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Ohio Contemporary Ballet

Guest blog on American Dance Abroad

By News

#Cleveland Havana Ballet

By Guest Blog by Kate Webb Verb Ballets Dancer, American Dance Abroad, April 5, 2018

"What do pointe shoes, dirt, and cafecitos have in common?"

Kate WebbVerb Ballets Dancer

American Dance Abroad Guest Blog by Kate Webb, Verb Ballets Dancer

What do pointe shoes, dirt, and cafecitos have in common? They’re all integral parts of The Cleveland Havana Ballet, which just successfully completed its first edition of international performances in Cuba. The fusion company is comprised of young, passionate artists from Havana-based ProDanza and Cleveland-based Verb Ballets.

After only dancing together for four days, The Cleveland Havana Ballet premiered Yarini, a full-length ballet based on a well-loved Cuban legend, in front of thousands of people. The two-country company followed up four shows of Yarini with three mixed-bill performances featuring repertory highlighting each of the dance troupes’ strengths. Despite the varying styles of the two companies (Verb Ballets is a contemporary ballet company, while ProDanza considers itself strictly classical), it was hard to tell which company the dancers worked for by the end of the packed two-week residency. They wore each other’s ballet skirts, company t-shirts, and began to emulate each other’s dance style. 

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Observe rehearsal with Jill Marlow Krutzkamp

By News

Observe rehearsal with Jill Marlow Kruztkamp

Join Verb Ballets for an exclusive lunch time rehearsal viewing with Jill Marlow Krutzkamp. Jill Marlow Krutzkamp is a Pilates and wellness director, and professional dancer who has been dedicated to dance and the performing arts for more than 27 years. She began her dance career with the Pittsburgh Ballet Theatre then spent nine years with the Cincinnati Ballet and recently retired from the Kansas City Ballet to pursue her passion of helping others with the development of their dancing careers. Jill Marlow Krutzkamp is coming to Verb Ballets April 9-13, 2018 to set Adam Houghland’s K281. Jill Marlow Krutzkamp was one of the original cast members in the ballet commissioned by Cincinnati Ballet in 2007. Don’t miss this exclusive opportunity to be the first to see this work before it appears on stage!

Jill Marlow Kruztkamp

Jill Marlow Krutzkamp began her training at the Draper Center for Dance Education in Rochester, New York, under the direction of Timothy Draper and Jamey Leverett. Additionally, Ms. Marlow Krutzkamp spent time studying at American Ballet Theatre, Boston Ballet and Indiana University. She started out her professional career with Pittsburgh Ballet Theatre, spent nine years with Cincinnati Ballet, and four years with Kansas City Ballet before retiring. Jill has danced leading classical roles in La Bayadere, Giselle, Swan Lake, Sleeping Beauty, Cinderella, and Romeo and Juliet. She has also performed principal roles in Balanchine’s Who Cares?, Serenade, Four Temperaments & Allegro Brilliante, as well as performing Chaconne with Suzanne Farrell Ballet at the John F. Kennedy Center for the Performing Arts. Jill’s most favorite contemporary roles have included works by notable choreographers including Twyla Tharp, Ma Cong, Luca Vegetti, Jody Gates, Anthony Krutzkamp, Devon Carney, Adam Hougland, and Mauricio Wainrot.

Jill graduated from the University of Cincinnati with a Bachelors of Science in Health Education (2011) and is the founder/author of her blog titled, dancehealthier. Jill retired from Kansas City Ballet and currently is the Pilates and Wellness Director for Performance Rehab, specializing in dancer prevention and post recovery of injuries, but not limited to. Jill is married to co-artistic director of KCDF, Anthony Krutzkamp. Both Jill and Anthony are proud parents of their daughter, Abrielle Jane Krutzkamp, who recently turned 1 year old on June 11th.

