In the shoot, Lindsi is wearing two ensembles; the first is Class Act Tutu’s V Neck Tutu Bodice (in wine) and Classical Tutu skirt in Wine/Black

The other one (as featured on p 10 of Pointe) is Vala Dancewear’s “Siren” in one of the new fabrics/colors we are testing (consider this a sneak peek!!!), along with Class Act Tutu’s Layered Romantic Tutu in our 5-Layer “Bird of Paradise” palette.

If you want to own one of these georgeous tutus worn by Lindsi in the Pointe Photo shoot, they are in our Sample Sale!

• 5 Layer Juicy Tutu / Bird of Paradise
• Black and Wine Accent
  

Not your size? No problem! Just contact us.

Photo Credit: Virginia Trudeau

Here’s an outstanding interview with former prima ballerina, Cynthia Gregory. Gregory, who spent more than 25 years with American Ballet Theatre, currently works with Nevada Ballet Theatre and directs the Cynthia Gregory Center for Coaching. “Coaching is what I do best. People would ask me to help them with a role when I stopped dancing. They’d commission me to do that. Teaching has to do with the basics of class and technique. I’m much more interested in helping a ‘finished’ dancer when they’re looking at a role … it’s like finding your voice.” ~ Quote: Cynthia Gregory for the SF Chronicle. Read more…

Behind the scenes at the Vala Shoot: Laura Getting Into Position wearing Vala's "Enchant" Leotard

Pacific Northwest Ballet soloist and Vala model, Laura Gilbreath is–in a word–breathtaking. Her fabulous extensions, incredible technique and striking beauty make for a rather bewitching combination! We adored her in “3 By Dove”, wept over her haunting interpretation in “Afternoon Ball”, and were mesmerized by her peacock variation in “Nutcracker”. But what we find most intriguing however, is her stunning work ethic! This young woman’s been busting her chops since she was a teenager–an attribute which led to her success with Pacific Northwest Ballet!

Behind the scenes photos courtesy of Rachel Anne Fitzthum, Designer, Vala Dancewear

We recently caught up with the talented dancer and asked her some of our–and your–burning questions. Here are her answers…

Please share with our readers about how you got started in ballet.

I guess you could say I started dancing because my mother always had such a love and appreciation for it. She danced (ballet) up until she was in high school, and so when she had two little girls, it was only natural that she expose us to this beautiful art form.  My sister is two years older than I am, and she began lessons when she was about 4. When Mama and I would go pick her up (I was 2 1/2 at the time), I would constantly be dancing around in the waiting room wanting to join the class. The teacher and my mother must have gotten sick of seeing me jump around because they let me join the creative movement class early.

In a recent interview, you mentioned that you’d attended School of American Ballet when you were younger. Can you tell us how old you were when you accepted into their program? Was this your “dream” school at the time?

I started going to SAB for the summer course when I was 11, and then I began attending as a year-around student when I was 15. I would definitely say this was my dream school when I was younger. Aubrey Morgan (used to dance with NYCB) and Janie Taylor (currently dances with NYCB) are from my studio and they both attended SAB. I wanted to do exactly what they did. It all sounded so amazingly wonderful and exciting. I prepared my mother early on that I would be leaving home at an early age.

How did your family feel about such a big move?

As I said, my mother was somewhat prepared that I would leave home early, but that did not make it any easier. Not to mention the fact that she had already let one daughter go at the age of fifteen to train in ballet as well. My sister, Elizabeth, trained at the Harid Conservatory for 2 years and then ended up attending Indiana University. Before that, she did some trainee work with Ballet Austin. She still does some dancing occasionally around New Orleans. She is a beautiful dancer. So I guess all in all everyone was very supportive of the move and happy that I was fulfilling my dreams. Daddy just wanted his little girl to be safe and to be able to visit me when he could!

What was it like for you to live so far from home for the first time? How did you handle homesickness? (I think I’d personally have a panic attack..LOL)

It was hard being away that young. I think I talked to Mama on the phone probably 5 times a day! At the time I felt so grown up and sophisticated, but 15 is a baby looking back on it. Mama would try to visit at least every few months and Daddy would come as often as his work schedule would allow. The good thing about being at a place like SAB is that everything is in that one building: cafeteria, dorms, studios, and there were plenty of things to do in a 10 block radius, so my mom never had to worry about me galavanting around the city. My friends and I had plenty of good, clean fun in the dorms!

