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Triptych

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In 1968, Heinz Poll, along with his partner and lighting designer, Thomas Skelton, founded The Chamber Ballet, later to become Ohio Ballet. Under Heinz Poll’s leadership, the Ohio Ballet presented its subscription series in Akron and Cleveland, offering free outdoor summer performances throughout northeastern Ohio and toured to more than forty states as well as internationally. Heinz Poll was a major contributor to the arts in Northeast Ohio until he passed and the company folded in 2006.

Ohio Ballet premiered Triptych on April 8, 1988, at EJ Thomas Hall in Akron. Ohio Ballet was the only company to perform this work and it was a staple in its repertory for years. Verb Ballets Associate Artistic Director, Richard Dickinson, MFA is former Ohio Ballet dancer and owns the licensing rights to five of Poll’s ballets. He has set all five on Verb Ballets, helping to keep the legacy of Heinz Poll alive. 

Directors’ Choice: June 26, 2021

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.

Photo: Ott Gangl

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Behind Bolero

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Xochitl Tejeda de Cerda danced with Ohio Ballet for 17 years. She was the original lead in Heinz Poll’s, Bolero. Watch the interview of her memories about the piece. With her permission the company will present Bolero on the Directors’ Choice program on June 26th!

Directors Choice: June 26, 2021

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Progressing Ballet Technique Workshop

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3-day Progressing Ballet Technique (PBT) Workshop
Sunday, July 11th, 18th, and 25th from 12:45-1:45pm
$65 for all 3 classes

Progressing Ballet Technique (PBT) is known around the world as the ultimate cross training, strengthening, and rehabilitation system for dancers looking to vastly improve in their ballet technique. Join Verb Ballets company dancer Kelly Korfhage for a very special three day IN STUDIO Progressing Ballet Technique (PBT) workshop! Certified in 2019, Kelly is excited to being PBT to our students at Verb Ballets!

Register Now Space it Limited

About PBT

Progressing Ballet Technique (PBT) is an innovative body-conditioning and strengthening program that has been designed to enhance students’ technique by focussing on training the muscle memory required in each exercise in all forms of dance. It is a unique training system using ballet-technique specific exercises to train skill acquisition in a graded and progressive manner from junior through to advanced levels. PBT helps teachers around the world prepare their students to receive the strength they need to achieve their personal best.

The program helps with injury prevention and rehabilitation and enhances the ability of athletes to perform at their best. It can be difficult for students to feel which muscles initiate the correct alignment in training. However, with the use of an exercise ball, the students gain a great sense of posture and weight-placement whilst feeling each correct muscle group working throughout each exercise, which then stays with them when whilst performing in dance or their chosen field of sport

PBT focuses on core strength, weight placement and alignment of the body with a gradual approach of carefully designed exercises and repetitions of these exercises that trigger their muscle memory. The program is designed with safe dance methodology to promote a long, healthy career and is now being taught by over 4000+ certified teachers worldwide and over 3500 schools globally have added PBT classes in their curriculum for students.

PBT is not only a program to improve technique in ballet dancers, it is now being appreciated and incorporated in training by all forms of dancers, athletes, physiotherapists and even footballers!

Kelly Korfhage

Kelly Korfhage, a native of Cleveland, began her training at age 10 under Joanne H. Morscher and Ana Lobe. She attended summer intensives at ABT Detroit, Central Pennsylvania Youth Ballet, BalletMet, Cincinnati Ballet, and North Carolina Dance Theatre. She furthered her dance education at the University of Cincinnati-College Conservatory of Music as a Corbett Award scholarship recipient and graduated cum laude with a BFA in ballet performance. Following graduation, Kelly became a member of Kansas City Ballet’s second company, KCB2, for two seasons where she had the opportunity to perform with the company in repertoire such as Septime Webre’s Alice (In Wonderland) and Adam Hougland’s Rite of Spring. Kelly joined Verb Ballets in 2016 and has been featured in works such as Andante Sostenuto and Schubert Waltzes.

