"The Crane Wife" Comes To Life in "Tsuru" This Weekend Via Ballet, Storytelling & Textiles in Houston

I believe this is a first for a ballet, as I can't find reference to the Japanese fairy tale being re-created in this particular dance medium, but it's not just a performance either. This special fairy tale presentation by the Asia Society Texas, in collaboration with the Houston Ballet will take place alongside a textile exhibit and interactive presentation, as well as storytelling.

Tsuru, translated as The Crane Wife, is one of Japan's best known fairy tales and tells the story of a crane that CHOOSES to become a woman and be the wife of the man who releases her from a hunter's trap (or, alternately, removes an arrow and binds her wound, then sets her free). The tale (which you can read HERE) is rather tragic as, inevitably, a crane cannot remain married to a human, and as such, is perfect fodder for a classical ballet story.

The tale has been unforgettable for me ever since I first read it as a child; the transformations, the images of white, black and red, a wife's secret and the complications love and relationships bring, all so elegantly woven together. I love this fairy tale.

Official artwork for "Tsuru" with Asia Society Texas & Houston Ballet

I've put together some excerpts from articles listed as sources below, to piece together the overview for you and to highlight the emphasis on the tale, why it's so fascinating and why the multi-media format of this event reflects it as well:

Traditional drawing from The Crane Wife
artist unknown

It's easy to see why "The Crane Wife" would appeal to Kusuzaki (Houston Ballet soloist), who grew up in the classical ballet world. The tale is, in some ways, a reverse version of "Swan Lake." It's about a wounded bird who becomes a woman. 

A farmer finds the crane in his fields with an arrow through its body. He rescues it and sets it free, then returns home to find a lovely young woman waiting for him. They marry. To help him prosper, she hides behind a screen for days at a time, weaving gorgeous textiles for him to sell. He must promise not to peek. Of course he can't resist. When he discovers she has been reverting to bird form, plucking her feathers to create the fabric until she's ill, she flies away. 

Mariana Godet - Ballet and Origami

Tsuru no ongaeshi ii by lirael42

Kusuzaki has wanted to share the unique culture of Japan through dance ever since moving to Houston 11 years ago. "For me, the longer I live away from my home country of Japan, the more reverence I have—reverence toward tradition and innovation, transcendence and solidarity, and of understated, but, fierce, strength and integrity." All of them will be on display this weekend at Asia Society Texas. "[The ballet's] heroine lives a life of duality: a crane behind the screens and a woman in the public’s eyes," says soloist Kusuzaki, who will dance on pointe as the crane and on flat as the woman. "Many ballet heroines journey through these dualities and take on different forms, such as Maiden to Odette in Swan Lake, Giselle to Wilis in Giselle, and Temple Dancer to Shade in La Bayadere." There's a difference, though, as Kusuzaki points out: Tsuru has complete autonomy over her destiny. She is in complete control of her transformation and decides when she is crane and when she is woman. 

Kusuzaki said she initially focused on the themes of temptation and broken promises, but her collaborators saw the tale as a framework for reinterpretation. She said "Tsuru" offers a modern, layered take on the story. It's about a relationship between a man and a woman, not a fairy tale. 

...Not quite the traditional production Kusuzaki originally imagined, it's become something more, with a team of Japanese natives who, like her, built careers outside their country. "We have a different perspective from people who live in Japan," she said. 

The production blends contemporary choreography with theatrical movement and live music. Its set includes five panels and projected video.

I really wish I could go to this! I will have to watch for any reports and photos of the special event.

It's exactly the sort of collaborative storytelling experience that makes a big impression, even more-so today, in the era where so much information-overload is at our fingertips. To experience this 'live tale' can be life changing.

Here's the press copy for the overall event:

Storytelling traditions and the uses of textiles are varied throughout Asia. Our focus for the first Creation Station of 2015 will be The Crane Wife, known as Tsuru no Ongaeshi in Japanese, which recounts how the life of a broken-hearted man is transformed when he rescues an injured crane. We will create wing designs from yarn, bookmarks from cardboard looms, and felt pouches. We will also exhibit selected Asian textiles for visitors to learn about the myriad of styles across the continent. 

Interested in this program? Asia Society invites you to join us for a beautiful retelling of The Crane Wife folktale through music and movement in collaboration with Houston Ballet. 

