Minnesota Dance Theatre

MDT Spring Masterworks

Sat, 09 Apr 2022 17:06:52 GMT

Congratulations to MDT Company

MDT's final MainStage performance for the 2021-22 season at The O'Shaughnessy highlighted the diverse talent and artistry of the company dancers. From the storytelling of Loyce Houlton's/Samual Barber's Knoxville, Summer of 1915 , to Alexander Hille's/Leonard Bernstein's Chichester Psalms the performance was a rich, compelling experience for all.

Dancer Spotlight: Elissa Fonseca

Tue, 28 Apr 2020 15:32:21 GMT

Elissa Fonseca, originally from Utah, moved to Minneapolis in 2018 to dance with Minnesota Dance Theatre. Just having finished her second season, Elissa says, “It’s been amazing. I still feel so lucky to be here.”

And we’re lucky to have her here. MDT Artistic Director Lise Houlton agrees, “A muse, a collaborator, a great ensemble member, Elissa brings her unique qualities to the studio and to the stage. Precisely what the dance world needs. MDT is so fortunate to share her talents.”

Read on to learn more about Elissa’s background, her favorite MDT roles, and how she’s making the most of her time while staying at home. (And check out the slideshow of images below!)

Always Dancing

Elissa can remember as a child always dancing on her own, always wanting to perform. By age six, she started lessons at a small studio in ballet, jazz, contemporary, tap, and folk dance. By age 14, she had transferred to Utah Regional Ballet, where she could focus more on ballet, nurturing a glimmer of aspiration for a professional career in the art form. She danced with the second company there, and then her aspirations grew, leading her to train at the University of Utah on scholarship.

After graduating from college, she found herself at SALT Contemporary Dance, a new company where she enjoyed dancing for four years. Though the repertory was all contemporary, the dancers warmed up with a ballet class everyday. Elissa says it was an incredible experience, but she missed pointe work, so she started auditioning for companies that might give her the chance to do more ballet. Elissa says, “I figured ballet and pointe are hardest on your body, so I wanted to do that while I was still young.”

Discovering MDT

While on her audition tour, she discovered MDT and realized it was exactly what she wanted. In addition to offering an appealing spectrum of classical and contemporary dance, MDT is a smaller ensemble, so she’d have lots of opportunities to dance substantial roles. Also, she found Minneapolis to be a cool city, which would mean a lot to her and her husband Nate.

Recalling her first impressions of Elissa, Lise Houlton says, “The way of the audition dance world these days, I met Elissa through email with resume, video excerpts, and letter of introduction. All the elements of this electronic audition were instantly compelling to me. Her limpid and luscious improv, a powerful balletic grace, and a personality that was very present in this email introduction stood out. Genuine, humble, and transparent in her passion for dance, Elissa had me.” And so Elissa was accepted into the company.

Dancing full-time was new for her, and Elissa says that it’s allowed her to improve a lot, but it’s also much more difficult than she imagined. “You’re tired all the time, but it’s more rewarding too. I really value hard work, and I think to have a professional career it requires a lot of hard work, but it also requires a bit of luck and good timing.”

She says the most challenging roles for her have been the classical ones in Chopiniana and Boccherini Dances . In fact, she says that Boccherini Dances might be the hardest thing she has ever performed.

Also new for her was all the partnering that she was getting to do, and she loved it. Her favorite role so far has been Arabian in the Nutcracker Fantasy , and a big part of what made it her favorite was getting to dance with guest artist General Hambrick. Plus, Elissa says, “I’ve always been a sucker for Nutcracker; it’s so fun and magical. And I’ve always been interested in Arabian. And learning the role of Mother and working with Lise’s coaching, that has been really special.”

Beyond roles, Elissa says that MDT’s Carmina Burana has become her favorite piece to dance, as choreography and live music come together on stage, and the experience has deepened for her from year to year. “The first year we were all new to it, and it was like 'what’s going on?!' We were so focused on remembering the steps. The second time around, being more comfortable in it, I could really feel the magic of the show.”

And Lise Houlton sees the growth. “From the seductive, beautiful Arabian Princess in Nutcracker through her generous, commanding creative process of St. John Passion , and her ability to both inspire and realize the vision of a choreographer, is the mark of a true artist.”

Dance Interrupted

Since the COVID-19 pandemic hit Minnesota and forced the MDT studios to temporarily close, Elissa says she’s been on a roller coaster of emotions.

First, due to the need for social distancing, the MDT company season needed to end early, effectively canceling a number of upcoming concerts. The dancers had already been rehearsing extensively to prepare, and Elissa laments, “I’m really sad that we weren’t able to do those shows.”

Reflecting on those ballets that have been temporarily put on the shelf, Elissa says, “ The Enchantment is not easy, but it’s the perfect style for me. It’s ballet, but it also really moves in space and has sweeping port de bras.

“Also, the Rite of Spring . The music brings to mind growing up watching the Disney movie Fantasia . I think it’s the scene with the dinosaurs. It’s so earthy and makes me think of that prehistoric world. It’s such an athletic piece with strong dynamics. I’m more of a soft dancer, so I was excited for the challenge, to stretch myself in those ways.

“And then Alchemical Wedding . I was really looking forward to that one. It has nice partnering, playful yet soft and beautiful. I hope we can do them in the future, hopefully next season.”

A Dancer at Home

Now sheltering at home, Elissa feels sometimes patient, other times claustrophobic. She does take classes online to stay in dancing shape, but it has its limitations. “I can hardly take one step without kicking something.”

Despite the challenges, Elissa tries to move in some way everyday, with ballet barre, pointe work, Pilates, or some cardio. Elissa is also unwinding with some TV, tons of reading, cooking a bit, taking nature walks, and connecting with family and old friends. In fact, the MDT company, a tight-knit group, has stayed connected with little Zoom hang-outs, and even a trivia night planned.

Looking at the bigger picture, Elissa says she’s loving the way the dance community has banded together through this crisis. “It’s a strange comfort knowing everyone is feeling sad. I’m not alone. Friends, coworkers, and the company are reaching out to each other. The biggest thing is that we’re all in this together. It’s hard but gives me comfort knowing I’m not alone.”

Learn more about the MDT response to the COVID-19 pandemic here . Classes have moved online and plans are underway for the 2020-21 performance season. If you’d like to make a gift to support MDT through this challenging time, visit mndance.org/support .

Staying in Ballet Shape (While Social Distancing)

Thu, 19 Mar 2020 17:25:31 GMT

Dance schools around the world have closed their doors temporarily to help mitigate the spread of the coronavirus, and MDT is no exception . We’ll be closed at least through March 29, and ballet dancers of all ages are eager to know how they can stay in shape during this hiatus.

So what do we do when we can’t get into the studio for class?

While nothing replaces being in a studio, here are a few ideas for basic things that you can do in your home to target those essential muscle groups and keep yourselves limber and energized, ready to return to full-on dancing when the studios reopen.

These exercises for stretches and strengthening come from my experience with different conditioning programs as well as my experience as a teacher of both yoga and ballet. See the video below for a visual overview with more detailed instruction in the audio commentary. Draw from these options to create a program for yourself that you can do daily.

1. Breathe

I think one of the things we miss most about being in the studio is getting our energy moving through the body, and whether we realize it or not, we do that with the breath. Consciously taking some deep breaths is going to do a lot for our general mood and physical vitality.

At a couple points in the video series below, I have you take time to simply breathe, either while lying on your back and engaging the core abdominals, or standing with the arms lifting up and down. Use those moments to tap into the power of your breath and then let that awareness inform all the exercises that follow.

2. Engage the Core

One of the most important things we can do to stay in shape (whether just going on vacation or amidst a pandemic) is to maintain strength in the core abdominal muscles with some kind of daily exercise that targets those areas.