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What is Love?

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Christopher L. Huggins has become an Internationally renowned choreographer. Mr. Huggins has created ballets for Philadanco!, Alvin Ailey American Dance Theatre, and Dance Theatre of Harlem just to name a few. Award winning choreographer has received the Alvin Ailey Award for Best Choreography, The Black Alliance Award, and Service to IABD in the Field of Dance Award from the International Association of Blacks in Dance. Most recently, he was announced as the recipient of 2021 Guggenheim Fellowship in choreography. We sat down with him to talk about staging Love Is… on Verb debuting May 14, 2021.

Contemporary Creations: May 14, 2021

Performance available to stream 48hours

Photos: Kolman Rosenberg

Christopher L. Huggins

Christopher L. Huggins is a choreographer, teacher, and former member of the renowned Alvin Ailey American Dance Theatre. A native of Boston, Massachusetts, he trained under Andrea Herbert Major, Danny Sloan, and Martha Gray. After attended SUNY Purchase, The Julliard School, and a fellowship at The Ailey School, Huggins appeared as a guest artist in several dance companies in the United States. Internationally, he was a guest artist with Oslo Dance Ensemble of Norway and Aterballetto of Italy.

After a long dance career, the sought-after choreographer has created ballets for Dallas Black Dance Theatre, Ailey II, Philadanco!, Alvin Ailey American Dance Theatre, Lulu Washington Dance Theatre, Dance Theatre of Harlem and Cleo Parker Robinson Dance. He was honored to serve as sole choreographer for the 50th Anniversary Opening Night Gala for the Alvin Ailey American Dance Theatre in 2008. He has also worked on several projects for the Walt Disney Company. His awards include the Alvin Ailey Award for Best Choreography (2002 and 2008), the Black Theater Alliance Award in Chicago, the International Contemporary Dance Competition in Korea, and Service to IABD in the Field of Dance Award from the International Association of Blacks in Dance. Most recently, he was announced as the recipient of 2021 Guggenheim Fellowship in choreography.

As a master teacher and choreographer, he has worked in South Africa, Europe, Japan, Korea as well as throughout the United States. In addition to commissions for Ailey II and The Ailey School, he has set works on major Universities including Howard University, Spellman College, University of Arts, Eastern and Western Michigan and Wayne State University. Huggins is currently serving as resident choreographer at Duke Ellington High School of the Arts in Washington, D.C.

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Luck and Fortune

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Liu Mo graduated from the renowned Beijing Dance Academy with a degree in Classical Chinese. He then served as an instructor in the foundations of Classical Chinese dance at the Beijing Dance Academy. He came to the US and danced for seven seasons with Kun-Yang Lin/Dancers in Philadelphia. Now in Cleveland with his wife and new baby, we sat down with him to talk about his new commission. We sat down with him to talk about his newest commission on Verb debuting May 14, 2021.

Contemporary Creations: May 14, 2021

Performance available to stream 48hours

Liu Mo

From Xi’an, China, Liu Mo trained at the renowned Beijing Dance Academy from middle school through college. He received a degree in Classical Chinese dance with a focus in performance and education. During this time, he received 3rd place for his solo at the prestigious Taoli Bei dance competition and had the opportunity to work with many choreographers, such as Shen Wei for the 2008 Summer Olympics. Following the completion of his degree, Liu Mo served as an instructor in the foundations of Classical Chinese dance at the Beijing Dance Academy until 2011. From 2012 to 2019, He danced with Kun-Yang Lin/Dancers in Philadelphia, PA. Liu Mo has choreographed commissioned works for Ballet 180, Hua Hua Zhang, Hua Xia, and Kun-Yang Lin/Dancers.