So what prompted your move to Pacific Northwest Ballet?

I moved to Seattle after attending 2 summer courses at PNB. When you are at SAB for the winter, they encourage you to go somewhere else for the summer to experience different places. I chose PNB. My last year at SAB, I started to see that NYCB was not looking like it was going to work out for me, and, where I didn’t know a lot about PNB, what I had heard and knew about the company I liked. So I became a Professional Division student in August, 2002, then I got my apprenticeship in the spring of 2003. And I’ve been here ever since!

And we’re so happy about that, too! So what’s a typical “day in the life” like for you?

A typical day in the life of me? Well, since we usually work until 7 pm, we don’t have to start our morning warm-up ballet class until 10:15. Seems crazy to people with “normal” jobs but that extra sleep can really help when the days are long and exhausting. I get up at 8 am when we have class at 10:15. I immediately go to my dog Bonnie and let her outside to play, eat, etc. My boyfriend, Jerome (Tisserand), and I like to eat outside in the mornings if it’s nice. We will usually throw the ball to Bonnie before we leave too. Then it’s off to work. Class goes until 11:45 and rehearsals start at 12:05. Our lunch break is 3-4 and then rehearsals start back from 4-7. Now everyday is not this full. Some days you might have 12-1 then 4-5 and be done. It just depends on what we’re  working on. Right now on Tuesday and Wednesday nights I have Spanish class through Seattle University. It’s spanish 1 and they will also be offering spanish 2 and 3 consecutively. These Seattle U classes are great, and I try to take all that I can in order to slowly chip away at getting my degree one day. If I don’t have some SU class (they last until 9:30), I love to come home and make dinner. Then usually a bath is in order and then it’s bedtime for me by 11:00. Not too exciting, huh?!

I think it sounds very exciting, actually! {Grins} Okay, next question. With it being the holiday season, would you mind sharing your favorite “Nutcracker” experience with us?

I guess my favorite Nutcracker experience/memory would have to be getting to do Clara as a young girl in New Orleans. That was such a special time for me. It was my first real dancing part in point shoes, and I remember feeling so beautiful. Now, that has carried over into adulthood as I get to take on the role of Clara with PNB. Last year was my first year doing the part, and I have fallen in love with it! I love that it is not only beautiful dancing, but a wonderful chance to act as well. Clara is by far my favorite role.

I think the same can be said for a number of “baby ballerinas”! Speaking of which, what advice would you like to share with young dancers?

My advice would be work hard each and everyday if you have the dream and desire to dance professionally as I did, but don’t miss out on your childhood. I remember afternoons when I would go over to my friend’s house to jump on her trampoline after school. Somedays I would be having so much fun that I didn’t want to go to ballet class. My mom would always say that was just fine and let me keep playing (until I had to come inside to do homework, of course!). But the point is, if you’re serious about it definitely pursue it, but always do it because you want to and because it makes you happy. I never missed a sleepover, I just arrived really late and left really early for my Saturday morning ballet class!

Thank you so much, Laura for taking time away from your busy schedule for us. We really appreciate it and cannot wait to see you on stage again very soon!

To check out Laura in action, please purchase your tickets to Pacific Northwest Ballet’s “Nutcracker”. Visit PNB.org for more information.

About the program: “Ballet in America was once dominated by a few major companies and concentrated in New York and a handful of other cities. But today there are more than 65 professional, million-dollar-budget ballet companies all around the country.

Last week, nine of these companies brought together for a series of performances titled ‘Ballet Across America’ at the Kennedy Center for the Performing Arts in Washington, D.C.

{Jeffrey Brown} spoke to three of the companies’ artistic directors about the state of ballet in America: Dorothy Gunther Pugh, founder and artistic director of Ballet Memphis; Ashley Wheater, former ballet master of San Francisco Ballet and current director of Chicago’s Joffrey Ballet; and Ib Andersen, artistic director of Ballet Arizona and member of the George Balanchine Trust, the organization responsible for preserving and licensing the late choreographer’s work.” ~ Quote PBS NewsHour at PBS.org.

