In just a few short weeks, Kansas City Ballet will perform the World Premiere of Septime Webre’s The Wizard of Oz!
We anticipate 10 sold-out performances, so be sure to share that you’re seeing this fantastical new show with your friends.
ABOUT THE PRODUCTION
The scale of this world premiere is impressive:
The all-new music composed by Matthew Pierce, the same composer for Alice (in wonderland), is 471 pages long and features three percussion players playing 35 different percussion instruments.
This is a unique collaboration with Kansas City Ballet, Colorado Ballet and Canada’s Royal Winnipeg Ballet. We worked with an internationally-recognized creative team to create a major new work of outstanding quality.
A total of 120 stunning costumes and 112 hats, designed by Liz Vandal, in the production and our costume shop will paint 220 shoes. There are at least 60 costume changes throughout the production.
Upwards of 20 puppets, designed by Nicholas Mahon, including a mechanical Toto, are involved in the production. One of Mr. Mahon’s most recent projects was for the 2018 Winter Olympics Opening Ceremony.
A first for Kansas City Ballet, this show will feature incredible projection technology, designed by Aaron Rhyne, using a combination of three state-of-the-art projectors. This will add an integral design element that helps provide atmosphere and dimensionality, and enhance the experience.
More than 300 light cues, designed by Trad A Burns, will take place using over 1000 channels of lights.
There will be eight flying effects executed by multiple characters.
At least 120 people, not including dancers, were part of this collaboration team including designers and makers.
In Kansas City, 30 company dancers and 15 second company dancers will make up the cast, not counting children.
There are 23 children’s roles and two casts for a total of 46 children performing in The Wizard of Oz, providing a huge asset to the development and growth of the Kansas City Ballet School.
ABOUT THE MUSIC
UPCOMING FREE EVENTS
The Wizard of Oz Photography: Story lines and visual elements from the classic motion picture by Warner Bros. Theatre Ventures. Dancer Amanda DeVenuta. Photographer Kenny Johnson.
J.M. Barrie’s 114-year-old story about Peter Pan, the boy who never wanted to grow up, continues to attract new generations. These types of stories make the greatest impact: kids finding themselves in unusual circumstances and realizing the human spirit can overcome anything. And Peter Pan is no different. The message, wrapped in adventures, comes down to family and following your heart to find where you belong.
I was definitely influenced in many ways by J.M. Barrie’s classic tale but also by movies like “Hook” with Dustin Hoffman and Robin Williams and the musical with Sandy Duncan. For this production, I was most inspired by the wonderful music from my friend, musician, composer and ballet conductor Carmon DeLeone. His enchanting score is paramount to this production and wonderfully tells the story. Written in 1994, this will be the third or fourth ballet production to use this delightful and soaring music. I believe it is becoming the standard much like Prokofiev for Romeo & Juliet. It’s thematic, fun, and light-hearted and lends itself to great character development.
A Living Composer
As a special treat, DeLeone will conduct our first weekend of shows. It’s not every day one has the chance to witness a living composer conducting his own ballet score. It’s a unique experience that was just too exciting to pass up. After the first weekend, DeLeone will graciously pass the baton to our incredible Music Director Ramona Pansegrau to lead the Kansas City Symphony for the remaining shows.
Having never had the chance to perform it as a dancer, I’m beyond excited to share my new choreography for this production of Peter Pan with you. The sets and costumes are so whimsical. And, working with the company and so many talented students from Kansas City Ballet School has been incredible.
“It is not in doing what you like, but in liking what you do that is the secret of happiness.” – J.M. Barrie, Peter Pan
The company and I have been blessed to share what we like to do best with you. We hope our happiness is contagious.
Kansas City Ballet closes their 60th Anniversary Season with Peter Pan at the Kauffman Center for the Performing Arts May 11-20, 2018. Artistic Director Devon Carney is putting the finishing touches on his world premiere choreography. Enjoy a few photos from a recent rehearsal.
This is a very exciting time in the history of Kansas City Ballet. How wonderful to say we are 60 years old—celebrating our age, maturity and staying power in the cultural landscape of KC! So, in honor of our 60th I’ve brought together six incredible, challenging and inspiring works for our KCB artists to perform. These ballets represent the incredible diversity of works in the field of dance and help showcase the talents within our current assemblage of world-class artists.