Engaging deeply and coordinating with the breath, exhale while drawing the lower abdominal muscles toward the spine and then allow for a natural expansion on the inhale. This practice can lead to a series of roll-ups, targeting those abdominal muscles in a smooth, controlled movement, keeping shoulders and legs relaxed to ensure the effort is coming from the core. If you know of other core-strengthening exercises, they can be added here.

3. Work Your Turn-Out

Turn-out isn’t something we get to exercise in everyday life or even in typical exercise, so it’s essential to target those rotating muscles to keep them in gear for ballet.

The video below shows three different exercises to work your turn-out. These come from “The Turn-Out Dance” crafted by Irene Dowd, who I studied Anatomy-Physiology for Dancers with at The Juilliard School. You’ll want to do eight to ten repetitions of each, on each side. Pay attention to the form so that you're honoring your alignment, stabilizing through the pelvis and using your core strength. Afterwards, you’ll want to be sure to stretch those turn-out muscles using the recommended hip stretches.

4. Backward Bending

Another thing we don’t get to do much in everyday life is arabesque, which requires arching the upper spine and extending the legs backwards from the hip. For this reason, we’ll want to be sure to include some simple stretches that have us backward bending.

In the video below, I include both a cobra stretch and long lunges for this purpose. Again, pay attention to form. Lengthen through the spine and use your breath in coordination with the movement. For the cobra, be sure to focus on the upper spine and use your back rather than your arms to do the lifting. Keep the back of the neck long. For the front leg of the long lunges, keep your knee positioned directly over your ankle to protect the knee joint. You might also add variations to increase the intensity, such as lifting your back knee off the floor, arching your upper back simultaneously, or raising your arms and balancing.

5. Footwork

Of course for ballet, we want to maintain the articulation and strength in the feet as much as possible.

If you have a TheraBand you might use that to do some point/flex with added resistance. You can also face a makeshift barre and do some slow prances in parallel, stretching through the feet and moving up to the demi-pointe. The combination that begins most of my ballet classes is a good one to do; it’s modified here with a shift onto the heels, lifting the toes, intended to engage the fronts of the legs. As always with a foot stretch, pay attention to the alignment of the ankles so that you're not sickling your feet. Also pay attention to elongating your spine, leading up through the top of your head and maintaining the poise needed for classical ballet.

6. Barre

While we may not be able to do pirouettes or grand allegro at this time, most of us have the space to do a ballet barre, and it’s one of the most sure-fire ways to stay in shape while away from the studio.

You’ll need to find a makeshift barre for support, such as the back of a chair or other piece of furniture. Various schools and even some ballet stars are livestreaming ballet classes on Facebook, Instagram, and via Zoom conferencing, and you can look for them if you need guidance for doing your barre from home. MDT is looking into possibilities for our own streaming classes — stay tuned for updates.

For all dancers, learning how to create your own barre combinations can be a valuable experience. We recommend that you at least do pliés, tendus, and dégagés. Also, practice your retiré pirouette position, various port de bras, and relevé balances. Explore creating your own barre combinations using the ballet class music that can be found on iTunes and other streaming services such as Pandora. Here’s music for a David Howard class that I recommend. It's straight-forward with standard tempos and introductions.

An Opportunity to Grow

Limitations are an opportunity. As dancers, we can use the limits of our space to focus in new ways and grow in the process. Through the conditioning exercises outlined here, you may discover new ways to support your technique for years to come, improving your alignment and targeting those vital dancing muscles. You’ll also cultivate a sense of self-discipline, keeping your training afloat until studios are open again.

The overview of exercises here is a small sample of what you might explore using various online resources for dance conditioning. Feel free to supplement with additional exercises or more advanced variations. Most importantly, make it a regular practice, perhaps once a day, five or six days a week, and then have fun with it.

Make a Gift to Support MDT

We understand these are trying times for everyone, and as you can imagine the arts are greatly impacted by coronavirus outbreak. If you would like to help sustain the MDT company and school through this time and you have the means, please consider making a tax-deductible gift to MDT today . We are thankful for your support and wish you good health.

MDT Response to Coronavirus

Mon, 09 Mar 2020 21:37:04 GMT

Scroll down for updates.

As the concern for Coronavirus increases in our community, we want to assure you that we are taking precautions at MDT to reduce risk and spread of the virus. We want to let you know about the protocols we are implementing in the MDT studios, as informed by The Center for Disease Control and Prevention and following the lead of other professional dance schools in the country.

First, we encourage all MDT students to take the basic measures to keep yourself and others healthy. Wash your hands with soap and water, avoid touching your face, and cover your cough.

We kindly request that if MDT students or their family members are exhibiting any signs of respiratory illness such as coughing or sneezing that you refrain from attending class until your symptoms subside.

Beginning Tuesday, March 10, 2020:

All classes will end 5 minutes early so that the barres can be wiped down.
Paper towels and disinfectant liquid will be available in every studio for cleaning surfaces after class.
Faculty, accompanists, and monitors have been advised about cleaning surfaces including barres, piano keyboards, and electronics.
Teachers will request the assistance of monitors and students (if age-appropriate) in spraying down and wiping their areas with disinfectant sprays and paper towels.

MDT staff is taking extra care to wipe down and clean surfaces, handles, and equipment at the studio. If you see something that needs attention, please let us know .

We encourage everyone to take the personal steps required to maintain the health and well-being of our community. We encourage you to visit the CDC's COVID-19 website to learn more about how you can keep yourself safe and assist us in efforts to prevent spread of the virus.

We will remain dedicated to keeping the studio a safe space for everyone. As the situation progresses, we will update this post on our blog and share via email and social media.

Please feel free to be in contact with our office at 612-338-0627 if you have any questions or concerns.

UPDATE 3/10/20: A previous version of this post suggested that those who have been exposed to anyone with these symptoms should seek medical attention to determine if you may have the virus without exhibiting symptoms. We have since received advice from a medical professional that people SHOULD NOT go seek testing for COVID-19 if they are asymptomatic or have not been exposed to a confirmed infected person. At this time that is not the protocol and there is no capacity for screening asymptomatic people.

UPDATE 3/13/20: To support the health and well-being of our students, company artists, patrons, and larger community, we have decided to postpone a couple upcoming MDT events that would have the potential for large numbers of people to gather in confined spaces. Our intention is that these steps, taken sooner rather than later, will help mitigate the spread of Coronavirus.

The postponed events include the following:

Celebrating Loyce , originally scheduled for tomorrow, Saturday, March 14, will be postponed to a later date, to be determined.
The Enchantment , originally scheduled for April 3-5, will be postponed to a later date, to be determined. If you have already purchased tickets for this event, you will be contacted directly regarding refunds and exchanges.

As of now, MDT classes for the Performing Arts Division, Young Children’s Division, and Open Division will continue as scheduled with the precautions outlined above.

The Open Division Open House will also continue as scheduled on March 28 and 29.

UPDATE 3/15/20: As we learned today of the closure of Minneapolis Public Schools through March 27, MDT&S will postpone all classes at least through that date, effective immediately. We remain committed to protecting the health of our MDT&S students, families, and our larger Twin Cities community.

For Open Division, classes will be canceled effective immediately at least through Sunday, March 29, and this includes the Open Division Open House previously offered on March 28 and 29.

For more information on school closings, read this letter from MDT Artistic Director Lise Houlton.

Memories of Loyce: Gifts Given and Received

justin.leaf@mndance.org (MDT Media) — Wed, 26 Feb 2020 19:53:45 GMT

Remembering MDT Founder Loyce Houlton with Judith Brin Ingber

This month, we celebrate MDT founder Loyce Houlton. It’s been 25 years since her passing, and we’re taking the opportunity to recognize her significant contribution to the cultural landscape of Minnesota and to the world of dance. We’ll gather on Saturday, March 14 for Celebrating Loyce , sharing about Loyce’s life and work. You’re invited!

In the meantime, we’ve met up with dancer, choreographer, and dance historian Judith Brin Ingber, who was friends with Loyce and around for the early years of Minnesota Dance Theatre.