Alicia Alonso

“Alicia Alonso {director of Ballet Nacional de Cuba} accepted the sold-out audience’s adoring ovation at the Metropolitan Opera House from a central box seat before Thursday night’s American Ballet Theatre performance. But one sensed that this legendary ballerina, being saluted by the company with an evening to celebrate her 90th birthday, would find her way to center stage, and she did, culminating the boisterous, rousing event….

“Alonso (who actually turns 90 on Dec. 21) was a member of Ballet Theatre (as ABT was initially known) during its earliest years. Plagued by vision problems – over which she repeatedly triumphed — since early in her career, she is now virtually blind. Celebrated for the distinctive stamp she put on the role of Giselle, she also performed in many new ballets during the 1940s….” Read the full article from the Los Angeles Times here.  And be sure to check out The New York Times’ recent interview with the dance legend here.

The Alvin Ailey American Dance Theater is ready to thrill audiences during its Encore Season at the Brooklyn Academy of Music, June 10-20th. The twelve-performance showcase features two of the company’s most beloved works: “Ailey Spirit” and “By Popular Demand”.  For a special treat, check out this terrific interview with Ailey dancer, Yannick Lebrun!

Natalee wearing "Enchant" (Vala Dancewear Style #22108)

With that in mind, I decided to take a moment and ask our very own Vala tester, Natalee Maxwell about her summer dance experiences…

Natalee writes:

My experiences with summer dance intensives have been really beneficial to my growth in dance. I have gathered priceless knowledge from my summer travels to Texas, California, and Washington. Since the training was so rigorous and effective, I was able to develop so much in a condensed period of time. I seemed to think that 6 weeks might seem too long to stay interested in a dance intensive, but I have learned that the time just flies by when you are learning and excelling so much.

Getting to know and be known by many impressive teachers from around the country is a total delight as well. With each teacher, I had a fresh take on their preferred techniques and styles. By having an open mind towards the teacher’s likes allowed me to become a better-rounded dancer, able to modify myself more easily. I also enjoyed being able to take part in classes with international dancers as well as Americans. I was able to see the caliber of dancers that were out there, and break free of my so-called “small town” of Albuquerque. It was important for me to venture out and see what bigger companies and programs had to offer.

As the audition season begins, I look forward to my summer training, as there will always be something new and exciting for me to discover in the art of dance.

We would like to hear of your summer experiences as well!  Send us an email. And who knows? We may be contacting you to share your summer intensive experiences as well!

In our first Valentine’s Day segment, we chatted with the talented Seth Orza and Sarah Ricard Orza of Pacific Northwest Ballet. Next up in our special Valentine’s Day feature, we’ll chat with PNB principal dancer (and Whim W’him Artistic Director), Olivier Wevers about his marriage to fellow PNB principal, Lucien Postlewaite.

Olivier and Lucien met while working at PNB. The couple later tied the knot in Santa Cruz, CA on November 2nd, 2008.

Like other dance marriages, this handsome couple doesn’t have to deal with the stress of trying to balance a career with spending quality time with their spouse. “Our schedule is pretty similar, which helps with spending time together,” says Olivier.

Additionally, Wevers cherishes the many emotional benefits a relationship with a fellow dancer brings. “We understand and support each other, and know when the other needs a little support or criticism. It {the dance world} is a very mental world…it plays with your insecurities and your mind. Having a spouse that deals with similar issues really helps. Also, we push each other as artists. We have both the same set of values, and help each other identify what our priorities are!”

This Valentine’s Day, Olivier will be up to his eyebrows in “Work, work, work!” However, the pair does have a quiet, relaxing getaway planned. “On Sunday, I will be performing a Duke in the Sleeping Beauty with PNB at 1pm, and then driving like a mad man to get to Bellevue. FRAGMENTS is being performed at 3pm at the Meydenbauer center. {This is for Whim W’him, Olivier’s new company.} Then after that, I am meeting with a videographer to get the DVD ready from the 3Seasons to send to presenters, Directors, etc. So quite a busy day, but finishing with packing for beach, sun and margaritas! (We’re) leaving for Mexico for a week without a computer or cell phone!”

Now that sounds like my kind of holiday!

You can catch Olivier and Lucien performing at McCaw Hall this week in Pacific Northwest Ballet’s, The Sleeping Beauty . More information about upcoming encore performances for Whim W’him can be found by visiting WhimW’Him’s website.