Spring Series showcases dynamic range of Verb Ballet

By Press Releases

CLEVELAND, OH – Verb Ballets, Northeast Ohio’s premiere contemporary ballet company, to showcase at EJ Thomas Hall on April 27, 2018 with an exciting mix of dances on the program. The company has received international recognition and recently returned from a prestigious tour of Cuba. Known for its innovative works that highlight the classically trained dancers, the company has captured the attention of audiences for over 30 years. The evening features company debut of K281 by internationally acclaimed choreographer Adam Hougland. Hougland is recognized for his melding of modern and classical movement form. City Beat reviewed K281 as, “Adam Hougland filled the space with rich, intricate choreography.” K281 was originally set on Cincinnati Ballet in 2007 and feature three couples with women on pointe gliding around their partners. Hougland graduated from The Juilliard School and performed with The Limon Dance Company, Toronto Dance Theatre and The Lar Lubovitch Dance Company. He has created original works for renowned companies including Morphoses/The Wheeldon Company, The American Ballet Theatre Studio Company, Introdans in the Netherlands, The Limon Dance Company, The Washington Ballet, and Ballet X. Hougland is the winner of the Princess Grace Award for Choreography and was one of Dance Magazine‘s “25 to Watch” for 2011.

Verb audience favorite, Dark Matter, returns to the stage. Choreographer, Tommie-Waheed Evans, was recently named by ArtsBoston as one of the nation’s top ten contemporary Black choreographers. His intensely driven physical work was complemented by the stage design providing a breathtaking visual effect by lighting designer Trad A Burns. Evans was a former dancer with PHILADANCO! and Complexions Contemporary Ballet before starting his own company Waheed Works in 2006. He received the 2017 Philadelphia Tribune’s “10 under 40” Honoree Award and was selected nationally as an emerging leader by Dance/USA. The Dance Journal labeled his work as, “vocabulary (that) is deeply rooted in a classical ballet aesthetic blended with modern sensibilities and jazz influences.”

Audiences can’t resist when ballet meets ballroom in Eight by Benny Goodman set to the famous orchestral music of the 1940s choreographed by Ohio Ballet Founder, Heinz Poll. The work was critically acclaimed by The New York Times. Poll was awarded the Association of Ohio Dance Companies Award in 1983, the Cleveland Arts Prize in 1995 and the Ohio Arts Council’s Governor’s Award in 1999. This classic returns to the stage with style and grace to maintain Poll’s artistic legacy by registrar and Verb Ballets’ Associate Director, Richard Dickinson, MFA. Verb Ballets is the largest local repository of Poll’s choreographic works. Dickinson danced with Ohio Ballet under Poll’s direction and eventually served as Poll’s ballet master.

This performance is supported by the generosity of The Peg’s Foundation and The Akron Community Foundation. Verb Ballets’ performance on April 27, 2018 at 8:00pm is at EJ Thomas Hall located at 198 Hill Street in Akron. Single tickets are $17-$35. Student ticket discount available. Tickets can be purchased by calling the EJ Thomas Box Office at 330-972-7570 or online at details www.verbballets.org. For more information, visit www.verbballets.org.

April 27, 2018 8:00PM
Spring Series
EJ Thomas Hall 198 Hill St., Akron, OH 44325
Tickets: $17-$35 Student discount available

Photos or interviews available upon request by contacting  
Jennifer Garlando, Director of Marketing & PR at jgarlando@verbballets.org.  

Choreographers

Adam Hougland
Adam grew up in Dallas, Texas and studied visual arts and acting from an early age. At 14 he began his dance training at the Dallas Conservatory of Ballet and the Booker T. Washington High School for the Performing and Visual Arts. In 1999 he received his Bachelor of Fine Arts degree in Dance from The Juilliard School and then went on to perform with The Limon Dance Company, Toronto Dance Theatre and The Lar Lubovitch Dance Company. While at Juilliard Adam choreographed his first group dance, Beyond, which won the Hector Zaraspe Prize for Choreography. This piece set his choreographic career in motion and was quickly taken into the repertoires of Les Grands Ballets Canadiens de Montréal, Cincinnati Ballet, Ballet Met Columbus and The Louisville Ballet. Adam has gone on to create original works for Morphoses/The Wheeldon Company, The American Ballet Theatre Studio Company, Introdans in the Netherlands, The Limon Dance Company, Cedar Lake Ensemble, The Washington Ballet, Ballet Memphis, Ballet X and The New York Choreographic Institute at New York CIty Ballet. He has created works for internationally recognized dancers such as Sofiane Sylve (San Francisco Ballet), Marcelo Gomes (American Ballet Theater) and Wendy Whelan. In 2006 he created a world premiere for Juilliard’s Centennial Celebration that toured to Chicago and Los Angeles and was broadcast on the PBS ‘Live from Lincoln Center’ series. He has won The Princess Grace Award for Choreography, The Choo-San Goh Award for Choreography, was one of Pointe Magazines’ 10 VIP’s of 2006 and one Dance Magazine’s 25 to watch for 2011. Adam is the Principle Choreographer for The Louisville Ballet and has created nine critically acclaimed original works for the company including Petrouchka and Rite of Spring with special guest artist Wendy Whelan. He is Resident Choreographer for Cincinnati Ballet where he has created an evening-length Mozart’s Requiem and The Firebird. Adam lives in Bristol, England with his husband Ashley and their dog Liza.