Listening to Judith’s story, one gets a sense of the breadth of the region’s dance history, the connections made — not only within the local community, but far-reaching to include dance icons from around the world. As the names of Martha Graham, Merce Cunningham, and George Balanchine emerge, you realize Loyce’s gifts as a dance educator, choreographic trailblazer, and arts advocate who made an indelible impression on the region’s dance scene.

Picture It: 1960-something

Originally from Minnesota, Judith studied dance here and then left to train at Sarah Lawrence College in New York in 1963. She suffered a knee injury her junior year that led her to return to the Twin Cities to study arts writing specifically in journalism at the University of Minnesota.

Loyce had been teaching dance at the University and had recently opened her own school in Dinkytown. As Judith observed, “Loyce was transforming an extremely beautiful old building that included a large studio and a balcony overlooking the dance floor, affording a special view of the classes. She was imbuing young people with excitement, and David Voss was at her side.”

At the time Judith came to see what was happening in the new space, Loyce’s daughter Lise was a student in the school. “I watched Lise as a little girl doing a mermaid piece. She was around 11 years old and stunning.” (Lise went on to dance with Stuttgart Ballet and American Ballet Theatre and then returned to Minnesota, where she’s been MDT Artistic Director since 1995.)

The dance landscape until this time had included the Russian ballet tradition with Lorand Andahazy and Anna Adrianova, former dancers with the de Basil’s Ballet Russes, presenting grand ballets such as Sleeping Beauty at the Northrop Auditorium and teaching in their Twin Cities’ studios, plus a modern tradition propelled by Gertrude Lippincott, who was a master teacher and engineered bringing the Martha Graham Dance Company and other luminaries to Northrop soon after World War II. Also, Nancy McKnight Hauser, who had performed with the Hanya Holm company in New York, brought her version of Expressionist modern dance to both her Twin Cities’ studios and her Hauser Dance Company.

Judith had been familiar with this Minnesota dance landscape, but on her return to Minnesota she was struck with how Loyce was merging ballet and modern. “Loyce was doing this combo thing.”

In fact, Loyce’s influences included those teachers and choreographers Judith had experienced during her time in New York, primarily Martha Graham and ballet with the George Balanchine-Jerome Robbins mix. Loyce was blending these different approaches at the time she launched The Contemporary Dance Playhouse in 1961, and then in the following year, changed the name to Minnesota Dance Theatre (MDT).

After Judith’s study in the journalism program, she returned to New York to graduate from the eclectic modern dance program at Sarah Lawrence. Then she worked for Dance Magazine and also took classes with Merce Cunningham. She performed with Meredith Monk, becoming intimately acquainted with the avant-garde arts scene.

Andrea Schulberg Marvey, Ronald Holbrook, Daniel Seagren

Fast Forward: 1970-something

Judith returned to Minnesota once again in 1970. She had fallen in love and was getting married. At this point, Loyce had refurbished what is now The Cedar Cultural Center for her performances, and for classes she was using Dania Hall, once a Danish community center also located on Cedar Avenue.

Judith taught MDT students at Dania Hall in the summer program. “I recall watching Loyce teach the company class with David Voss and Marcia Halmers (Chapman) leaping side by side making an incredible arc in space with their huge jetes. Loyce’s rehearsals and classes were unforgettable.”

Judith began working at the Walker Arts Center, assisting their first performing arts curator Suzanne Weil with bringing in the boundary-pushing dance that was part of New York’s downtown dance scene. Motivated to give the Twin Cities’ young dancers a platform for showing their own original work, Judith convinced Weil to produce a program they called Young Choreographer’s Evening. (Almost 50 years old, it has continued yearly to this day, known as Choreographers Evening).

By this time, Loyce and Judith had developed a friendly rapport, and Loyce asked her what she’d be creating for the Choreographer’s Evening. Judith had in mind a piece that would need 11 dancers. Loyce said, “Well, take them from my advanced class. Let that be my wedding gift to you.”

Judith reflects, “Clearly, she was supportive of the evening to ‘loan’ me so many dancers and to let me rehearse them in the MDT studios. As I look back on it now that was really an incredible present.”
Judith reflects, “Clearly, she was supportive of the evening to ‘loan’ me so many dancers and to let me rehearse them in the MDT studios. As I look back on it now that was really an incredible present.”

The MDT company was now hitting its stride and toured to Spoleto, Italy. Meanwhile, Judith and her new husband Jerome had moved to Tel Aviv, Israel, where she worked with the Batsheva Dance Company. Judith recalls, “One day, I was crossing the street in our neighborhood. It was a teeny street two blocks from the beach, totally off the beaten path. I see a familiar couple across the street. I say, ‘Loyce?’ And she says, ‘Judy?’ and we both exclaim, ‘What are you doing here?’”

Believe it or not, Loyce and her husband William (known as Dr. Bill) were taking a side-trip from Spoleto and ended up in Tel Aviv on the same side street where Judith and her husband were taking a stroll. The Ingbers took the Houltons out on the town and had a wonderful time, cementing a friendship that had begun as dancers in Minnesota.

Loyce teaching while on tour in Spoleto, Italy

1980-something and Beyond

Eventually, Judith returned to the Twin Cities with their little boy, their second born two years later. She focused her work at the University of Minnesota dance program, directing it and teaching, her association with Loyce and MDT continuing as MDT dancers would come teach for the university program.

Reflecting on Loyce’s impact on Minnesota’s dance scene, Judith notes Loyce’s talent for bringing very important dance teachers to work with her students: Mme. Valentina Pereyaslavec, Francois Martinez, Brian Shaw, Scott Douglas, John Kriza, Mary Hinkson and other teachers from the Graham company. “They all had something new to offer dance students in the Twin Cities. Loyce was interested in working with the ballet people who would accept her blending modern techniques.”

Judith notes how Loyce was able to fill a need for teachers who understood up-to-date technique, which is what Loyce’s daughter Lise exemplified as she became a renowned interpreter at American Ballet Theatre of the works of Glen Tetley, a choreographer also known for his blending of modern and ballet.

“Loyce was very ‘of the moment’ that way. She went to New York often and then brought that New York sensibility to what she was showing and creating, taking influences that were au courant and doing them in her own way. A mark of her success was that her dancers went everywhere: Larry White to Martha Graham, Megan Hintz to Stuttgart, Toni Pierce-Sands to Ailey, Lise to Stuttgart and ABT. It shows what quality dancers Loyce was creating.”

Loyce and Mme. Valentina Pereyaslavec in the rehearsal studio

For more stories of Minnesota’s vast dance history and Loyce’s contribution to it, join us on Saturday, March 14 at 1:30pm in MDT Studio 6A for Celebrating Loyce , featuring stories, film, and live performances by the MDT company and school.

Everyone Gets to Dance Swan Lake

Thu, 13 Feb 2020 21:44:12 GMT

MDT’s Ballet Repertory Workshop for Adults

Minnesota Dance Theatre’s Open Division offers a regular schedule of open ballet classes at all levels for adults and teens, ages 16 and up. While these ballet classes offer great fitness benefits, the discipline of learning a classical art form, and the joy of dancing with live piano accompaniment, they rarely include the opportunity to dance specific choreography from famous ballets. That’s where our “Dance the Classics” series comes in.

For the past couple years, we’ve offered these biannual workshops that include two afternoons of immersion in the choreography of the great ballets of the 19th and early 20th centuries, including Swan Lake , Giselle , and Les Sylphides . The next workshop begins this weekend on Sunday, February 16, and we’ll be revisiting Swan Lake — back by popular demand, but this time with new content. (You can register here if you’re interested.)

For these workshops, the choreography is modified for an intermediate level so that more of our Open Division students can participate. Also, the dances explored are generally corps de ballet group dances, rather than solo variations, so that dancers can learn more about moving in formation, being meticulous about how they use the space and working collaboratively with others. Also, while typical ballet classes include simple piano accompaniment, these workshops use the fully orchestrated recordings, giving an extra boost of motivation.