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Saturday, June 27 at 7:30. Sunday, June 28 at 2. $25–35. Asia Society Texas, 1370 Southmore Blvd. 713-496-9901. asiasociety.org

I wanted to add this quote as well because I think it sums it up very nicely:

(Artistic Director) Matthew Ozawa says the work has universal appeal. "We as humans relate easily to stories of myth, especially those deeply impacted by transformations and metamorphosis," he says. "They help uncover and reveal deep universal truths of who we are."

Tsunekazu The Grateful Crane - Gion Odori 2008

Sources: HERE, HERE & HERE

Ballet: Kremlin Ballet's "The Snow Maiden" TONIGHT in Moscow

Tonight - Wednesday, April 8th - The Kremlin Ballet will be in Moscow performing The Snow Maiden, dedicated to the 175th anniversary of the birth of Tchaikovsky! (His actual birthdate was May 7th, 1840).

Special events honoring the composer will be held all over Russia throughout the year, and this is one of those events.

From the Kremlin Palace (auto-translated from Russian):

Snow Maiden image is unique to Russian culture and, in particular, for the choreographic art.  

Music by Pyotr Ilyich Tchaikovsky in Alexander Ostrovsky's play "The Snow Maiden" was a true masterpiece, one of the most inspired works, filled with light, rich colors, violent flowering fabulous colorful images.  

" The Snow Maiden "was a creative way to PI Tchaikovsky bridge from the first compositional experiments and brilliant insights in "Swan Lake", "Eugene Onegin". As himself admitted PI Tchaikovsky, he liked the play "Snow Maiden", he effortlessly composed all the music for three weeks.  

At the stage of the State Kremlin Palace springtime tale directed by Andrei Petrov gained strength ancient pagan myth. The grand scene, dazzling costumes, powerful scenery, original choreography, the perfection of classical dance and acting skills of talented troupe create an unforgettable, fantastic impression in adults, and the young spectator.

You can see more lovely photos HERE.

According to what I can understand, the Kremlin Ballet will be taking The Snow Maiden and Swan Lake to China at some point during the year (2015) as well. I couldn't find more specific details, other than the destination is specifically Tianjin.

If you'd like to go TONIGHT:
The Snow Maiden (Snegurochka): Kremlin Ballet production of Tchaikovsky's ballet based on Alexander Ostrovsky's tale of love. Kremlin Palace. Moscow Kremlin, the Troitsky Gate entrance. Metro Alexandrovsky Sad. Ticket office 1 Ulitsa Vozdvizhenka. Metro Borovitskaya. 495-628-5232, kremlinpalace.org. At 7 p.m.

Ballet: Northern Ballet's "The Shoemaker & the Elves" Comes to Stirling (Scotland)

I honestly cannot remember seeing a 'real' ballet based on this fairy tale. Theater, yes, puppets, yes, some local ballet companies putting together a variety-type show for parents and sponsors, yes, but not a professional performance. So this is pretty cool.

 This ballet has been touring for about a year now and has gotten excellent reviews wherever they've gone. And now they're headed to Scotland.

Note: if you need to refresh your memory regarding the story, the always fantastic SurLaLune has an annotated version you can read HERE. Oh, and don't worry - there will be no naked elves in this production! (It appears they are leaf clad until they get their new outfits.)

Starting April 9th, Northern Ballet will bring a new ballet for children, "The Elves and the Shoemaker", based on the fairy tale of the same name, for a limited run to the macrobert arts centre in Stirling. Designed for children to be both 'real ballet', yet not needing any interpretation to  understand the story, the performance lasts about forty minutes and is the latest in an award winning children's arts series.

Choreographed by Ballet Master Daniel de Andrade, ‘The Elves and the Shoemaker’ is the latest in the award-winning series of Short Ballets for Small People which already includes the hugely popular ‘Ugly Duckling’ and ‘Three Little Pigs’. (source)

Here is a great little preview, including some behind-the-scenes. The music sounds delightful and the palette of what appears to be autumn colors is beautiful:

There is a delightful 'storybook' of the ballet, using photos (you can see an additional gallery HERE) from a special performance, that's worth taking a look at (I'm attempting to embed below) and there are additional resources for teachers and parents who want something to tie in to the ballet.

