On Monday, Jen was again presented with the opportunity to chat with Orlando Ballet’s Artistic Director Robert Hill. We discussed a little of the past and a lot of the future for the company after the success of Bailamos!, a celebration of Latin Dance, which was a big hit with Central Florida’s diverse population.
JB:The recent production Bailamos! was a big success for Orlando Ballet. It was comprised of many different choreographical and musical styles. What was the most challenging aspect of its product?
RH: The most challenging… I don’t know, it’s a lot of variety in the program so I think when you have a show like that — where there are so many costume changes and its so fast-paced, and then if anybody gets injured and you have to replace somebody then it’s kind of a domino effect for such a small company– I think that that’s probably the most challenging thing: being sure that anybody that has to go out because of any injury. Although that said, I think the company really shined bright. I’m really proud of it.
I am interrupting Late to the Theater’s horror month to bring you my review of Orlando Ballet’s Carmina Burana, and I will start with a confession: I did not pay close enough attention to the playbill to notice that there was no intermission, and I kept patiently waiting for it so that I could go powder my nose.
By dance number sixteen I thought: holy cow this is going to be a four-hour extravaganza! And by dance 25, I realized it was already the reprise of O Fortuna, and I’d watched the whole ballet. (And then I raced myself to the beautifully appointed Harriett’s Lady’s Lounge after the second or third curtain call…)
Clocking in at an hour-fifteen it is a spare yet intense ballet. We discussed the creation of it with Mr. Robert Hill, choreographer, in this piece a few weeks ago, and I’ll point you there for some background in the earworm-inspiring music and philosophy behind the choreography. On to the review.
They’re warm, they’re friendly, they’re knowledgeable. They can converse easily on a range of titles on any number of systems dating from the last 35 years. Best of all, they listen to you.
Around Orlando is a new feature here at Late to the Theater, wherein Achariya and I detail local Orlando flavor. So whether you’re thinking about visiting, moving here soon, or just want to explore from the comfort of the internet, have a seat and take a gander at what The City Beautiful has to offer!
[Disclaimer: I received no compensation or special favors for writing this article – it is entirely to Gamer’s, Inc.’s credit that they inspire a dedicated following.]
Nestled in the suburban franchise paradise that is Waterford Lakes, Orlando, you will find an independently owned gaming shop. Upon first glance, you’ll notice orderly rows of cases – everything from Atari titles to used Xbox One and PS4s – and freestanding demo stations where you can sample Halo on a first-gen Xbox, or Duck Hunt on NES, complete with orange gun. As well as the clean floors and meticulously alphabetized game boxes, you’ll see gaming manuals, figurines, and locked cases with rare or collectible cartridges and discs inside. Reconditioned systems wait behind the glassed counter. Spend a few minutes roaming the aisles and you’ll hear at least one, maybe two excited customers exclaiming over some long-forgotten childhood treasure. You might see parents buying something to share with their kids.
And then the staff greets you.
That’s how you know you’re in Gamer’s, Inc.
They’re warm, they’re friendly, they’re knowledgeable. They can converse easily on a range of titles on any number of systems dating from the last 35 years. Best of all, they listen to you. Maybe things have gotten better in gamerspaces in recent years and I’m just out of touch, but in an age of Gamergate and doxing, it seems borderline miraculous to find an environment where customers aren’t dismissed as filthy casuals. Naturally, a positive environment such as the one found at Gamer’s, Inc. engenders a loyal following. Check out their Yelp review or their Facebook community if you don’t believe it.
And if you don’t believe it, believe them. They were kind enough to take time from their busy days to answer some questions for this feature.
This past week, we were given a second opportunity to interview Orlando Ballet director Robert Hill during a rehearsal for Dies, nox et omnia (Day, night, and everything), one of his dances for the upcoming Carmina Burana.
We sat in the relocated rehearsal space of Orlando Ballet (more about this exciting news below) and looked on as prima ballerina Kate-Lynn Robichaux learned her dance by 21st century means: watching her 2013-era self perform it on a video monitor. “I’m much more chill about this dance today than I was back then,” Robichaux said. “It’s probably because you just got married,” Mr. Hill responded, and Robichaux grinned as she raised her left hand to show off her ring.
Mr. Hill bounced between chatting with us and leaping up to help form the dance in front of us, explaining to the dancers that the theme of this piece was the male dancer’s exploration of his passion — his reaching within to find emotion, reaching back out to share it with the world. Robichaux performs the embodiment of his dream, allowing her body to be contorted and moved and carried in a complex series of lifts as she lives out the melancholy of male dancer’s imagination.
We pulled up the lyrics to this one while we watched, and Mr. Hill chuckled, explaining that some of the lyrics were impossible to interpret literally. But in this one, the male soloist sings themes that are timeless enough to still be top-40 fodder, and the dance seems to interpret the lyrics well: “Your fair face makes me weep a thousand times, but your heart is ice; to restore me, immediately would I return to life with one kiss.”
How to explain this ballet? Mr. Hill debuted it with Orlando Ballet in 2013, in collaboration with Bach Festival Choir and Orchestra conductor John Sinclair. They were looking for an interesting piece that could combine choral, orchestral, and dance elements to make a dynamic impact on audiences, and struck gold when they decided on Carmina Burana. The music, composed by Carl Orff in 1936, has a lot in common sound-wise with Igor Stravinsky, and is based on medieval yet surprisingly relevant poetry.
I’ve resisted writing about the film Crazy Rich Asians because this thing hit me in layers, and peeling back those layers was hard. The issues I felt were deeply embedded in my identity, and it was super uncomfortable to admit to them. So here you go, one of the most personal film reviews I’ll probably ever write.