Teacher Jennifer Murry also includes some background and history of the ballet to inspire students. She says, “I approach the class as hostess, inviting dancers to experience the beauty of timeless choreography in a personal way. It’s delightful to enjoy Swan Lake from the audience, but it is something else entirely to actually be part of a flock of swan maidens running into a line, stepping sideways, and using your port de bras to hide from Prince Siegfried.”

Open Division student Lynda Dahl participated in the fall workshop in which they learned choreography from the 19th century romantic ballet Giselle . She said, “I took the course because it was a chance to dance actual classical choreography, something I’d never have a chance at in my later years. What I really enjoyed about the session was learning the story behind the choreography. I was actually fascinated by the function of the corps de ballet.”

Participants have represented a wide range of ages, from mid teens to late sixties, and the workshop welcomes anyone of any gender, ages 14 and up.

Karena Casey, who took the Swan Lake workshop last year, is 55 and works in advertising. “I’ve been in a Swan Lake production so this was fun to do again and brush up on the brilliant choreography. The class was fun and comfortable, meaning I never felt put on the spot. The instructor was wonderful and encouraging. Regular ballet classes are more about practicing technique and standards of ballet. Choreography opens it up artistically, so it’s a bit freeing.”

For those Open Division students who are not interested in performing on stage, this workshop gives them the satisfaction of putting their ballet training to use, seeing what it has the potential to create.

Jennifer says, “It is pure joy for me to watch the pleasure in the dancers when they catch a glimpse of themselves in a famous pose or in a famous action, like ‘the hops’ in Giselle. Many told me how uplifted they felt by the opportunity to dance just for themselves.”

Inspired? Here’s information about the upcoming workshop with a link to register:

Dance the Classics: Swan Lake
Sunday, February 16 & Sunday, February 23
1:30 – 3:00pm | MDT Studio 6A
Teacher: Jennifer Murry
Registration fee: $50
REGISTER HERE

The workshop does not include a warm-up, so you are encouraged to take a ballet class beforehand. On Sundays, MDT offers open Intermediate-Advanced Ballet from 11:15am to 12:45pm, with optional pointe class from 12:45 to 1:15pm.

Nutcracker Fantasy Stories: Tales from the Dancers

justin.leaf@mndance.org (MDT Media) — Tue, 17 Dec 2019 15:52:53 GMT

MDT dancers and faculty recall sweet (and sometimes hilarious) Nutcracker experiences.

The Nutcracker has become such a tradition for American ballet companies and schools that almost all ballet dancers have had some experience with it at some point. It’s usually their first experience dancing in a full production, which gives them that essential performance experience that puts all their training in perspective, like "Ah, this is what it’s all about!"

Then that experience becomes an annual event, evolving over the years as the dancers may progress in level and in roles, from student to professional, from little mouse to Sugar Plum Fairy, experiencing different takes on the classic ballet with each production they may dance.

There’s always a camaraderie with other performers that emerges through the process, with backstage antics and onstage mishaps that go beyond the dancing and make for treasured memories. There are also milestone revelations about one’s place in dance from year to year.

For me, my first year dancing in The Nutcracker in my hometown with The Maryland Ballet I got to play the role of Fritz. I was 13 and enjoyed my time on stage so much that I remember after my final exit sitting on the top of the party scene stairs backstage and feeling a bit of sadness come over me, like I just wanted to be back on the stage. I couldn’t imagine my life without it.

A couple years later, after performing The Nutcracker with the visiting Donetsk Ballet, I determined to become a professional dancer. Fast forward 20 years and I was dancing the role of the Nutcracker in Minnesota Dance Theatre’s production of Loyce Houlton’s Nutcracker Fantasy . (See photo above, me pictured backstage alongside Katie Johnson and Justin Marie Miller.)

This beloved Minnesota production continues to thrill audiences and dancers alike (and performances continue through December 23 at the State Theatre). Today we share some Nutcracker memories from former and current MDT company members as well as guest artists and faculty, recalling how sweet (and sometimes hilarious) these Nutcracker experiences can be.

“I was dancing Snow Queen in 2011, alongside the wonderful Alexander Hille. When the snow begins to fall during the flurry, it all dumped in one massive clump on the snow couple. The audience could see it coming before I did. I could hear their gasps, and then it hit me! It was an exciting finish in the Land of Snow that night.” - Katie Johnson, former MDT company member

“I remember when I was dancing the Chinese divertissement one of us got our headgear tangled in Madame Bonbonniere’s skirt! We had to travel back and forth under her skirt trying to set her free while other toys were released. We finally were able to rip the tulle and escape. Very funny!” - Elizabeth Simonson, former MDT company member and current board member

“One of my favorite shows each year is our school show. The children are so excited, and we can feel their energy on stage. They are not afraid to react to what they see; they ooh and aah when the curtain is lifted and they first see the sets, they laugh loudly when they think something is funny, and sometimes they even cheer when the Rat Queen is defeated in the War. Their reactions are so genuine, and a good reminder of the awe and wonder deeply seeded in this show.” - Kari Schire, MDT guest artist

“Everyone got the flu including the little Marie, and Ariel Linnerson had to jump into the role for her even though she was way taller than most others, including me, the Sugar Plum Fairy.” - Sally Rousse, former MDT guest artist and current faculty member

"There was that time Peggy Seipp was playing the role of the Littlest Mouse and fell into the orchestra pit. Everyone was fine, but it was memorable... She later grew up to play the Sugar Plum Fairy and returns every year to guest teach for the MDT company and school." - Lise Houlton, MDT Artistic Director

“This photo was taken my very first year of performing in any Nutcracker production, exactly 20 years ago this year, when I was 8 years old. I was so excited to be in the Nutcracker as a Party Girl, and I honestly still to this day remember some of that choreography.” - Elissa Fonseca, MDT company member

Only four chances left to see Loyce Houlton’s Nutcracker Fantasy , December 20-23 at the State Theatre. Tickets available now at ticketmaster.com , the State Theatre box office, or 1-800-982-2787.

9 Ways to Give the Gift of Dance

justin.leaf@mndance.org (MDT Media) — Wed, 11 Dec 2019 16:46:48 GMT

Looking for holiday gift ideas? Give the gift of dance!

When you give the gift of dance, you share unique experiences that enrich someone’s life for days, weeks, and maybe years to come.

We’ve got a range of options, from show tickets to ballet classes, and we’ve got something for everyone, no matter their age or affinity, whether they love to be on stage, in the studio, or in the audience. Check it out and gift the gift of dance this holiday season!

1. Loyce Houlton's Nutcracker Fantasy

Give the gift of Loyce Houlton's Nutcracker Fantasy , that beloved holiday tradition that makes magical memories for generations to share. Featuring the thrilling MDT company with the 44-piece Nutcracker Orchestra. The show opens Friday, December 13 and runs for seven performances through Monday, December 23.

2. The Nutcracker Festivi-Tea

Give the gift of the Nutcracker Festivi-Tea , a pre-show tea party and backstage tour. If you're joining us for the matinee performance of Loyce Houlton’s Nutcracker Fantasy on Sunday, December 15, you can make it extra special with the Festivi-Tea Only a handful of seats remain – reserve yours today!

3. Carmina Burana

Give the gift of Carmina Burana , Minnesota Dance Theatre’s “multidisciplinary triumph," coming to The Cowles Center, January 17-19, 2020. It’s just a month away! This sizzling production, featuring MDT with the Minnesota Chorale and acclaimed vocalists is sure to warm up your midwinter chill. Back by popular demand for the fifth consecutive year – don't miss it!

4. Young Children's Division - Session II

Give the gift of Young Children’s Division classes, a joyful introduction to dance for ages 3.5 to 11. Session II begins January 27, 2020. With the guidance of dedicated teachers, children explore movement through imagery, music, and self-expression.