Sounds like a lot of fun!

If you're interested in going, here are the details:

‘The Elves and the Shoemaker’ is at the macrobert arts centre on Thursday, April 9 at 12.15 p.m., 2 p.m. & 4 p.m. 

For tickets, priced £8.50, call the box office on 01786 466 666 or visit www.w.macrobert.org.

Note: All photos were taken by Brian Slater for Northern Ballet in a special performance.

American Ballet Theater's Sleeping Beauty - Final Performances in Costa Mesa CA Today (Sunday)

A quick sneak-it-in post, since Sunday (today as you are probably reading this) is the last day this is being performed in Costa Mesa, California. But the production sounds all sorts of amazing, with new choreography and classic combined, full of symbolism and a different sort of storytelling to usual story ballets.

By the way - beautiful promotional pic, don't you think? Although it also looks incredibly uncomfortable.. that girl is going to need a massage when she finally gets woken up!

The American Ballet Theatre returns to the Center with the world premiere of its new production of The Sleeping Beauty, with choreography by Marius Petipa and additional choreography by ABT Artist in Residence, Alexei Ratmansky. This classic story ballet tells the enchanting tale of the beautiful princess cursed to sleep for 100 years by an evil sorceress, until awakened by the kiss of a handsome prince. It’s ballet on the grandest scale with the superstar dancers and spectacular sets and costumes that only ABT can deliver. And it all unfolds to Tchaikovsky’s ravishing score, performed live by the Pacific Symphony.

New costume design left to right:
1st row: Rose Adagio, The Wolf, Queen at Christening, English Prince
2nd row: Catalabutte, Mandarin, King at the Christening, Indian Prince
3rd row: Hummingbird Fairy, New Wedding Dress, Ariana, Garland Couples

(You can see the costumes sketches much larger HERE.)

I wanted to point to a hilarious, irreverent post on her special night out to see an older ABT Sleeping Beauty production (at The Lincoln Center) HERE. The writer clearly was completely entranced, but makes some hilarious observations and connections too, such as:

"Any respectable girl knows the story of Sleeping Beauty. She is born, and at her welcoming ceremony, her parents offend Helena Bonham Carter, who curses the princess to an early death via poisonous spindle."

I had to laugh.

And if you get the chance to see the ABT's current production, consider going. It's touted to be a little bit more than a standard production of Sleeping Beauty (which is a very difficult ballet to stage and execute because of the technical difficulties - many companies are just not up to the grueling task!).

For this Sunday/today's last two performances, you can find more information HERE.


For more information on the American Ballet Theater touring (though I don't see any further performances of this new Sleeping Beauty production after tomorrow until June) go have a look HERE.Note: if you end up going and seeing a performance of this Sleeping Beauty later in the year, I've read articles which say the ballet, because it's a brand new production, is being tweaked and revised, according to critic and audience reception as it goes along (this is fairly standard for age companies adding a new signature work to their repertoire) so be assured that it will only get better.

Fairy tale bonus of the day:

Ballet legend, Gelsey Kirkland and her amazing Carabosse costume from the ABT production in 2007. I just had to share. It looks like beetles and magic! You can see more from the creator, Kari Love, who created the costumes for the 2007 production HERE.

Review: Ballet Austin's "Belle Redux: A Tale of Beauty & the Beast"

Belle Redux: A Tale of Beauty & the Beast
Ballet Austin

Review by Tahlia Merrill (Timeless Tales Magazine)

What could be a more appropriate way to spend Valentine's weekend than attending a fairy tale themed ballet? Belle Redux is only playing in Austin for three days and I had the privilege of enjoying opening night. 

This is no Swan Lake, though. With narry a tutu or pointe shoe in sight, Belle Redux firmly establishes itself as a contemporary interpretation of Beauty and the Beast. The show, advertised as "multimedia", incorporates digital screens into the set to enhance the experience. Sometimes the screens clarify the location, such as a projected chandelier silhouette that lets the audience know they are viewing the Beast's mansion. Other times, they assist the plot, such as the pulsing red bar that appears on stage when the Beast (portrayed by Ed Carr) is first cursed (his Beast form is represented by a red stripe that runs from head to navel). The single set piece--a foil covered structure--is transformed from nondescript backdrop to ominous castle by shifting the lighting. 

