The Wisconsin Dance Announces the Honorees for the 2018 Award Ceremony
From left to right: Mary Katic (Career Recognition), Dani Kuepper (Choreography/Performance), Marlene Skog (Distinction), Marlene Turbin Weldon (Career Recognition), and Roger White (Lifetime Achievement).
Since 1984, the Wisconsin Dance Council has honored groups and individuals for their contributions to dance in Wisconsin.
Our Biennial Award Ceremony and Conference will be on Saturday, August 18, 2018, at the Jane Bergstrom Fine Arts Education Center in Neenah, Wisconsin.
Please join us on August 18, 2018, as we honor the people who have made significant contributions to dance in Wisconsin! It will be a day of master classes, professional development, networking, learning, celebrating our honorees, and dance.
The Stories of Peter Rabbit and Friends will introduce the audience to four different stories of Beatrix Potter in three acts: Tale of Two Bad Mice, Tom Kitten, Peter Rabbit and Benjamin Bunny. This ballet is perfect for the elementary aged child (4-12). Find out what happens when two mice, Lucinda and Jane, get loose in the beautiful doll house of Winefred and are disappointed to find the table full of food is made of porcelain. Then watch the antics of Tom Kitten and his sisters Moppet and Mittens who get into mischief while waiting for fine company to arrive. Finally in the third act enjoy the rambunctious Peter Rabbit as he gets loose in the live garden of Mr. McGreoger. While being chased Peter loses his clothes and must return to find them with the assistance of his cousin Benjamin Bunny. Benjamin lallygags in the garden much to Peter’s dismay and then they encounter a cat. Hiding under a basket for safety they become trapped and must be saved by Benjamin’s father. New choreography, costumes and characters enhance this repertoire of Dance Wisconsin. Original music composed by former Wisconsin Chamber Orchestra Conductor David Lewis Crosby (1957-2008)
-Milwaukee Ballet Artistic Director presents his newest family-friendly production, April 12-15
Milwaukee Ballet presents the world premiere of Michael Pink’s Beauty and the Beast at the Marcus Center for the Performing Arts, April 12-15. Following his acclaimed productions of Peter Pan and Mirror Mirror, Pink will offer a mystical adaptation of the beloved fairytale to appeal to all ages.
“Beauty and the Beast is a well-known, popular story. It provides the kind of narrative that I love to delve into and present with imaginative, undiscovered viewpoints,” said Milwaukee Ballet Artistic Director Michael Pink. “The audience can easily escape into the beauty of this production, which will please ballet lovers and newcomers alike.”
Pink’s production is inspired by Jeanne-Marie LePrince de Beaumont’s 1756 adaptation of the original folktale. Belle is the hero of her own story and uses her love of literature to guide her on her adventure with the Beast.
“Belle’s imagination is her strength. It gives her the knowledge and confidence to take on the Beast, his world, and her destiny,” Pink explained.
Beauty and the Beast features the professional Company, Milwaukee Ballet II, and nearly 80 students of Milwaukee Ballet School & Academy.
Pink is widely praised for his interpretations on the world’s best loved stories. Beauty and the Beast is the most recent full-length ballet Pink has premiered in Milwaukee, joining Dorian Gray (2016), Mirror Mirror (2014), La Bohème (2012), and Peter Pan (2010).
Pink commissioned a score from British composer Philip Feeney, which will be played by Milwaukee Ballet Orchestra for this engagement under the direction of Milwaukee Ballet Music Director Andrews Sill. With Beauty and the Beast, Pink and Feeney celebrate a 30-year collaboration, which began with their first ballet, Memoire Imaginaire, in 1987.
The creative team is rounded out by Emmy Award-winning lighting designer David Grill, Canadian costume designer Paul Daigle (La Bohème), and New York City-based scenic designer Todd Edward Ivins (Mirror Mirror).
A handsome Prince rules his kingdom with a cold heart. He is a product of his entitled upbringing: callous and selfish, with little regard for the welfare of his people. An Enchantress strips him of his looks and transforms him into a Beast. He meets Belle who gives him a new sense of hope and a reason to become a better version of himself.
Belle is bright with an unquenchable love of literature, destined to write her own adventure. When her father is captured by the Beast, she bravely offers herself to take his place. Now, a prisoner in the enchanted castle, she uses her generous spirit and intelligence to help the Beast discover his humanity.
Barre Talk: Beauty and the Beast
March 27, 6:30-8pm
88Nine Radio Milwaukee, 220 E Pittsburgh Ave, Milwaukee
Milwaukee Ballet’s Barre Talk events feature a member of Milwaukee Ballet artistic staff and a guest speaker leading animated conversation on topics important to the ballet world and beyond. For Beauty and the Beast, Artistic Director Michael Pink shares his vision and process of taking the fairy tale from the page to the stage. Details at milwaukeeballet.org.
Milwaukee Ballet Box Office: Located at 504 W. National Ave; Open M-F 8:30am – 5pm; Call 414.902.2103 ($4/ticket handling fee).
Marcus Center Box Office: Located at 929 N. Water Street; Open M-F 9:30am–9pm, Sat. 12–9pm; Sun 12–5pm; Call 414.273.7206 ($4.50/ticket handling fee on phone and no ticket handling fee in person at the Box Office).
Ticketmaster.com: Visit ticketmaster.com for online purchase. Ticketmaster charges apply.
UPAF SmART Card holders can redeem their special offer to the premiere performance on THURSDAY evening only. Details here.
Beauty and the Beast is presented by Sue and Allan “Bud” Selig, through their support of the Campaign for New Work, as well as Donna and Donald Baumgartner and Nita Soref. Philip Feeney’s score was commissioned by Susanna and Justin Mortara. Paul Daigle’s costume designs were commissioned by the Ettinger Family Foundation.
The 2017-18 season is presented by Donna and Donald Baumgartner, with operational support from the United Performing Arts Fund.
In The Breaking Ring, performers take a deep dive into physical listening and visceral decision-making, operating with heightened attending, merging sensing and thinking to create kinetic dialogue. Behavior transforms into choreographic interlude, reoccurring patterns accumulate.
Shaw and company draw their choreographic material from their work with horses where negotiation for leadership plays out with very real consequences. The Breaking Ring translates inter-species choreographic devices into human encounters. Outcomes are completely dependent on full-bodied listening, the performers each accountable for their choices.
Accountability for choices is framed as a performance event.