5. Ballet Fundamentals for Adults

Give the gift of Ballet Fundamentals for adults, a 12-week introduction to ballet for absolute beginners, ages 16 and up. The winter session begins January 7, 2020. Have you or someone you’ve known always wanted to take ballet but never had the chance? Or maybe you had some classes a long time ago and want to get back into it. It’s never too late to learn or begin again. Gift this experience in dance to yourself or to someone you love.

6. Dance the Classics: Swan Lake

Give the gift of Dance the Classics: Swan Lake , a ballet repertoire workshop for adults and teens, ages 14 and up. This workshop is a chance to learn classical repertoire and meets Sunday, February 16 and Sunday, February 23 from 1:30 to 3pm. Experience the timeless choreography, luxuriate in the gorgeous music, enjoy dancing with an ensemble. Appropriate for intermediate to advanced levels.

7. Open Division Class Cards

Give the gift of MDT Open Division class cards. For adults and teens ages 16 and up, MDT offers open drop-in classes throughout the year, seven days a week, for all levels with live piano accompaniment. If you or someone you love enjoy taking ballet classes regularly, class cards offer as much as a 25% savings and serve as great motivation for coming to class regularly, a great addition to your health and wellness routine.

8. Nutcracker Fantasy Swag

Give the gift of Nutcracker Fantasy swag! This year, along with our contemporary Nutcracker Fantasy graphic, we're offering a limited-edition reprint of a hand-drawn graphic of Madame Bonbonniere, circa 1974. Click below to see the many options for sweatshirts, t-shirts, totes and more, available just through Monday, December 23.

9. MDT Season Subscriptions

It’s not too late to become an MDT Season Subscriber . Sign up today and enjoy discounted tickets to MDT company performances throughout the year, plus exclusive access to special events and other valuable benefits. Note that subscribers get a whopping 50% discount on tickets to the Nutcracker Fantasy !

Nutcracker Fantasy Stories: Tales from the Orchestra Pit

Mon, 02 Dec 2019 21:42:49 GMT

Live music is an essential ingredient for Loyce Houlton’s Nutcracker Fantasy and for lots of what we do at MDT. It’s an honor to continue an age-old tradition of presenting dance with live music. It lends a spontaneity to the performances as the dancers and musicians tune into each other and create an especially vibrant experience for audiences.

The 44-piece Nutcracker Orchestra is something that sets Loyce Houlton’s Nutcracker Fantasy apart from the many other local Nutcracker productions, and not just for the exceptional quality that live music brings. Behind each of those “44 pieces” are 44 individual professional musicians, highly skilled, each with their own Nutcracker story.

Today we bring you two of those stories, both very heartwarming. One is from Chris Volpe. Between him and his father, that’s 53 years of trumpet-playing for the Nutcracker Orchestra – wow! And then the other story is from Renata Steve, a violinist whose daughter takes the stage this year as one of the adorable mice.

Chris Volpe’s Nutcracker Story

The Minnesota Orchestra used to be the orchestra for the Nutcracker Fantasy in the early days of production, and my father, Clemente Volpe, was a trumpet player with the Minnesota Orchestra for 41 seasons, so he played for it every year until the MDT began working with a freelance orchestra, which was when I started. Now I’ve been playing trumpet in the Nutcracker Fantasy for 25 years. (The math may be wrong, but you get the idea.)

My first memory of the Nutcracker Fantasy was when it was held at the Northrup Auditorium. When a flu epidemic hit among the 5 and 6-year-olds playing the mice, Loyce Houlton asked the orchestra if anyone had young children who could run around on stage. My dad volunteered me. I have not spoken to him since — joking!

Besides looking ridiculous in my mouse costume (again, joking), I have had so many great memories with the Nutcracker Fantasy , it would be hard to tell them all. The fun of being downtown at Christmastime with the bell ringers and Holidazzle parade, along with my fellow musicians, has been amazing. The sweets and cookies at intermission don't hurt either.

I’ve always enjoyed the audiences because it is a collage of old and young. It is great to look out and see how much people love the show. It’s a tradition where when the young get old, they bring the young.

As a musician, I always believe in live music. Tchaikovsky’s Nutcracker is an extraordinary score, and to hear it live by a full symphony orchestra is thrilling for the audience as well as the musicians. Recorded music can never replace live music, with all its beauty and imperfection.

Renata Steve’s Nutcracker Story

I play the violin, and last year was my first year as a member of the Nutcracker Orchestra. This year, the Nutcracker Fantasy is particularly special for me because my daughter Nataša has her first chance to be on stage as a little mouse.

She is currently in Miss Ellie’s intermediate class, part of MDT’s Young Children’s Division . It has been fun to watch her practice her choreography at home and make lots of new friends at rehearsals.

From my spot underneath the stage, I won’t be able to see her dance, so I’m enjoying watching the rehearsal process and have been making mental notes about where her entrances are based on the ballet score. I am really looking forward to seeing her in costume and for us to “go to work” together.

Live music makes the Nutcracker a very important artistic endeavor for everyone involved. The dancers on stage have the chance to be true artists, executing their choreography at the precise tempo that shows them at their personal best with the freedom to perhaps extend an arm motion, hold a pose, or jump that little bit higher with the confidence that the orchestra will be coordinated to them. The audience enjoys a more vibrant sound and also the chance to get a close look at the instruments.

As a member of the orchestra, this is some of my favorite music to play, and I feel so inspired by the MDT students and professional dancers.

Supporting Live Music

These stories about the Nutcracker Orchestra would not be complete without recognizing the contribution of Philip Brunelle, now entering his 21st year as orchestra conductor for the Nutcracker Fantasy. New this year, we will have conductor Steven Amundson taking the reigns for the first weekend of performances.

The tradition of presenting live music with dance is one that is in danger of extinction, but we hope to keep it alive. Did you have any idea that live music accounts for more than eleven percent of MDT’s annual budget? The expenses, totaling more than $145,000 per year, include musician fees, instrument rentals, and class accompanists.

During this giving season, we are reaching out to those who love Minnesota Dance Theatre and Loyce Houlton’s Nutcracker Fantasy with an invitation to make a gift to support this dimension of our work .

Those who make a gift of $150 or more by December 31 will be entered to win two tickets to Carmina Burana , another MDT production that features that essential ingredient of live music, with the Minnesota Chorale and acclaimed vocalists, coming to The Cowles Center, January 17-19.

Thank you for all the ways that you support Minnesota Dance Theatre and keep the arts alive and thriving in the Twin Cities!

We hope you will join us for the 57th Season of this beloved Minnesota tradition, Loyce Houlton’s Nutcracker Fantasy , playing at the State Theatre, December 13-23, with dance and live music. Tickets available now at ticketmaster.com , the State Theatre box office, or 1-800-982-2787.

Dancer Spotlight: Vanessa Spiteri as Sugarplum Fairy

Sun, 24 Nov 2019 19:44:24 GMT

With her captivating beauty and stunning athleticism, MDT company dancer Vanessa Spiteri likely caught your eye at a recent MDT performance. She joined the company last season and has embraced and grown through the vast range of the MDT company repertoire, from a delicate slyph in "Chopiniana" to a fierce force of nature in more contemporary works.

Learn about Vanessa here and about her process recreating the iconic role of the Sugarplum Fairy for Loyce Houlton’s Nutcracker Fantasy , coming to the State Theatre, December 13-23.

From Vienna to Minnesota

Originally from Switzerland, Vanessa has danced in France, Germany, and Austria. “You go where the work takes you,” Vanessa says, and with all the countries close together, it’s a viable option to audition in a variety of places.

Her training and career has not only taken her to a variety of places, but also through a variety of dance forms, from ballet to contemporary to musical theater and back again. Her primary training culminated at the Elmhurst School of Ballet in Birmingham, UK, where she got some contemporary and jazz in addition to the ballet. Then, her range grew through learning lots of contemporary repertoire in France and through the Nederlands Dans Theater summer intensive and the Gaga intensive in Tel Aviv.