While the style is contemporary, that does not mean Redux is a modernization. The set and costumes are designed as abstract symbols rather than fitting any specific time period. The music too blends the clear tones of classical strings with the gritty reverb of electric guitar. 

Because the show sticks to a fairly monochromatic color scheme, I found myself drawing connections between the characters' costumes and their good/evil alignment. It seemed simple at first: Belle's sisters dress in black leotards to show that they are wicked. Belle (danced by Michelle Thompson) wears a fluttery green dress to show her fresh innocence. The father wears black and white plaid to show that his loyalties are divided--while he loves Belle, he is still controlled by his evil daughters. Since The Rose represents the curse, the ballerina playing The Rose is dressed in a spiky black tutu and a crown of red roses. The Beast wears black leather pants with a white waistband, so that means he's evil, but there's still a little good in him. 

It's not always that simple, of course. In the first scene, both good and evil are portrayed wearing white, as is the pre-beast prince. Here's the description of the prologue from the program:

"In a beautiful place, a young boy lives. He is surrounded by roses and a life filled with things that are good. As he grows, the goodness surrounding him is subsumed by evil. As the boy matures, he resists the evil, but it cruelly marks him."

Notice that, in this version, the Beast doesn't start out as a haughty prince who rejects an ugly woman. This isn't a story about the Beast's redemption, it's about Belle's ability to see his true self. In the end, Belle finds herself in a room full of mirrors where she encounters versions of her family members, now carrying the same red mark as the Beast. Eventually, she sees a reflection of herself with the same red mark. It is only then that she sees both the Beast and the Prince at the same time. 

Now, because dance is such an abstract medium, it can be tough to pull out definitive messages. But my interpretation of the action is that when when Belle finally kisses the Prince, it shows that she has learned to love the inner good of the Beast. Everyone has imperfections, including Belle, but only the Beast has them displayed for everyone to see. 

Most surprisingly, instead of her kiss permanently bringing back the handsome Prince, the final scene is a romantic dance between Belle and the Beast--still bearing his red mark. In Redux, love isn't about changing a person, but loving them, scars and all. 

_________________________________________________________________________________

Tahlia Merrill is Editor of Timeless Tales Magazine, and an official partner of Once Upon A Blog.

Production: Belle Redux: A Tale of Beauty & the Beast by Ballet Austin - A 3M Innovation Commission
Performance Date: February 13th, 2015
Cast: Michelle Thompson dances Belle and Ed Carr portrays the Beast.
Photos by: Tony Spielberg (courtesy of Ballet Austin)

Once upon a time... A forbidden garden, a mysterious castle...  A beauty. A beast. A ballet. Inspired by the 1946 Jean Cocteau film and featuring an original score by Graham Reynolds. Commissioned by 3M.  FEBRUARY 13-15 at The Long Center.

More information can be found about Ballet Austin's commissioned production by 3M Innovation at the website HERE, while showings and tickets information can be found HERE (Sunday tickets are still available!).

You can see our previous post on Belle Redux and the unique approach to the production and retelling of the fairy tale, including costume and set design, HERE.

Disclosure: Complimentary tickets were provided in exchange for an honest review.

Multimedia Ballet: "Belle Redux: A Tale of Beauty & the Beast" to Premiere Valentine's Weekend

It would seem that 2015 is the year of Beauty and the Beast.

Ballet Austin, known for technical excellence and innovative productions, is about to launch their World Premiere of Belle Redux: A Tale of Beauty & the Beast in time for Valentine's Day weekend.

(Funny thing: when I first saw the image used in the little poster below I could have sworn the rose glowed in a pulse - that it was a gif. It was the pulsing of the rose in connection with the rose "multimedia" that caught my attention in the first place. But I can't find it now...)

"Once upon a time... Escape with Ballet Austin into the mysterious world of a beauty, a beast and a ballet, as Artistic Director Stephen Mills seduces you with a modern take on the timeless story of Beauty and the Beast. Commissioned by the global innovators at 3M, this sleek and sexy new production is an exciting evolution of the fairy tale you remember. 

