Summer Stock Austin is an innovative annual project that brings talent from the high schools of Austin and college students from across the country. They work with professional acting coaches, directors, choreographers, lighting designer, costume designers, and production staff. This year's productions were more polished and ambitious than last year. Neil Simon's Proposals, West Side Story, and Stinky Cheese Man and other Stupid Tales were showcased at the Mary Moody Theater. The space is challenging to direct in and photograph. The proscenium is a square with stadium seating, including eight entrances and four additional corner spaces for performance. The performer at times are barely 1-2 feet away from audience members. My favorite in the series was Proposals. The acting was strong, the play well directed, and nicely paced. West Side Story did not touch me. I am not sure what the problem was - whether the musical itself did not appeal to me or it was the specific production. A lot of the talent was impressive, but I cannot put my finger on why this modern day Romeo Juliet did not do it for me. This is the second time I photographed performances in this venue, and it gave me an opportunity to hone my skills further. The dance sequences were almost impossible to capture properly. The positive aspect is that this space allows for unusual images that have a very intimate feel. Photos are available for viewing in the theatre gallery.
Musicals (with dance) are perhaps the most challenging theatrical events to produce, perform in, and photograph. My respect for the performers reached a new level once I realized how talented one had to be-an actor, singer, and dancer...and sometimes all three at the same time! Similarly photographically, both theatrical and dance skills come into play. I have photographed the Zilker Theater Productions summer musicals for the past three years. The new faces were a pleasure see - a very talented bunch. These are the best images I have taken of their productions. The new camera and lenses contributed to the dynamic images. The high production values and talent, of course, are the main reason for the wonderful photos of 7 Brides for 7 Brothers, in the theatre gallery.
Galas, Dance Festivals, and Showcases are some of my favorite performances to photograph. Perhaps it is due to my interest in buffets - where the goal is not to binge, but savor a variety flavors in a single meal. The International Stars of the Cuban Ballet Gala was the first Gala I experienced. I rarely get to see such high caliber dancers in a single show. Additionally, I was unfamiliar with most of the rep. So it was double the pleasure. Ben Stevenson's Prelude made a very strong impact on me. The manner in which he explored lines and relationships between the dancers using a barre was very engaging. The Don Q PDD, Swan Lake's Black Swan PDD, Le Corsaire PDD, and Carnival in Venice were my favorites in the program. I missed one couple/piece since they arrived the day after the dress rehearsal. I do not get to experience Christina Gianelli's original work often enough. Her color palette and textures gave a wonderful dimension to the visual treat of the production. My only quip was that the Dress rehearsal was treated more like a tech, I had to dispose a high number of images because the male dancers were not in costume in several pieces. A more detailed review of the show can be found at www.ballet-dance.com. Photos can be viewed for a couple of months in my dance gallery.
Houston Ballet's 2006-2007 season has a large number of premiers. The opening consisted of a mixed rep of works by Hans van Manen, Glen Tetley, and Stanton Welch. Grosse Fuge was perhaps my favorite piece. Set in a completely white set (including the wings), the focus of the piece was the interaction between four male and four female dancers. It is an interesting psychological piece. The mood and aesthetics reminded a great deal of Jiri Kylian's Forgotten Land. Glen Tetley's Voluntaries was a complex piece of work on several levels (emotional, choreography, sophistication). I was surprised how "modern"/timeless the piece was, considering it was choreographed in 1973. The piece is very layered from the spacing and dance prospective. Several actions take place in different parts of the stage, making the appreciation more difficult. I got a better understanding of the piece, the second time I saw it. I am sure I will appreciate it more the more I see it. The costume, set, and lighting were wonderful. I was surprised at some of the similar (and distinct) vocabulary between Grosse Fuge and Voluntaries. I also recognized some very beautiful moments in the PDDs and their strong connection to the Swan Lake signature moments. The manner in which Mr. Tetly uses lines is marvelous. The still images attest to it. Sara Webb and Conner Walsh were an enthralling team. This was the most difficult piece to photograph. Brigade, by Mr. Welch was a much lighter piece, completely with a classical foundation. Once again there was a connection of foreground and background layering. It was a very engaging piece - humorous, fun, and full of energy. I am sorry images from the show cannot be shown due to contractual obligations, but keep an eye on the Chronicle, Dance Magazine, and the New York Times for some photos. If you see this blog in time, a more authorative review from the NY Times can be read here. The Houston Chronicle reviews are here and here.