Vanessa moved to Minneapolis from Vienna last year. Her husband was getting a job here and she had heard about MDT through Jeremy Benssusan, former company member and second cousin to Vanessa. Small world!

She says her first season at MDT was an ideal transition, as there were several other new dancers joining that season, “and we were all in the same boat.” The returning dancers (Solana, Zachary, and Sam) warmly welcomed them and showed them the ropes. Now the company dives into their second season, going deeper into roles they danced for the first time last year.

Sugarplum Fairy, Fresh and New

Again this year, Vanessa tackles one of the quintessential roles of the ballet repertoire, that of the Sugarplum Fairy. For the MDT production, Loyce Houlton’s Nutcracker Fantasy , she’s encouraged to let her contemporary movement experience inform her take on the timeless choreography, bring a fluid style to what many perceive as strictly classical.

Watch the video for a glimpse inside the rehearsal studio as Vanessa dances moments from the Grand Pas de Deux with partners Adrián Pastén and Zion Rivera, coached by Artistic Director Lise Houlton and rehearsal director Raina Gilliland-Quammen, both of whom danced the role at various points in its 55-year history.

As shown here, cultivating these performances means rigorous daily rehearsals, meticulous attention to detail, and the dedicated coaching of those intimately familiar with the work. Dancing the part requires an extremely high level of technique, unparalleled stamina, and the capacity to make it all look effortless.

Vanessa says, “I’m very grateful to have the chance to dance the role again. It’s very challenging, both technically and stamina-wise, but it’s also fun to come back to it again. Speaking on behalf of my colleagues, we’ve developed and grown the past year. It feels different now, having both Lise and Raina in the studio, getting new input, new information, coming back to something I’ve done before, but feeling fresh and new.”

Nutcrackers around the World

Other roles that Vanessa has danced in the Nutcracker over the years include a child in the party scene child, snow corps, and flower corps. For the Nutcracker Fantasy , in addition to Sugarplum, Vanessa rehearses soloist roles of Flower Queen, Snow Queen, Spanish, and she says it’s all very fun.

Is the Nutcracker a big thing in Europe like it is in America? She says in Europe it tends to be more modern with a darker twist. “I did my first Nutcracker with the Zurich ballet at 9 or 10 years old, then the next year they took out the kids! Here it’s more about tradition and family-oriented for children.”

And the beloved Minnesota tradition returns! Join us December 13-23 at the State Theatre and enjoy seeing Vanessa and the other company dancers take the stage for this dazzling dream fantasy. Tickets available now at ticketmaster.com , the State Theatre box office, or 1-800-982-2787.

Journeys through CAN Dance

Tue, 12 Nov 2019 18:49:21 GMT

Make a gift to CAN Dance and help bring dance experiences to more children in the Twin Cities.

Give to the Max Day is just a few days away, and again this year we are taking this opportunity to shine a light on CAN Dance , a vital program of Minnesota Dance Theatre that makes dance experiences available to more children in the Minneapolis area.

Our initial goal for the campaign was to raise $2,500 for CAN Dance by Thursday, November 14, which is Give to the Max Day. In addition, Friends of MDT offered a $2,500 challenge grant to match the funds. We’re delighted to share that we’ve just surpassed that goal, and now have a stretch goal to raise an additional $1,000. We’re well on our way to reaching that goal and feeling very grateful to everyone who has given so far. Thank you!

Please consider making a gift for CAN Dance and know that your donations of any amount do make a difference. Here's how:

CAN Dance was launched in 2015, and since that time has reached thousands of second and third grade children, mostly from Title I schools, offering them a chance to see a matinee showing of Loyce Houlton's Nutcracker Fantasy followed by training opportunities at the MDT school, all free of cost to their families and to their schools.

We were delighted when Nasiyah accepted our invitation to study at MDT year-round on full scholarship, and she is now in her third year in the program, continuing to show exemplary enthusiasm.

Nasiyah’s mother, Nina Watts, remarks, “I'm very thankful for all the wonderful opportunities she has had dancing at MDT. Dancing is a passion of hers, and I'm very excited about this journey and where this will take her.”

Like the other students who come to MDT through CAN Dance, they have the opportunity to dance in Loyce Houlton's Nutcracker Fantasy , which is a truly beautiful full-circle dimension of the experience. At one time, Nasiyah was part of the audience, and then the past two years she was dancing the role of a soldier in March Militaire.

The New MDT Website

Wed, 06 Nov 2019 18:09:20 GMT

Yes, we have a new website, and we hope you’re loving the change.

The new site is designed to provide a user-friendly experience for both our audiences and our students. Whether you’re here to learn more about upcoming company performances or about our school programs , we hope that you can easily find what you’re looking for and get all the information you need.

The ways in which the site is improved are numerous:

Compatible with desktop or mobile devices
Consolidated information with less text to scroll through
More secure
Faster loading
Streamlined in its organization
Updated in its visual design

Plus, with the new platform, we have the potential to include additional features, such as built-in season subscription forms and an online store. Also, it’s easier for our staff to edit, so we’re happy about that too.

We would like to thank Siren Digital Marketing , and especially Paul McIntosh, for their expertise in building the new site. As you can probably imagine, as both a dance company and a school, our needs for a website are complex. Siren Digital Marketing more than rose to the challenge, creating something that we think everyone will appreciate.

We have just launched the site last week and will continue to make adjustments in the months to come. Email Justin if you have feedback.

The Pre-Professional Trainee Program: What It Takes to Make a Dancer

Fri, 04 Oct 2019 13:36:37 GMT

MDT’s Pre-Professional Trainee Program was started in 2013 and offers talented young dancers the opportunity to grow their skills and potential for a career in dance.

Choreographer Jennifer Hart says the piece was created to explore “the feral and feminine power of young women manifesting strength, beauty, and joy.” We couldn’t think of a better way to present the 2019-20 trainees, as they do manifest that strength, beauty, and joy everyday in the dancing and in life.

Those interested in joining the Pre-Professional Trainee Program can send audition inquiry to school@mndance.org .

Choreographer Spotlight: Alanna Morris-Van Tassel

Sat, 28 Sep 2019 13:31:41 GMT

Alanna Morris-Van Tassel is an award-winning solo artist who moves in the realms of dance performance, choreography, education, and community building. For her newest work, she’s in the role of choreographer and working with the MDT dancers to create The Gateless Gate, which will have its premiere as part of MDT’s Fall Season , presented October 11 through 20 at The Lab Theater.

Since then, she’s won accolades for her solo ventures, including being named one of Dance Magazine’s “25 to Watch!” for 2018 and City Pages’ Artist of the Year for 2018. Her 2015 McKnight Fellowship in Dance gave her the opportunity commission a solo by Israeli choreographer, Idan Sharabi. She worked with Sharabi again in 2018 to co-produce a showcase of his work. The experience was a significant one for Alanna, as Sharabi’s modalities in generating movement resonated with her and have become part of her toolbox as a solo artist.

And what is that process?

Alanna says, “I have a mechanism with which we can explore, breathe, hold the spine, and research together. I share with the dancers what I’ve discovered and they tell me what they discover. From there the composition happens. It’s not like I’m a musical composer who comes to rehearsal with a finished score for the orchestra to play. I’m creating from the dancers’ point of view, and so our movement research is an essential part of the process."

And to watch Alanna in the studio the past few weeks, that’s exactly what you would find: a process of rigorous and meticulous vocabulary-building that’s specific to this dance. You’ll see classically trained dancers sometimes pushed out of their comfort zones, often engaged in the most subtle explorations and at other times embracing the most extreme physicality.

On working with the MDT dancers, Alanna says, “It’s been just wonderful. They are so open and so kind. They are so wonderful to work with – I’m crying. They say yes, and so the sky’s the limit. You can make anything. I don’t have an ideal person or community to work with. I’m always working with a different community who’s not me. I am an anthropologist disguised as a dancer. I like to learn different languages, what conversation is possible with this diversity.”