Photos: Kolman Rosenberg

How a series of misfortunes led to unexpected opportunities

How does your background in classical Chinese dance influence your choreography?
My training in Chinese dance was very intense growing up. While my major was classical Chinese dance, which is known for its tricks and difficult technique, we were also required to learn all the folk dances from each region throughout China. Folk dance is all about texture of movement and musicality. My choreography is very contemporary but this exploration in texture remains a key part of my creative process. In addition, I want to bring in the athleticism that classical training gives dancers, whether that training is in Chinese Classical Dance
or Ballet. It is particularly important to me to combine high caliber technique and complex texture.

How did you come up with the concept for this piece?
I found myself inspired by the last two years of my life. My wife and I have had some crazy luck, so I tried to draw on all of those feelings. For a while there was this crazy pattern of amazing opportunities falling through at the last minute. It was laughable. We would get three job offers in a week and all of them would fall through because of either COVID or travel restrictions. We ended up messing up our green card application because of poor legal advice and spent a year in China only to have the country shut down indefinitely due to COVID two days before our final interview. Six months later we passed the interview only to miss our flight to the U.S. because my pregnant wife was bitten by a wild cat and we had to spend six days in the hospital. It seemed no matter what we did, we hit this pattern of being unlucky.

But I also know that if I had more luck, for example, if I were 4 inches taller, I probably never would have made it to the U.S. and met my wife. If COVID didn’t hit, we wouldn’t have gotten pregnant, and I wouldn’t have my wonderful son. I may never have had the chance to choreograph on Verb. We keep going and keep being grateful, but these feelings really inspired the piece.

What is the piece about?
It’s about luck, but I think more than that; it became about our reactions to good or bad luck. We alternate ecstatic or heartbroken but no matter what, time marches on. No matter what luck you face, you have this responsibility to keep going, to keep working hard. Sometimes you are lucky enough to have a partner by your side, other times not. And no matter what your luck is, it’s always fleeting. I don’t mean that in a dark, morose way but rather there is this through line, a zoom out you could say, of how we adjust to our circumstances and what ultimately

What do you hope the audience will take away when viewing your work?
Keep going, keep creating and valuing the relationships and the people who support you.

Finish this sentence- Verb Ballets is…
Inspiration!

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World of Another

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Imagine creating a ballet without ever stepping into the studio. Verb Ballets commissioned a new company work this season from award winning choreographer, Stephanie Martinez. Using a computer and a wide-angle GoPro camera to enable full viewing of the studio, a ballet was created. With over eleven years of award-winning works, Chicago-based choreographer Stephanie Martinez has moved her audiences along a journey guided by kinetic momentum. The world premiere, World of Another, is marked by a versatility that expands the boundaries of contemporary ballet movement. We sat down with her via Zoom to talk about the process of creating her newest commission on Verb debuting May 14, 2021.

Contemporary Creations: May 14, 2021

Performance available to stream 48hours

Photos: Kolman Rosenberg

Stephanie Martinez

With over 30 years professional performing experience, Stephanie Martinez has danced for Amaranth Dance Company, The Lyric Opera of Chicago, Luna Negra Dance Theater, Concert Dance, Inc, Same Planet/Different World Dance Theater and Dance Chicago amongst many others. In 2009, her choreographic debut, AviMar for Luna Negra Dance Theater instantly secured her status as a sought-after dancemaker.

​Over eleven years of award-winning choreography, Stephanie moves her audiences along a journey guided by the kinetic momentum of her work. With original creations for Joffrey Ballet, Ballet Hispanico, Luna Negra Dance Theater, Charlotte Ballet, Sacramento Ballet, Eugene Ballet, Nashville Ballet, Ballet Memphis, Kansas City Ballet, and National Choreographers Initiative among others, Martinez’s versatility expands the boundaries of contemporary ballet movement. Martinez has created over 60 ballets on companies and collegiate programs across the country.