Given a dancer’s career is only so long, it’s important to seize opportunities to perform a variety of ballets to experience it all, or as much as one can! This diverse collection of works in a compact time period is just that chance. Performing both Jirí Kylián’s Petite Mort and also the highly regarded Balanchine’s Diamonds is a treat, then to turn around and dance contemporary work like James Kudelka’s The Man in Black and Stanton Welch’s Play is incredible, but that’s not to mention the thrill of being in on the creative genesis of two new works from Matthew Neenan and Andrea Schermoly. This will be two weekends for the books!
As an audience member, these experiences can equate to a fabulous banquet where you find lots of
tasty treats to delight your palate. This magnificent variety of dance has been produced in the latter 20th century right up until today. What’s more… all but one of these choreographers are still living. I applaud you for taking a risk to see this program. The payoff can be priceless: enjoying more entertainment diversity, developing a deeper love and appreciation of dance and being able to share that personal experience with those close to you. Thank you for trusting us and earning your hypothetical dance pioneer badge.
Kudos to our dancers for their extraordinary efforts in presenting this series. It’s an arduous undertaking for us and unprecedented for our company to tackle six works in this short amount of time. But we believe the risk is worth it. The dancers are thrilled and we think you will be, too!
Rehearsals have begun for the 2018 New Moves performances. The Bolender Center is buzzing with a variety of musical styles that differ widely from the usual melodies drifting from the studios. It’s time for New Moves when up-and-coming choreographers (including a few company members) get the chance to create their own visions on the dancers of Kansas City Ballet. Performances take place at Kansas City Ballet’s home the Todd Bolender Center for Dance & Creativity in the Michael and Ginger Frost Studio Theater.
Kansas City Ballet’s Second Company will open the performance with choreography by company Ballet Master Parrish Maynard.
New Moves open Thursday, Feb. 15 and run through Sunday, Feb. 18 at the Bolender Center. Sell outs are the norm, so ordering tickets early is a must. Tickets can be purchased here or by calling 816.931.8993.
It’s an incredible story that Shakespeare wrote so many years ago, a timeless tale about the powers of love and fate. Two young lovers from rival families are destined for a tragic end which will finally conclude their parents strife… uniting their houses through grief.
Performing these roles is an experience dancers never forget—I certainly haven’t, especially dancing the title roles—the mutual journey of these two: Romeo and Juliet. There is so much opportunity to create three-dimensional characters. The beginning of the ballet highlights the vibrancy of youth, the naiveté. But then the growth of these two individuals in less than a week is just astounding. The incredible scope of innocence to tragedy and the emotional weight and aging they experience… it’s critical to be able to communicate all of this as dancers and artists.
You’ll also be spellbound by the music as well. Written in 1935 by Prokofiev, it’s a brilliant score that’s not even 100 years old yet. At 82, it’s still spry. Especially of note is the clarity of Romeo, Juliet and the Capulets’ themes.
And Juliet’s theme gets me every time. I keep discovering new things about Prokofiev’s score. That’s what I love about this art form… you’re always learning. You’re experiencing this gorgeous piece of music that keeps returning to the themes that grow more and more tragic. For example, when we first meet Juliet we hear a simple lighthearted flute and by the time she wakes in the crypt her theme has grown complex and heartbreaking.
Sets and Costumes
This ballet is a visual stunner as well. I just love these sets from Boston Ballet. They are the same sets and costumes that were produced in 1984 when I danced with them as Romeo. I know them like the back of my hand. In fact, lots of companies use these sets and costumes, including Kansas City Ballet when we last performed another version in 2012.
Now everything has come full circle as I present my world premiere choreographic interpretation on these same gorgeous sets. I’ve thought about my version for a long time and now was the right moment to make it—the beginning of my 5th season leading Kansas City Ballet into its 60th Anniversary. It’s an honor to be part of this significant moment in the company’s history. And I hope you’ll join us for more great dance this season including a new Anniversary Dance Festival in April with two different programs on back-to-back weekends, and a world premiere of The Wonderful Wizard of Oz in May, plus crowd pleasers The Nutcracker in December and New Moves in February.
This past weekend, Artistic Director Devon Carney’s production of Giselle opened at the Kauffman Center! We want to congratulate our dancers, production team and staff on a fantastic job making this beautiful production come to life.
Below you can view a short video featuring highlights from this past weekend’s shows.
Click here to read the Kansas City Star’s review of Giselle.
There are still three performances left – March 20-22! Get your tickets online at kcballet.org or 816.931.8993.