That attitude of open conversation and connection through diversity drives the theme of this new work.

Alanna elaborates, “This is a piece for our times and because of our times. It’s about life, shattering dichotomies. The idea of 'Us versus Them' – so many of our problems stem from that. There are things we see as oppositional in nature that we think can’t coexist; but are always present in some way. Sound and Silence. Movement and Stillness. Object and Space.”

She continues, “I believe, understand, and have faith in our ‘with-ness,’ our sense of being one. I want the audience to have that experience as they watch. I’ll say to the dancers, ‘We need to hear you exhale.’ There’s no faking that. If you are really embracing another dancer, then I as an audience member I too feel touched.”

The sound score also speaks to the idea of bringing a variety of disparate voices together, weaving together classical, pastoral pieces with the invigorating pulses of Trinidadian drumming. Along with ambient sound and poetry, Alanna endeavors to create an aural environment that supports the dance, transporting all present to the experience of no difference, no separation.

THE MDT COMPANY DANCERS: THEN & NOW

Thu, 19 Sep 2019 13:08:12 GMT

As we prepare to launch our 2019-20 performance season in just a few weeks at The Lab Theater, we shine a light on the heart of Minnesota Dance Theatre: the dancers themselves.

This year, we have nine company members, two apprentices, and six trainees. While all of these dancers have a strong technique in ballet and contemporary dance, they also each bring something different to the stage, a special energy and approach to movement that’s all their own.

A few of these dancers grew up right here in Minnesota, and some trained at MDT, but most came from other places from around the country, and one from Europe.

For about thirty weeks of the year, they train five days a week with a morning ballet class and then have about five hours of rehearsal after that. Yes, MDT is their full-time job. Through sharing the stage and all the behind-the-scenes preparation, they grow close like a family.

Today we’re taking a look at the dancers then and now, from their earliest days dancing to some of their more recent moments in action. We hope you enjoy this glimpse of how the company dancers and apprentices have changed over time, and we hope that the young dancers in the MDT school will see these images and get inspired by the possibilities.

ELISSA FONSECA – THEN & NOW

Now in her second season with MDT, Elissa came to Minnesota from Utah, where she grew up and trained with Utah Regional Ballet. After graduating with her BFA in Ballet from the University of Utah in 2014, she danced with SALT Contemporary Dance for four seasons. Elissa dances with remarkable fullness and fluidity, and she’s just as at home being light and airy on pointe as she is grounded and idiosyncratic in bare feet.

BRENNAN BENSON – THEN & NOW

Brennan actually started dancing when he was 15, so his earliest dance photos don’t look so different than he does now. Originally from South Dakota, he went on to train with Central Pennsylvania Youth Ballet on full scholarship. After dancing with Saint Paul Ballet and Minnesota Ballet, he’s the newest member of Minnesota Dance Theatre, having just joined this season. You can’t miss his buoyant jumps and princely presence.

CARLIE CLEMMERSON – THEN & NOW

Carlie is a Minnesota original. Born and raised here, she even got her start training at Minnesota Dance Theatre, where she’s danced the full gamut of Nutcracker Fantasy roles, from Littlest Mouse to Sugarplum Fairy. This is her fourth season with MDT, and she brings a classical purity and lightness of spirit to her dancing that makes her radiant on stage.

ADRIÁN PASTÉN – THEN & NOW

Adrián started ballet when he was just five with the Connecticut Ballet. He went on to study at some of the most prestigious ballet schools in the country: School of American Ballet, San Francisco Ballet School, and the Pacific Northwest Ballet School. Now he brings his virtuosity to MDT, where he’s in his second season. His jumps and turns cannot be missed, but he’s also a fantastic mover in contemporary works, able to throw his weight around with stunning abandon.

VANESSA SPITERI – THEN & NOW

Vanessa is our European transplant, having moved to Minnesota from Germany last year for the 2018-19 season. Vanessa received her early training at the Tanz Akademie Zurich in Switzerland and at the Elmhurst School of Ballet in Birmingham, United Kingdom. She danced as a trainee with the Birmingham Royal Ballet and later as a company member of Ballet du Capitole in Toulouse. Vanessa’s gorgeous lines can be spotted from a mile away, and she brings a gracious energy with her both on stage and off.

ZION RIVERA – THEN & NOW

Originally from Miami, Florida, Zion got his training at the Miami City Ballet School, Pacific Northwest Ballet School, and Boston Ballet School. This is Zion’s second season with Minnesota Dance Theatre, where he lights up the stage in classical and contemporary movement and impresses as a strong and sensitive partner.

ZACHARY TUAZON – THEN & NOW

Like Brennan, Zachary got a later start training as a dancer, first in his hometown of Tinley Park, Illinois, and later at the Gelsey Kirkland Academy of Classical Ballet, Milwaukee Ballet, and Hubbard Street Dance Chicago. He received his BA in Dance Pedagogy from Butler University and is now in his fifth season with MDT, where he has also served as lead instructor for the Boys Classes . Zachary is a dynamic mover, weaving together a beautiful, gentle spirit with a fierce, grounded energy.

SOLANA TEMPLE – THEN & NOW

Has Solana Temple really changed that much? She’s still blonde, and she still jumps like there’s no tomorrow. Now in her fifth season with MDT, Solana is originally from Tucson, Arizona, where she trained at the Tucson Regional Ballet and Ballet Arts. Later, she trained at The Juilliard School, where she earned her BFA along with the Martha Hill Prize. Aside from her jumping prowess, she stands out with her long lines and impressive strength, whether tackling the classical Raymonda or the more jagged and earthy contemporary works.

SAM FEIPEL – THEN & NOW

Sam trained at Central Illinois Ballet and the School of Ballet Chicago before coming to Minnesota Dance Theatre in 2003. Since then, he has danced more than 60 works in the repertory, originating 35 of them. In 2009, he received McKnight Artist Fellowship for Dancers. Sam is known for his goofiness on stage and off, but he is an exemplary partner, dependable and assured. Little known fact: When Sam was just 15 he was such an expert tapper that he was invited to join TAP DOGS. Then they realized he was only 15 and too young to join.

KAITLYN DEYO – THEN & NOW

Kaitlyn is now in her second season as an apprentice with MDT. She started her training at Northland School of Dance and moved to MDT&S when she was ten. Her summer intensive studies have included the Kirov Academy, Pittsburgh Ballet Theatre, Charlottesville Ballet, and Milwaukee Ballet. Though Kaitlyn can be reserved in the studio, she is a passionate performer, bringing captivating energy to the stage.

KATELYN BOCHE – THEN & NOW

Katelyn Boche has been dancing since age three, and at fourteen she enrolled in the Performing Arts Division at MDT. Her summer intensive studies include Kaatsbaan Extreme Ballet, Colorado Ballet Academy, American Ballet Theatre, and the School of Pennsylvania Ballet. Her solid technique is undeniable, and as she matures she shows more and more range in her style and capacity to take on soloist roles in the MDT repertory.

Our returning trainees for the 2019-20 Season include Amelia Bednar, Maia Nguyen, Gates Northrup, Gabrielle Williams, and Isabelle Williams, and new this year is Lillian Gausmann. Look forward to learning more about our Pre-Professional Trainee Program in an upcoming blog post.

And look forward to seeing all of these versatile dancers in action at the Fall Season at The Lab Theater , October 11-20. The program features a range of works from cutting-edge contemporary to transcendent classical.

Tickets for the MDT Fall Season are on sale now and can be reserved online or by phone at 612-333-7977.