Heinz Poll
Heinz Poll was born in Oberhausen, Germany, in 1926. Poll was a champion ice skater before he became a dancer. His experience on the rinks imbued him with a love of speed that he expressed in his athletic baroque ballet, Cascade (1985). After World War II, he studied dance at Joss’s Folkwang School in Essen, began his professional career at the Municipal Theatre in Goettingen and became a principal dancer with the Berlin State Opera Ballet. In 1951, he joined the National Ballet of Chile as a dancer, ballet master, and teacher. The company’s tradition of bringing serious programs to indigenous people in remote mountain villages served as the model for Ohio Ballet’s Summer Festival of free outdoor performances. In 1962, Poll joined Ballet de Jeunesse Musicales de France as ballet master. Two years later, he came to the United States as a guest artist with the Chilean company. He performed in the American Dance Festival the following summer and stayed in New York to teach at Thalia Mara’s National Academy of Ballet. In Akron, he developed Ohio Ballet into one of America’s most polished, respected, and widely traveled chamber dance troupes. Poll was awarded the Association of Ohio Dance Companies Award in 1983, the Cleveland Arts Prize in 1995, and the Ohio Arts Council’s Governor’s Award in 1999. After his retirement, he wrote his memoir and has conferred a number of his ballets to former Ohio Ballet dancers. Poll passed away in 2006.

Tommie-Waheed Evans
Tommie-Waheed Evans began his formal training with Michelle Blossom at the Dance Connection in Los Angeles California. He continued his studies under the mentorship of Andrea Calomee and Karen McDonald at Hamilton High School before receiving a fellowship at the Ailey School. As a student, Evans performed the work of Matthew Rushing, Benoit-Swan Pouffer, Karol Armitage, and Debbie Allen. He was an assistant to current artistic director of Ailey II, Troy Powell. Evans professional appearances include the popular sitcom “The Parkers”, the Emmy Awards, HopeBoykinDance, Radio City Christmas Spectacular, Lula Washington Dance Theater, the Philadelphia Dance Company (Philadanco) and Complexions Contemporary Ballet. In 2006 he founded his company, Waheed-Works. Evans has set choreography on The Garden State Dance Festival, Philadelphia Dance Boom Festival, Grace Dance Theater, Verb Ballets, Eleone Dance Theatre, and Boston Conservatory. Evans is the Artist-in-Residence at PHILADANCO! and is currently on faculty at the University of the Arts. His awards include a Dance/USA Philadelphia Rocky Award, Billy Penn: Who Next Arts, Howard Gillman Foundation Fellowship Winner, and a BalletX 2017 Ballet Choreographic Fellowship. Evans recently received his Master of Fine Arts in Choreography from Jacksonville University.

About Verb Ballets  
Verb Ballets, a contemporary ballet company, presents dynamic programming through bold artistry, unique styles and technical excellence that captivates a broad audience. Under the direction of Dr. Margaret Carlson, Producing Artistic Director and Richard Dickinson, MFA, Associate Director, the company will present a season that ignites passion in the energy, beauty and athleticism of dance. Critics have hailed Verb Ballets as, “Dashes preconceptions …with keen dramatic power.” -The Plain Dealer, “(Verb) is dance magnifique.” – The Examiner, “confident and polished, Verb’s dancers shone” – Dance International Magazine. Verb Ballets cultivates dance appreciation and nurtures wellness through movement in community dance classes, school residencies, senior outreach, library programs, master classes and college course partnerships. Verb Ballets has also been named one of Five Great Tiny Troupes in America by Dance Magazine and was one of the 25 dance companies in America to watch. In 2017 Verb Ballets begins a year long celebration of the 30th Anniversary of the company. As one of the oldest dance organizations in Cleveland we are proud to produce high caliber work and continue to connect with communities across a four county reach. Additional information can be found at www.verbballets.org.

