Rhodes Elliot

As re-imagined by Artistic Director Stanton Welch, the holiday classic pulses with new life and over-the-top theatrics reminiscent of 19th century production at its peak, but brought into the 21st by cutting-edge technology.

William Shakespeare's THE TAMING OF THE SHREW is a comedic, character-driven piece about the courtship of volatile Katherina and obnoxious Petruchio. Character pieces require great characters, naturally, and great performers. In his ballet adaptation, John Cranko delivers. In the Houston Ballet production, so do the dancers.

On Monday, Dec. 15, 2014 from 1 to 3 p.m., costumed dancers from Houston Ballet's production of The Nutcrackerwill make a special visit to Texas Children's and Hematology Centers. This holiday season Houston Ballet will present 35 performances of The Nutcracker at the Wortham Theater Center Nov. 28 - Dec. 28, and the dancers want to bring the magic of the performance to children who may not have the opportunity to see the production. On Dec. 15, 2014, Houston Ballet demi soloist Elise Elliott, corps de ballet dancers Rhodes Elliott, Jacquelyn Long, Katelyn May, Aaron Sharratt, and apprentice Mallory Mehaffey will participate in this event.

Houston Ballet's current season is wrapping up quickly. Last night they opened a mixed repertory program titled MODERN MASTERS, and in about two weeks they'll be opening SWAN LAKE, this season's closer. As everyone expected, Houston Ballet's current program is filled with beautiful and stunning movement, incredible feats of dance athleticism, and gorgeous emotionality. MODERN MASTERS features four short pieces that highlight the range of the company all while celebrating the best of modern ballet choreographers.

Last night, Houston Ballet presented the American Premiere performance of David Bintley's spellbinding ALADDIN. The ballet, commissioned by National Ballet of Japan, had its World Premiere on November 15, 2008. For this opulent and mesmerizing theatrical treat, choreographer David Bintley pulls his inspiration from the original story; however, his ballet stills delivers everything fans of the 1992 Disney film expect from the story.

Since its Houston premiere in 1987, THE NUTCRACKER with choreography by Ben Stevenson has been one of Houston's favorite and most cherished ways to kick off the holiday season. Since it first opened 26 years ago, the gorgeous and spectacle filled holiday treat has been seen by over 1,000,000 people. The dazzling production always delights audiences and is, as the Houston Ballet puts it, 'the perfect way to introduce young children to the power and beauty of classical dance. Tchaikovsky's magical score, Desmond Heeley's fairy-tale scenery, and Ben Stevenson's vibrantly theatrical staging combine to create one of the most visually stunning productions of THE NUTCRACKER in the world today.'

As a ballet, THE MERRY WIDOW is an adaptation of Franz Lehar's popular romantic operetta Die Lustige Witwe (The Merry Widow), which premiered in 1905. In the process of adapting the score for ballet, John Lanchbery and Alan Abott retained the style of Franz Lehar's orchestrations and included several of the well-known tunes from the operetta. Their score premiered in 1975 when The Australian Ballet, under the Musical Direction of John Lanchbery, produced the World Premiere production with choreography by Ronald Hynd and Scenario and Staging by Sir Robert Helpmann. This grandiose and radiant ballet of THE MERRY WIDOW had its Houston Ballet Premiere on September 17, 1995 in the Brown Theater. The Houston Ballet also performed it in 1999 and 2007. Now, in 2013, the lavish production is serving as Mireille Hassenboehler's gorgeous swan song and letter of admiration to the audiences of the Houston Ballet.

The Houston Ballet is notorious for providing audiences with top-notch productions and a supremely talented company. Launching into their 2013-2014 season, Houston Ballet opens with FOUR PREMIERES. Consisting of one American premiere and three world premieres, FOUR PREMIERES is a wonderful evening of dance, with works choreographed by Chrisopher Bruce, Melissa Hough, Garrett Smith, and James Kudelka.

There is no denying that the artistry of ballet revolves around creating mesmerizing visuals, whether it is lush lovely picturesque scenes or exhilarating 'stunt' work that appears to defy all the natural laws of gravity, human flexibility, and motion. In these regards, Houston Ballet's production of LA BAYADÈRE is a sumptuous feast of artistic ingenuity and elegance. However, the repetitious, staunch, and wholly austere European score by Ludwig Minkus as arranged by John Lanchbery and similarly repetitious and almost entirely classical ballet choreography by Stanton Welch, after Marius Petipa, left me wanting something different and something more. With all the references to Bollywood in the pre-production publicity, I expected to see and hear a lot more of the elements from my favorite cinematic genre than the production delivered.

The Houston Ballet organization is imbued with talent from top to bottom. Last year, they organized an event in which the dancers got to experiment and begin growing their own individual choreographic voices. Thursday, December 13, 2012 was their second event with this goal in mind. A small, invitation only audience was treated to an evening of fantastic talent on display in 14 world première ballets by names that are sure to leave a lasting impression on the world of dance.

The main purpose and goal of Houston Ballet's WOMEN@ART is to celebrate the ability of women to choreograph interesting, thought-provoking, and fully realized ballets. In 2004, Stanton Welch was met with fantastic success the first time he programmed three one-act ballets choreographed by women in his inaugural WOMEN@ART performance. The 2012 offering, complete with a World Premiere by Aszure Barton, will hopefully motivate and empower young girls and women interested in dance and choreography to follow their dreams while opening a dialogue about the value of female voices in the dance world.