MDT Faculty Spotlight: Raina Gilliland-Quammen

Fri, 13 Sep 2019 14:55:30 GMT

Raina preparing for her wedding with her mother Lise Houlton, sister Kaitlyn Gilliland, and friend and MDT company member Solana Temple

When we sat down to do the interview for this article, the first question for Raina was “What’s your name now?” You see, Raina, MDT ballet teacher and company rehearsal director, just got married last summer. Raina laughed and said, “I think it’s Gilliland-Quammen now…but I think most people think I’m Raina Houlton anyway.” And then we all laughed because there’s a lot of history there, and MDT is in Raina’s blood.

Zach Manske Creates Ballet-Contemporary Hybrid for MDT

Fri, 30 Aug 2019 14:53:24 GMT

Dancer and choreographer Zach Manske is just 20 years old, so you might think his professional career is just getting started. In fact, when he was just 13, he was already touring the country with Billy Elliot the Musical, playing the titular role. Now the real-life Billy Elliot comes to Minnesota Dance Theatre to set a new work for our Fall Season performances, showing at The Lab Theater, October 11-20.

Zach is no stranger to Minnesota. He grew up in St. Paul, trained as a dancer there, and has been a frequent guest artist with MDT. You may recognize him from Loyce Houlton’s Nutcracker Fantasy, for which he also played a titular role, the Nutcracker Prince. One can hardly forget his virtuosic athleticism: high jumps, dazzling spins, and a distinctive fluidity of movement.

Inspired By William Forsythe

Conceiving "Cyclical Rave"

“My new work explores routine within our daily lives and the importance of realizing the destructive comfort that can accompany this loop. I’m finding beauty in what it means to mix up routines. So it’s really about stepping outside of boxes, not being afraid to take risks.”

For the music, Zach is working with composer Thomas Adam Barnett for parts of the score. Like Zach, Thomas is both classically trained and experimental, so it’s a good fit. They utilize a house beat with complex rhythms to generate a club feel and to mimic the feeling of being in and out of a pattern within life. (And you’ll also hear the Gógó – Lulu Rouge Remix by Kúra.)

In The Studio With MDT

With just two weeks to create the work for MDT, Zach knew he had to create quickly so there would be time to step back and assess, and then recreate.

As a dancer, Zach has worked alongside many of the company members. Now being in the role of choreographer is something new, and one that he enjoys — leading, creating, directing, and also collaborating. He creates space for input from dancers and sees their participation in the creative process as a necessity, understanding that different movements work differently for different dancers.

Zach has never choreographed for pointe, so he’s taking this opportunity to explore that since the MDT women are strong on pointe. “I’m interested to see how my movement translates to pointe. Seeing how the ballet form can be modified and translated is something that Bill [Forsythe] does a lot, making it more accessible to today’s dancers and audiences.”

Taking It To The Lab Theater

Having performed previously at The Lab Theater, Zach was familiar with its gritty atmosphere, and it informed the nightclub underground feeling of the piece. He hopes the intimacy of the space will bring the audience into the world of the piece so that they can interact with feeling of routine. “I’m really excited for both the dancers and the audience to play with that.”

And we’re excited to experience it too. View the video below to catch Zach in the studio with the dancers.

Cyclical Rave premieres as part of MDT’s Fall Season at The Lab, October 11-20. Zach will return for the second weekend of performances, and audiences are invited to stay following the show on Friday, October 18 for a post-performance discussion.

CAN DANCE – SUMMER 2019

Wed, 28 Aug 2019 18:03:16 GMT

In July, we welcomed more than forty children from Minneapolis and Robbinsdale area public schools into our studios for our annual CAN Dance summer program.

This two-week program is offered free of cost for participating families and includes dance classes, lunch, and transportation to and from the MDT studios in downtown Minneapolis. Teachers were Derek Phillips and Raina Quammen with MDT company members Elissa Fonseca and Adrián Pastén

Entering its fifth year, the four-phase program aims to expand access to classical dance and the performing arts, reaching more than 1,500 children every year. The first phase of the program begins as we invite more than thirty schools to join us for a matinee performance of Loyce Houlton’s Nutcracker Fantasy, which includes free admission and transportation to and from the State Theatre. The performance experience is followed by in-classroom workshops, a tuition-free summer program, and opportunities to train year-round at MDT on scholarship.

This year, more than forty children attended the summer program, which is four times as many as attended last year. We were thrilled by this growth and very inspired to see the children thriving in the dance studios, discovering a new outlet for self-expression through ballet, contemporary dance, and improvisation.

Please view the photos below for a glimpse of the classes and the studio performance that concluded the program.

Five students from the summer program have been invited to continue their studies year-round at MDT on full merit scholarship, with additional invitations extended for our free boys classes.

We are both thrilled and challenged by the exponential growth of the program, and we continue to believe in its necessity. We look forward to building the infrastructure to support our capacity for further growth alongside developing an increasingly robust, inclusive, and thoughtful curriculum.

We are grateful to everyone who has offered their ongoing support for this program through their donations to MDT, and we continue to seek new partners. If you would like to help sustain and grow CAN Dance to provide uplifting dance experiences, please visit our support page and consider setting up a recurring donation to MDT today. You can dedicate your donation to CAN Dance in the comment field.

Special thanks to the Mayo Clinic Community Contributions Program for their continuing support for CAN Dance.

ERIN AND JEFFREY RETURN TO MDT&S

Mon, 19 Aug 2019 17:48:24 GMT

We’re delighted to share that two of the Twin Cities’ favorite ballet teachers are returning to teach at Minnesota Dance Theatre & School on a regular basis, each bringing their gift for teaching dance to our range of students, from the little ones in the Young Children’s Division to the advanced professionals in the Open Division .

Launching the 57th Season

Tue, 13 Aug 2019 17:17:41 GMT

Minnesota Dance Theatre launches the 57th performance season with a spectrum of dance, ranging from cutting-edge contemporary to transcendent classical.

2019-20 Season Production

The Fall Season , an evening of mixed repertory, at The Lab Theater (October 11-20, 2019)
The 55th season of Loyce Houlton’s Nutcracker Fantasy at the State Theatre with live orchestra (December 13–23, 2019)
Carmina Burana at The Cowles Center with the Minnesota Chorale (January 17–19, 2020)
The Enchantment , a neoclassical story ballet, at The Cowles Center (April 3-5, 2020)
The Playhouse , a celebration of the choreographic works of MDT Founder Loyce Houlton, in MDT Studio 6A at The Cowles Center (May 1-10, 2020)

2019-20 COMPANY

SEASON HIGHLIGHTS

Emerging choreographers Zach Manske and Alanna Morris Van-Tassel have been commissioned to create new works to be featured in the Fall Season performances at The Lab Theater in October.

Playhouse performances in May will feature a celebration of the works of MDT Founder Loyce Houlton , commemorating 25 years since her passing.

SUSTAINING THE LEGACY

The 2019-20 Season also marks the 25th year of Lise Houlton’s tenure as Artistic Director. Daughter of Loyce, Lise trained at the MDT school and later went on to have an acclaimed performing career with the Stuttgart Ballet, New Amsterdam Ballet, and American Ballet Theatre. Lise’s daughters Raina Quammen and Kaitlyn Gilliland remain active with the company, with Raina as rehearsal director for Loyce Houlton repertory and Performing Arts Division Coordinator, and Kaitlyn as CAN Dance Program Director.

NURTURING DANCERS OF TOMORROW

The Performing Arts Division of the MDT school thrives as a classically-based training ground for dancers aspiring to a professional career, providing numerous performance opportunities as well as mentorship from company members. Recent graduates are dancing with the MDT company as well as with Pacific Northwest Ballet and Ballet Austin. Registration is now open for the 2019-20 school year.

WIDENING THE CIRCLE

CAN Dance , the MDT outreach program, enters its fifth year and reaches economically disadvantaged youth with empowering experiences in dance. Through CAN Dance, MDT annually brings as many as 1,800 children to see a matinee performance of Loyce Houlton’s Nutcracker Fantasy, including free admission and transportation. Later in the year, MDT provides in-school workshops, a tuition-free summer dance program, and scholarship opportunities in the MDT school.