Verb Ballets 3445 Warrensville Center Rd. Shaker Heights, OH 44122 • 216-397-3757 • www.verbballets.org
Facebook  •  Twitter  • Instagram •  YouTube @verbballets

Ballet UpClose Luncheon

By Performances

Ballet UpClose Luncheon

April 13, 2018 12:00pm

Verb Ballets Studio

Join Verb Ballets for an exclusive lunch time rehearsal viewing with Jill Marlow Krutzkamp. Jill Marlow Krutzkamp is a Pilates and wellness director, and professional dancer who has been dedicated to dance and the performing arts for more than 27 years. She began her dance career with the Pittsburgh Ballet Theatre then spent nine years with the Cincinnati Ballet and recently retired from the Kansas City Ballet to pursue her passion of helping others with the development of their dancing careers. Jill Marlow Krutzkamp is coming to Verb Ballets April 9-13, 2018 to set Adam Houghland’s K281. Jill Marlow Krutzkamp was one of the original cast members in the ballet commissioned by Cincinnati Ballet in 2007. Don’t miss this exclusive opportunity to be the first to see this work before it appears on stage! Ballet UpClose includes rehearsal preview and light lunch. Doors open at 11:45pm and viewing begins at noon.

Ballet UpClose Series
September 22, 2017 l January 26, 2018 l March 2, 2018 l April 13, 2018 l June 22, 2018

SHOW DETAILS

April 13, 2018 12:00pm

THEATRE

Verb Ballets Studio
3445 Warrensville Center Rd.
Shaker Heights, OH 44221

TICKETS

$17 Adults
Includes a light lunch

Get tickets for Ballet UpClose

Verb Ballets Studio

Verb Ballets Studio
3445 Warrensville Center Rd.
Shaker Heights, OH 44221

The studio is located at in the same building as Christ Episcopal Church. Please use rear entrance by Verb banner on left hand side of building. Free parking available.

Sigh of Relief—3/17

By Cuba

Today was far smoother than yesterday’s trip to the amusement park😌Because several of our board members and the tourist group that traveled with the company to Cuba were slated to see last night’s show, Friday night’s program was especially heavy for the Verb dancers. Tonight’s mixed bill was programmed a bit more instense for the ProDanza dancers. A little reprieve for the Americans as our tour draws to a close!

I started off the morning walking to a gallery/cafe to get a ginger coffee and work on the blog😉 They had a loft with cozy cushions for me to cuddle up and write in, which I thoroughly enjoyed. Nooks are the best!

Lexy, Lieneke and I then took advantage of our morning off by going to a neighborhood covered in public art called “Fusterlandia”. The Cuba lonely planet said that Jose Fuster makes Gaudí and his Spanish “Park Guell” look tame. I would definitely agree! I felt like I had stepped into a life sized version of Dr. Seuss’ “Oh the Places You’ll Go”. We had a blast climbing the winding staircases, traversing across tiled rooftops and wandering into hidden art-crammed rooms. Every message sung with bright colors and positivity. We had several conversations with local artists about their personal work and also about our work as dancers. Like most Cubans, they were very knowledgeable and supportive of ballet, and wanted to learn more about our tour. It’s refreshing to be in a country that has such a high regard for your profession!

We made it back in time to take a nap before lunch. Unfortunately for me, I am terrible at napping so I used that time to slow down and recharge physically. From rehearsing at Verb all day and teaching all night, I am used to spending most of my waking hours being active, but I figured it was responsible to try to rest some before the show.

Saturday night’s show also went well. Since I actually had time to prepare beforehand, I was in a much calmer mental state and felt more focused on the two pieces I had to dance. “Rita” and “Bolero” were both a blast to perform and went over well with the audience. I will miss dancing the saucy “Rita”! Kelly and Antonio looked passionate in “3am”, Michael and Lieneke were heartbreaking in “Ne Me Quitte Pas”, and all of the ProDanza rep (excerpts from Giselle, Coppelia, Le Corsaire, and Raymonda) was virtuosic and well-executed. We celebrated our success by walking to dinner at a delicious restaurant with a spunky band. I ate pesto mashed sweet potatoes while listening to bluesy vocals over Cuban rhythms—so many dynamic fusions in this country!

Although I can hardly keep my eyes open, I am the best kind of tired, the tired that comes from being filled with great food and fulfilled with a sense of accomplishment. The hardest is behind me now. Time to take a sigh of relief!