In 2015, Martinez was awarded Joffrey Ballet’s “Winning Works: Choreographers of Color” commission and the Chicago 3Arts Award in recognition for her work as a female artist of color. More recently, Martinez was awarded an NEA grant for her premiere of Bliss! with Joffrey Ballet. Dubbed “a chameleon” of choreography by the Chicago Tribune, Martinez’s psychologically revelatory works challenge the viewer’s notion of what’s possible.

Stephanie Martinez is the founder and artistic director of Chicago-based repertory company PARA.MAR Dance Theatre. Founded in July 2020 during the COVID-19 pandemic. PARA.MAR was created together, with, and for diversity and access to excellence in contemporary dance – created, curated y hecho en Chicago.

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Verbiculture May 2021

By News, verbiculture

Verb Ballets’ digital magazine! Get the inside scoop on what is going on behind the scenes with choreographer interviews, learn more about the dancers, projects and more. Hit to read in fullscreen with the button in lower right corner.

Don't miss Contemporary Creations!

Virtual performance on May 14th at 7:00pm ET

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Vintage’n’Things Auction

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Bidding extended till May 9th!

Verb Ballets presents Vintage’ n ‘Things, an online auction hosted by 32auctions to raise funds to support the company. Starting Friday, March 26 at 8 a.m. and ending at 8 p.m. on Friday, April 16, 2021  Sunday, May 9, 2021 we will have an assortment of treasures, fabulous finds collected, and items acquired, which have been generously donated for this event. This will be a far-reaching auction, including anything from art, memorabilia, collectables,  dinners hosted by the Verb dancers and much more. Many collectible items are considered relics of a bygone era, and often bear sentimental value in addition to their market value.

To place a bid you will need to create an account with 32auctions with just your name, email and a password. You will find the link to create an account in a yellow box at the top of the auction page. 32auctions will send you updates on the status of your bids during the auction. Head on over to our online auction site to see all the treasures and things we’ve curated for you. New items will be added frequently!

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Strength in Character

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Dancers who aspire to perform in the great classical ballets are required to know what is called, Character Dance. In multiple act classical ballets, there are sections where folk dances from various countries in Europe are part of the choreography. Character dance is not something you would normally associate with Verb Ballets. Many dancers today have not received that training or have not studied it to an advanced level. Dr. Margaret  Carlson, Producing Artistic Director of Verb Ballets, wanted to bring the character variations into the repertory to provide a deeper education for our dancers. Character training helps bring stylistic detail to classical and contemporary roles and develops the coordination required to become a versatile dancer.

Dr. Carlson met Inna Stabrova when she immigrated to the United States in the 1990’s. Dr. Carlson was then the Director of the University of Akron’s School of Dance and felt Inna was a perfect match to supplement the students’ training. So began a long friendship. Inna was a former principal dancer with the Eifman Ballet. Her first education began at the Odessa State Choreographic Institute in Ukraine. She then went on to graduate with her Masters in Choreography from The Vaganova State Academy of Ballet in St. Petersburg, Russia. After graduation, she received a teaching certification in Character Dance from Bella Ojegova.

Inna Stabrova set two character works on the company to debut on the Going Solo program. The men will dance a Spanish Jota and the full company will dance a Ukrainian folk dance.

Going Solo February 26, 2021 7pm ET

Available to stream 48hours

Inna Stabrova

Inna Stabrova not only has the reputation of being a gifted teacher, but she was an exceptional dancer as well. Inna was a former principal dancer with the Eifman Ballet of St. Petersburg, Russia. As a principal dancer, she traveled internationally to perform in over sixteen countries. Another acclaimed milestone in her professional dancing career was starring as Viola in the ballet-movie of Shakespeare’s Twelfth Night.

Inna’s first education, which laid the foundation for which her former career is attributed, began at the Odessa State Choreographic Institute in Ukraine. Inna graduated with her Masters in Choreography from The Vaganova State Academy of Ballet in St. Petersburg, Russia. After graduation, she continued her study for the teaching certification in Character Dance with Bella Ojegova.

