Orlando Ballet – Late to the Theater

Around Orlando: A Chat with Orlando Ballet’s Executive Director Shane Jewell

On Wednesday, you got to know a little about the Artistic Director of Orlando Ballet, Mr. Robert Hill. Today, please get to know the Executive Director of Orlando Ballet, Shane Jewell.

Jen Bradley: Thank you for taking the time to speak with us, first of all!

Shane Jewell: My pleasure.

JB: Let’s jump right in. You came to Orlando from Oklahoma City and have a degree in Film Theory. How did you come to be involved with ballet?

SJ: Well I’ve been involved in the arts my entire life and in musical theater, went to college on a musical theater scholarship. Then decided I wanted a more marketable degree so I went for film theory. After college I worked for this one company that presented national touring Broadway shows for tent cities in the Midwest, and I became Executive Director of a Classical Music Festival and then Executive Director of Oklahoma City Ballet. As someone who’s on the business side, going to the ballet I fell in love. It’s one of the few performing arts organizations where your performers and talent is in the studio Monday through Friday, just as I or you are. You take them into the office and go sit in on rehearsals and be close to the art they’ve created. Most times, even with regional theaters with rehearsals or tours or concerts, the artist comes in, they perform and they leave. You don’t get to know them or know their stories, watch them create this beautiful piece. So I really fell in love with being able to observe the process.

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Around Orlando: Orlando Ballet’s Robert Hill Discusses the Past, Present, and Future for the Company

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.

JB: Yes it was such a wonderful show.

RH: Thank you.

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Orlando Ballet’s Bevalie Pritchard reveals the secret to the Nutcracker’s success: it takes a village

The Nutcracker Ballet is such an intrinsic part of Christmas that it would be difficult to imagine a world without the music, and without the well-known story performed through dance. The reason why the ballet is so magical is the cast of children who convey all of the new wonder of the season.

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Orlando Ballet’s Carmina Burana: fortune’s fury in one intense act

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.

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Interview: Orlando Ballet Director Robert Hill’s quest to keep the passion going in Carmina Burana

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.

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