💋Kate

Opening Night Roller Coaster–3/16

By Cuba

Ohmygoodnessohmygoodnessohmygoodness. Today was a day! Or at least tonight was a night—by far my craziest on the trip. Here’s how the cookie crumbled:

The day started out with a classic Verb family breakfast at Yunia’s. I never usually eat breakfast in the states, but I enjoy it so much here I might have to add it to my repertoire😛 I then took a really long Kate walk meandering the streets of “El Vedado”, the region of Cuba that we are staying in. Along the way, I bought some traditional Cuban snacks (peanuts in a paper cone, nut brittle, caramel bar), and some Cuban clothes off of some lady’s front porch. Clothing stores are a lot harder to find here, so I was happy to find some Cuban garb to be able to take back to the states💃

I stumbled across the National Hotel during my walk and decided to use it as a mini destination before I turned around. Not only did I use their bathrooms (hotel bathrooms are the best in Cuba because they actually have toilet paper, soap, and a toilet seat!) but I also got a cappuccino and pretended I was on vacation for 20 minutes. Lounging on the back terrace overlooking the Malecón, I couldn’t help but pinch myself about how lovely the moment was. I am in an incredible country experiencing new culture and finding new limits on how I far can push myself, while still having a sweet second to enjoy the ultimate coffee break. I got a little sad thinking about how I wanted to share that perfect moment with loved ones back home (shout out my boyfriend and parents) but I made sure to soak up the feeling as much as possible so I could share it with them upon my return. I miss you guys!

After a delicious lunch back at the house (I had sushi in Cuba!) team Verb had a rehearsal on our front porch lead by Richard to mentally prepare for opening night. We have been moving so quickly that we’ve been forced to throw things together without much rehearsal. I appreciate that Richard tried to carve out extra rehearsal time even if it wasn’t in an ideal space. Maggi said she thoroughly enjoyed supervising the rehearsal in her sunglasses on the rocking chair😎

Although we had a 2 hour break scheduled after warmup class before the show, I decided to prep my hair and most of my makeup before class just in case I would be able to rehearse “Rita” onstage during the break. Thank goodness I did, because things got crazy😧

I mentioned in my last blog post about how I have had minimal time to rehearse “Rita”. I asked to run the solo after class and was finally granted stage time.  However, instead of being a solidifying pre-show run, it turned into a full blown coaching session. In front of the full Cleveland-Havana Ballet and staff, one of the ProDanza ballet mistresses who performed the role in 2006 started giving me notes about things to change. I usually love getting corrections because it shows that a teacher is invested enough in you to care about your development, plus it helps you to improve far quicker than having to discover the corrections on your own. However, I tend find last minute corrections to be stressful before a show because I don’t have time to rehearse or process them. It’s almost like finding out you studied an incorrect information for a test the class period before. I hate procrastinating and much prefer to be overly prepared, so I started to feel anxious. How many more parts was she going to edit with a performance in less than an hour and a half? Why couldn’t I have had rehearsal earlier in the week so this could have been addressed days ago? I couldn’t get the coordination for many of the changes she wanted to make, so I felt stupid in front of everyone🙈

I was fighting to keep myself together and professional. When I was finally dismissed from my embarrassing pop coaching session, I went directly to the corner of the stage and started to cry. The intensity of the trip caught up with me at that moment—all of the uncertainty, the constant pressure to perform at maximum capacity despite very limited time to perfect the work, the learning curve we’ve had as Americans trying to fit into the Cuban dance culture…thank goodness Lieneke and Lexy were both there to console me and give me extra tissues (I exhausted the tissues I had packed to serve as toilet paper within the first few sobs). It’s times like those where I really do feel so fortunate to be a dancer with Verb. There is always someone in your corner when you’re hurting.

I was finally starting to feel better when we finished “Bolero” rehearsal, but at that point we only had 40 minutes until the show, so I was also feeling anxious to get ready. I sped walked up the 3 flights of stairs to my dressing room to try to clean up my now sweaty makeup. I was taking deep breaths and refocusing for show mode when the same rehearsal director called my name from the hall to go to the sound booth.  I ran down the 3 flights of stairs, around the crossover, through the house and up the stairs to the 3rd balcony tech booth to meet the sound man. The opening counts were slightly different from the CD Verb practiced with, so they wanted me to familiarize myself. I marked through the opening steps several times then sprinted all the way back to my noisy dressing room. I felt like I was on a roller coaster drop that was accelerating with greater and greater velocity.

