably how physically tired I feel, especially during Nutcracker.  Waking up feeling physically drained knowing you have to do thirty three shows of the same thing.  Also, if I have an injury that’s bothering me.

What do you like the most about being a part of Ballet West?

I like the rep that we get to do; it’s full of classical and contemporary.  I like that we do an even mix of everything.

Do you have a favorite role you’ve performed here at Ballet West?

Fairy Temperament [from Sleeping Beauty 2011].

What did you like about that role?

It was my first real solo, and I just like it.  You’re in the entire ballet and it was classical.  I like Sleeping Beauty more than I thought I would.  Oh, another role was second theme from The Four Temperaments (Balanchine) [2010].

Are there any roles you’re dying to do before you retire?

That’s a good question … I wouldn’t mind just doing something with thirty two fouettes in the end, like a big pas de duex.  I want to do Tchaikovsky pas de duex (Balanchine), that doesn’t have fouettes but I love it.  Black Swan.  Oh, and I definitely want to do the turning girl in Who Cares (Balanchine).

Not that the role is a bad choice, but why the turning girl?

It’s just so fun!  It had all these tricky turns in it.  I did the variation at IU, but I want to perform it with the company.

What do you like to do when you’re not dancing?

Let’s see … I like to go out to eat.  I love eating out.  I like to watch movies.  I like to talk on the phone.  And I like to shop, but I usually end up window shopping because I have buyer’s remorse.

Is that because we’re “starving artists,” or would you feel that way even if you were rich?

That’s just how I am.  If I had a lot of money it wouldn’t be as bad, but I would still feel that way.

What food do you like to go out for?

I like sushi, pizza … about every two months I want a good burger.  Like a real one, not a fast food burger.

What about movies?

Dramas … You want to know what my favorite movie is?

Yep.

Gladiator.

Nice, Whitney … So, how do you get ready for a show?

Well, I eat an early dinner, usually pasta, around four.  Then I try to chill out for our break [before a show].  I get to the theater about an hour and a half before the show.  I get ready pretty early doing my hair and make-up.  Then when I get my tights on I warm up a little bit, not a whole class.  When I get up on stage I do a little inward prayer in the wings.  Like, please don’t let me fall …

What was your favorite Ballet West moment?  Can be anything while you’ve been here.

When Alex [MacFarlan] and I were learning the second theme from the Four Temperaments, we were on the fence about performing it.  The best moment was seeing my name up on the cast list that we were actually going to get to do it.  Oh, and when Adam [Sklute] told me I was in the “25 to Watch” in Dance Magazine.  I didn’t believe him at first …

What do you think is your biggest asset as a dancer to the company?

I like to jump.  I like big jumps and I like to turn.  I’d like to think I’m ok at them.

And the final question … What is your favorite word?

My favorite word?  (laugh)  I’ll have to think about that one … you mean my favorite word ever?

Mmm hmm …

Beau, that’s a weird question!  I’ll have to get back to you on that one.

You’ll have to get back to me?

Yeah …

-Beau “Lipton”

The new season has officially started!  The company is back in the studio rehearsing for the upcoming tour to Wolf Trap and Chicago.  One of the three ballets we’re bringing to Wolf Trap is Susan Shields’ Grand Synthesis.  The world premiere of Grand Synthesis was performed by Ballet West in the 2008 Innovations program.  I was one of the lucky dancers that Shields choreographed on back in 2008 and have been very pleased to have her in Salt Lake City again this week.  Susan is a wonderful person to work with in the studio.

Susan received the Choo-San Goh Award for choreography in 2006.  Her work appears in the repertories of many professional companies.  Susan’s dancing highlights include dancing for Mikhail Baryshnikov’s White Oak Dance Project, dancing in the Lar Lubovitch Dance Company for eight years and performing with the Mark Morris Dance Group.

-Beau