Seth Orza, Soloist and Sarah Ricard Orza, Corps de Ballet, Pacific Northwest Ballet. Shown here in "Petit Mort".

Ah, Valentine’s Day! It’s the time of year when we shower our true love with tokens of affection, whether they be in the form of a box of chocolates, a gushy card, or a dozen roses (or all of the above!).

In the dance world, Valentine’s Day can be especially wonderful as couples not only live, but oftentimes work, together. We decided to get an inside look at the blessings of Valentine’s Day through the eyes of the dancers themselves. First up is Seth Orza and Sarah Ricard Orza of Pacific Northwest Ballet!

Vala: “How did you two meet?”
Seth: “We met in New York at the School of American Ballet’s when we were both 13.”
Sarah: “We met at the summer course. Then we got together and started dating seriously when we were both at the School of American Ballet for their year round program when we were 17. And we’ve been pretty much together ever since then. We’ve been together now for 12 years and married for 2 ½ years.”

Seth Orza and Sarah Ricard Orza shown here at SAB Summer Course, 1995 (Age 14). Seth & Sarah met at age 13.

Vala: “Congratulations, that’s wonderful! So what’s the best thing about being married to a fellow dancer?”
Sarah: “Well, I think that the dance world is just so small and intimate; sometimes it’s hard to explain or even relate to people who aren’t in the world on a daily basis—what’s going on, or what the daily ups and downs are like. So, if I’m having a bad day, Seth already knows why and that’s good.”
Seth: “We try to help each other out along the way through the pressures of ballet, performing, and all that.”
Sarah: “Oh, and travelling. If we tour, it’s great. It’s really nice to have your loved one with you when you’re going to all those places.”

Vala: “How do you two plan to make this Valentine’s Day special?”
Seth: “Well…” he says with a sly tone, “it’s kind of a surprise.”
Vala: (Laughing) “Oops! I don’t want to ruin anything!”
Seth: “We try to do something special every Valentines day, but it’s hard after twelve years to do something different every time.”
Sarah: “There was one year when I had the genius idea of getting chocolate covered strawberries from Godiva. So I got a dozen chocolate strawberries only to find that in the fridge at home, Seth had also gotten a dozen Godiva strawberries!” she laughs.
Seth: “We had a lot of chocolate strawberries!” he chuckles.
Vala: “Great minds think alike! So, do you have any last words of advice for fellow dancers out there?”
Seth: “It’s nice being in a relationship with a co-worker—or a dancer—and it does work out.”
Sarah: “It’s definitely a balance, though. I mean, we’re together at work all the time and then at home all the time. So sometimes there’s days when one of us has to step back and take some space—be it at work or at home. You just find that balance with spending all of your time together.”

Seth Orza and Sarah Ricard Orza on their Wedding Day

Vala: “Do you ever have a day when you really don’t want to be with the other person but you still have to work with them?”
Seth/Sarah: “Oh no, never!” they laugh in unison.
Seth: “Of course, but I think that happens in any relationship.”
Sarah: “We have partnered together a lot, and that has challenges…”
Seth: “Yeah, working together professionally…I mean, if she’s just around it’s one thing, but if we’re working together, it’s kind of hard sometimes.”
Vala: “Well thank you both so very much! I really appreciate you taking the time to do this and I hope you have a wonderful Valentine’s Day!”
Sarah: “Thank you! You have a happy Valentines Day, too!”