Just as I was starting to refocus again, I heard my name called once more from the hall. Apparently there was a lighting discrepancy with the “Rita” solo, but Lexy jumped in for me. Lexy, I can’t tell you how much I appreciated your generosity in that moment! My head was buzzing and my stomach was in knots from trying to keep cool while pre-setting all of my quick changes, getting into costume, and mentally cramming for the four pieces I had to dance.

After having to run back up and down the 3 flights of stairs yet again to retrieve a missing pair of toe pads, I was finally ready. If I had been a minute later, I would have missed my entrance (I am first onstage, so that leaves zero wiggle room to get ready). And with no time to really feel anything but “Read or not, here we go!” we were off.

“Appropriated Memories” felt like pensive and reflective, “Rita” felt zingy and crisp, “3am” felt sultry and steamy, and “Bolero” felt like a powerful group tsunami wave. Every piece was a thrill to perform in its own way. Of course there were little moments here and there that I wish had been slightly more one way or another, but overall I was pleased with how the show went, especially given the G-forces that came with it. All of the other Verb and ProDanza works I saw in passing when I wasn’t quick changing also looked very strong. Despite all of the insanity leading up to opening night, we actually pulled it off!

How is it that roller coasters cause you to feel anxious, terrified, and disoriented, but somehow leave you breathlessly wanting to do it all again? Ballet is a weird drug, I tell you. But I love it🤪💕

Opening Night✅

Kate

On Deck—3/15

By Cuba

Oof. Today’s double tech/dress rehearsal was a bit of a stressful one. It was pretty much perpetual not knowing what was going on combined with constant pressure to perform our best. Those pressures add up a lot more noticeably when you haven’t had a day off for nearly 3 weeks, and although everyone is doing their best I think a little down time when we get back to the states will be greatly appreciated.

The best way I can describe today is being “on deck”. Did you ever do swim team? Then you might have a clue as to the feeling I am talking about. When you’re on deck, you have to be present and ready to perform your best at any time. But sometimes thunder grumbles and you are stuck waiting longer than expected. Should you try to keep warmed up? Or is that going to be a waste of energy and tire you out for the real race if another thunder rumble comes around? Perhaps eat a snack to prepare for a lengthened meet? Or is a heavy stomach going to negatively impact your race if you have to swim sooner than expected? Do you remember your events and have the correct order? AKA has your casting changed and do you know which program you are performing (Friday’s program, Saturday’s, program, and Sunday’s program are all different and require different costumes, shoes, hair, and undergarments)? Was that whistle blowing something I need to pay attention to? Or was that for someone running when they should be walking? AKA is that Laura Alonso shouting “Kate” over the microphone at me? Or is that her saying “que” in Spanish? It is a long period of over stimulation that is pretty wearing😣

I don’t want to spend too much time attempting to explain the specific stresses that pertain to our current situation (that might be a long, whiney post) so I will switch to a bigger picture. At least we all still have out health. And for that we are incredibly lucky. One of the ProDanza dancers tumbled to the floor today coming out of a jump and couldn’t even walk offstage…

We have all been responsible for so many parts for this tour that I have had very minimal time to rehearse “Rita” (or an opportunity on to space the solo onstage without slipping on the packing tape that they use to hold the floor together…gaft tape is harder to come by in Cuba).

But, I have given myself mental rehearsal tonight and plan to do my best and have fun performing it tomorrow regardless of the quick turnaround has been. Nothing like a touch of nerves and a decent amount of excitement to keep you feeling alive!

We are finally about to plunge into the pool of performance after anxiously waiting on deck. Send Verb Ballets and ProDanza some luck!

Gracias🙃
Kate

Pie Day—3/14

By Cuba

OK so we didn’t exactly eat pie today, but we did do lots of celebrating! Today was Laura Alonso’s birthday, so I knew it was bound to have some sweet flourishes🎂 More on that later…

The day started out with Richard’s ballet class at the National Theater. The floors were a bit dusty (Cuba has a lot of indoor/outdoor buildings, so I have come to expect dust most places) but otherwise the stage was very deep and the auditorium was spacious. The National Theater is not quite the newly renovated Alicia Alonso, but I am still getting very excited to perform in it this weekend! I have always loved to perform☺

After doing some classic Richard across-the-floor combinations (boy it feels so good to move and travel in his classes) we got busy with spacing and rehearsal. “Bolero” is going to be extra dynamic in this theater because we have so much room to dance and swirl our capes. I helped Lexy to teach some of the ProDanza dancers part of the choreography.