In 1990, Inna moved to the United States in the pursuit of a teaching career. Her teaching credits include: The University of Akron, The Dance Institute of the University of Akron, Cleveland School for the Arts, Pittsburgh Ballet Theater, Central Pennsylvania Youth Ballet and many more. She went on to co-found the Ohio Conservatory of Dance and youth company. Her students have gone on to join professional companies including Ballet Met, Pennsylvania Ballet, Pacific North West Ballet and many more. In addition to those achievements, several of her dancers have been winners of the Youth American Grand Prix, NY finalist to International Competition Youth America Grand Prix and won World Ballet Art Competition Grand Prix.

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Sometimes, Always

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Richard Dickinson, MFA is well known for his long career with Ohio Ballet. His connection with Verb Ballets began over 10 years ago. As the Associate Artistic Director, he molds the company dancers but the other hat he wears is as a regular company choreographer. He is known for his eclectic style, combining ballet technique with modern angles and intricate partnering. We sat down with him to talk about his newest ballet featuring the men of the company.

Going Solo February 26, 2021 7pm ET

Available to stream 48hours

Interview with Richard Dickinson, MFA

Why did you choreograph an all-male piece?
I was asked to choreograph a new work for the men of Verb Ballets while the women were learning the Limon solos.

What inspired your new work?
I went into the process unclear where to start or how to approach this undertaking. I began to think of other choreographers that have famously choreographed for men: Ted Shawn, Mark Morris, and Lar Lubovitch. I began to look at videos and photos of their work as inspiration. I wanted to make something unsentimental, about guys. That was the beginning, and it has taken off from there.

What is the new piece about?
The work is about being strong and vulnerable at the same time. Being open to the many possibilities of the universe, and not being afraid of who you are or what you can be. We are expected to have a hard shell around us, like a cocoon. However, I think we should let the world in and experience it. Its joy and pain. Full of energy and life. Don’t be afraid- just be your best!

What is the meaning behind the title?
Sometimes we meet someone that we will always remember.

What music did you use?
The piece is choreographed to the well-known score by American composer Samuel Barber. His String Quartet in B minor, Op. 11. mirrors the four men in the piece. There are three sections but most people will recognize the middle section which I have choreographed as a duet. The composer’s style is distinctive and modern, making it a perfect match for contemporary ballet.

What opportunities or challenges arose from working with a cast of men?
I originally started a full company piece last summer to premiere at Lakeside but it was cancelled due to the pandemic. The ballet stayed in my head manifesting itself. In the studio, I felt like I was watching myself choreograph. I began to ask myself questions about intimacy and structure- content, meaning and musicality. It was a very complicated process that I thoroughly enjoyed. Honestly, I felt like this ballet choreographed itself.

Photos: Kolman Rosenberg

Richard Dickinson, MFA

Choreographer and Associate Artistic Director

A former dancer with Ohio Ballet Dickinson’s association with that company began in 1988. He later became ballet master and director of company touring.   Dickinson was also a soloist with Boston Ballet for eight years. At age fifteen, he joined the Pasadena Dance Theatre and was awarded a National Endowment for the Arts Emerging Choreographer Award for a work premiered by the same company. He performed in the PBS television production of “Frankie and Johnny” with the Chicago Ballet. and danced principal roles in Asian, European and American tours with Rudolf Nureyev and the Boston Ballet. In addition to his professional work, Dickinson had an extensive dance career including principal and soloist roles at Chicago Ballet, Honolulu City Ballet and various regional companies.  Previously, he served as Artistic Associate for Hubbard Street Dance Chicago and the Artistic Director of Ballet Western Reserve, Great Lakes Festival Ballet, Chamber Dance Theatre. He has also directed Boston Ballet II and has a Master of Fine Arts degree in Contemporary Dance from Case Western Reserve University.

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