by Denise Opper, Media Relations Class Act Tutu & Vala Dancewear

Chalnessa Eames, Whim W'Him

Vala:  What sort of reps can we look forward to seeing next year from Whim W’him?
Olivier:  There’s a lot in my head. When we talk collaborations, I have some burlesque shows I’m interested in working on. I’ve been trying to create a piece with The Esoterics (local choir) with new compositions, too. Really, anything that’s kind of artistic. I don’t know what exactly yet, but I would like to create a Faust, about 45 minutes long. It would be a cross between the story of Faust and a picture of Dorian Grey by Oscar Wilde. That’s my next story piece that I’m really seriously considering right now.
Vala:  Now that would be really interesting to see! So, on a more personal level what sort of dancers, artists, choreographers, or musicians inspire you most?
Olivier:  That’s an interesting question. What I look for in a dancer or composer or an artist, is someone that can bring something to the plate; someone who has their own voice that will complete the process. I’m not looking for people that I can give steps to and just have them do it. I’m looking for someone who will enhance the whole process.
Actually some of the dancers I picked are those that I haven’t worked with personally, but I enjoyed watching them. I’d seen them perform and they were so fantastic, and now I’m so excited I get to play with their talent basically. But most of the other dancers were ones I had worked with previously and had inspired me in some way.
When it came to the composers and people like that, I took a little bit of a risk because I didn’t know them well. But I could tell after a few meetings that there was something there. They were bringing something in and they were challenging my ideas. They were challenging the whole concept! And that, right away, told me that these are the people I want to work with. I don’t want someone that’s just going to do their job the way I asked them to do it. I want someone who will bring in ideas and be willing to explore.
Vala:  How do you personally keep growing as an artist, and what sort of advice would you give others in this business or to those who may want to get started in this line of work?
Olivier:  (Deep inhale) Don’t do it! (Laughing) No, it’s really the next step I needed to make. Otherwise I think my artistry would’ve died somehow. It really challenges me and I question myself every day. You know, as a dancer you’re always so insecure. As a choreographer, you’re even more insecure. As a dancer, people will tell you what you did wrong—your turnout or whatever. But as a choreographer, people will just walk away if they don’t like what you’re doing. But this is the right step for me; I needed this so I could grow as an artist. This is also pushing me a little bit. It would’ve been easier to become complacent with what I could do as a (commissioned) choreographer because I wasn’t taking as many risks as I am now. But taking risks is really inspiring me. It makes me want to get out there and work with even more people.

Jim Kent, Whim W'Him

Vala:  So who is your dream artist to work with, either as a dancer or choreographer?
Olivier:  Hmm, I don’t know if I could pick just one. I mean there are so many—both dancers and choreographers that I would love to work with. Not just as a dancer but also who I would love to see work with the (Whim W’him) dancers.
(Pauses) Wendy Whelan. I love her, I absolutely love her! That would be so amazing. Whenever I see her dance, I’m always so moved. She’s such an artist. But there are so many others, I mean the list would be so long! But if I had to mention one, it would definitely be Wendy.
Vala:  You’re right. Everything she does is just spectacular. That would be an amazing partnership! Now, Olivier you have received several awards for your choreographic work. Which of those pieces are you most proud of?
Olivier:  Well, there are two pieces I’m bringing back that I was very proud of and I’m very happy to get to work on again. One of the pieces is one I originally choreographed for PNB’s Choreographer’s Showcase four years ago called X-Stasis. I’m putting some Spectrum dancers in there to change the cast a little bit. Then the other work is one I did for Spectrum called Fragments….
Vala:  I saw that one!
Olivier:  Oh you did? Did you see it a few months ago with one boy and one girl?
Vala:  Yes! I saw it during the Byrd Retrospective a few months ago. It was terrific.
Olivier:  Yes! So Kelly-Ann and Vincent will be doing that piece. The costumes are getting completely redesigned because (laughing) I was never happy with those costumes! Because again–we had no money so we had to come up with something. So this time around, someone is designing costumes for them and I’m very happy to be re-doing it.
Vala:  I must say that I really enjoyed that piece. I especially loved how you incorporated the arias into it. It made everything really fun and unique.
Olivier:  Well, I love Mozart! Those arias are so great and I was thinking, “I’m never going to get to choreograph on any of those great music’s unless I do the Opera!” So I thought, “What if I just put a bunch together and sort of… play with it”? And that’s what came out. It was great that Donald (Byrd) brought that back because it was a retrospective of his time here. I was one of the few choreographers he’d brought back which was very nice of him. He’s been very supportive.
Olivier before we close, do you have any final thoughts you’d like to share?
This has been quite an adventure! I can’t believe that in just a few weeks it’ll all be over, but I’m looking forward to seeing what comes out of it. As far as the future of the company, I’m hoping to grow really fast and be able to do more. I really think Seattle has the room for this.
Vala:  I agree. I think the dance community as a whole needs people like you who are willing to step out of the box and bring the art back to dance.
Olivier:  Right! That’s what it’s all about to me. Otherwise it’s just dance, but if it becomes more than that, that’s when it’s really interesting.

Get your tickets for Whim W’him at On the Boards!

January 15-17, 2010

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