Once we wrapped up rehearsal, everyone climbed back on the bus so we could head to the ProDanza studios for Laura’s birthday party. I don’t know if I have ever witnessed so much pomp and circumstance in my life🤣The pictures below won’t do it justice, but they’re worth a peak. A full sized theater backdrop of a garden was hung by the balcony to create a mini performance stage, which was then occupied by the Cuban singer who milked every note with an ultravibrato flair, followed by a melodramatic performer of epic poetry, and finally a mariachi band. Havana Club rum was flowing freely, and plates filled with sweets covered the tables🍹 And through all of the shenanigans, Maestra Laura Alonso sat stoicly surrounded by gifts, flowers, and cards. She is one well respected woman!

The ladies of Verb ballets hit the leftovers hard when we got home…the rum is very effective in Cuba and those sweet treats could’t quite cut it as dinner🤪 It was fun to sit around and eat cold beans and rice…

Going with the Flow—3/13

By Cuba

Today reflecting on a major lesson that a tour to a foreign country teaches you: going with the flow. On a regular basis, I am fairly “type A”, but after lots of travels I have found that it’s best to blissfully surrender to outside forces when operating in a foreign land. Why paddle upstream when downstream there’s a lot of delicious black beans? Maybe I wouldn’t usually opt to have black beans at every meal in the U.S., but when I am Cuba you better bet I am going to maintain my membership in the clean plate club and enjoy every bite. And I haven’t gotten sick of them yet!😋

Birthday dinner celebration at National Hotel for Christina Lindhout! Happy Birthday Christina!

Going with the flow also has to do with recognizing intentions. Is the river flowing you downstream because it is angry with you and wants to sweep you to potentially dangerous territory? Or is the river old and wise, taking you along for a ride that will show you knew vistas and possibilities that you hadn’t imagined? Or maybe, and perhaps most likely, the river is so …

Growing up, I took a lot of walks with my family to the river. This was my greatest source of perspective and reminder to “flow”. Tonight, we ate dinner by the Malecón, a wall that lines the ocean on the northern coast of Cuba. Because of a cold front coming in, the waves were massive and crashed over the wall creating a spectacle of H2O fireworks. I found wisdom from that powerful water tonight, just as I did in the river growing up. How lucky am I to be a part of this Cuban current? Keep sweeping me away!🌊

On a completely different note, it was Christina’s birthday today, so Happy Birthday Big Tina! I loved celebrating with you and look forward to continued merriment in the CLE.

☯Kate

Going to the Cuban bathroom flow (there is no flushing, you fill a bucket with water and the waste flows down the drain). Don’t forget your tissues and hand sanitizers!

My delicious lunch thanks to Yunia! P.S. if you ever want to come to Cuba, you should totally stay with her. Search “Casa de Renta Yunia Lao” on FB to find her—she’s an amazing chef and an even better host!

The smaller “Yarini”—3/10

By Cuba
Today was a great day, minus one really terrible thing that happened. Verb spent the morning at the ProDanza studios taking class and rehearsing our repertory program that we will be performing next weekend. It was very peaceful to have the whole dance complex to ourselves. Richard did an excellent job coaching us to reawaken movement that we had not rehearsed for weeks. Hallelujah it felt great to do contemporary movement again!

After rehearsal, we had a little break (where I had the best cafe con leche of my life) and then it was back to the theater. Most of us performed last night, but not our principal roles. I was in the “Burguesía” scene, dancing as a wealthy lady with Antonio as my parter. Right before this scene, there was a massive set change with lots of changing backdrops. Just before lights were about to come up, a heavy rod that was part of a backdrop fell and landed on one of the ProDanza dancer’s head. It was horrifying. He was bleeding severely and was escorted offstage to go to a hospital.

Everyone onstage was super shaken, but once he was taken offstage everyone switched into problem solving mode. We had about 15 more seconds of darkness to communicate amongst ourselves about how we were going to adjust the dance to fit 5 couples as opposed to 6. Of course all of this panicked whispering was in Spanish, so Antonio and I had no hope of being able to keep up, but we stayed as professional and calm as possible and did our best to readjust as the piece was happening. Everything went as well as it could have given the last minute craziness. You never know what is going to happen with live theater…

All of the Verb Dancers felt terrible for our fellow dancer and are sending him our best. Luckily we found out he was released from the hospital last night, and is beginning to recover.