Fall into a dark and intoxicating world of passion and intrigue, featuring Mills' classically innovative choreography and a haunting new score by renowned, Austin-based composer Graham Reynolds."

The production was commissioned by 3M Innovations with the intent that it will contribute to the evolution of the way in which this tale is told.

The sets for Belle Redux / A Tale of Beauty & the Beast draw inspiration from the film noir genre and Jean Cocteau's ground-breaking film La Belle et la Bête. Sleek and mysterious, Michael B. Raiford's designs give dancers the freedom to move about the space while lending a sense of gravity to Stephen Mills' innovative production.

If you're confused, bear with me - I shall explain, with the help of some quotes from the development notes on the production (words in bold and underlined, are my emphasis):

“Belle Redux / A Tale of Beauty & the Beast is unlike anything I’ve previously brought to the stage, and much of that has to do with the way this work was conceived,” Mills acknowledged. “Four years ago, Joaquin Delegado, who was then running 3M’s Austin businesses, approached me with an idea and a concern. He was worried that young people might grow up in a world where the art of innovation—the act of making something better, more interesting or more useful—would be lost or confused with advancements in technology, which is not the same thing. He wanted Ballet Austin to create an original dance work underscoring the complexity of innovation and how it differs from invention, or creating something from scratch.

It turns out the Beauty and the Beast fairy tale is an excellent case study for innovation with regard to storytelling forms - one which Ballet Austin are seeking to continue the tradition of, as well as develop the evolution of with regard to how the story is told (and therefore received/what impact it will have).

From the press notes:

Belle Redux / A Tale of Beauty & the Beast follows the well-known storyline of the French novel La Belle et la Bête (Beauty and the Beast) first published by Gabrielle-Suzanne Barbot de Villeneuve in 1740 and then abridged and re-released by Jeanne-Marie LePrince de Beaumont six years later. Over two centuries, this tale of a beautiful young woman, who becomes entrapped and then enamored of a prince-turned-beast, has evolved through various art forms. 

French filmmaker Jean Cocteau advanced Beauty and the Beast storytelling through his groundbreaking movie La Belle et la Bête in 1946. Fifty years later, Cocteau’s film noir inspired American composer Philip Glass to create an operatic score that serves as an alternative soundtrack for the movie. In 1991, Walt Disney Pictures transformed the story into an Academy Award-winning animated motion picture, which Disney then adapted into a Broadway musical four years later. Over the years, Beauty and the Beast has constantly transformed and is now a case study on innovation.

In 2015, Stephen Mills again innovates the Beauty and the Beast story and its presentation by unveiling a 21st century, multi-media experience...

Having seen several stage versions of Beauty and the Beast, including ballet and contemporary dance (none of which were Disney, by the way), I'm reserving judgement on how well the innovation aspect of this production is perceived (though I have little doubt the production itself should get excellent reviews). Although I'm extremely fascinated by the idea of evolving storytelling and wish what they are hoping to do will indeed be as revolutionary as they set out to be, I'd be surprised if it made it's way into the public consciousness the ways the other forms of the story have. Why? Because apart from one fairly straight ballet, everything I've seen was incredibly innovative and, most used multimedia as well. (And most of them had adult leanings rather than catered to family sensibilities.)

What's notable about this production, though, are a few things: one, 3M's involvement (which means advertising and getting the word out), the professional quality of the production not being in question, the call back to Cocteau's visual style with regard to the multimedia elements (see the images in the post) and the costumes being done in the particular dark-fairy-tale-meets-high-couture signature style of world renowned (and greatly missed) fashion designer and legend Alexander McQueen.
                                           

Drawing inspiration from haute couture and the imaginative designs of the late Alexander McQueen, Ballet Austin Artistic Director/Choreographer Stephen Mills and Costumer Designer Michael B. Raiford mix edgy urban looks with fantastical elements for their 21st century take on Beauty & the Beast.

There is an interview with the dancer playing Belle, Michelle Thompson, and though it will mainly interest those who know and love ballet, she gives her insights into how this Belle might be a little different and how the Beast may be different, as well as how they mirror each other. You can find that video HERE.

For those wondering how much/if the story will change, here's a snapshot of the program notes (click to see full size):

If anyone gets a chance to see this, I'd be personally interested in your impressions so please share. And snag me a program, would you?