Yesterday, I was finally able to get back to watch a  rehearsal of the Cincinnati Ballet. The visit was not like usual though. New to the Cincinnati Ballet as resident choreographer Adam Hougland and I had the pleasure of finally meeting him. After attending Ballet and Beer tonight (Thursday March 18th,2010), I discovered that Adam is not completely new to the Cincinnati Ballet, having choreographed other New Works pieces. He is new as a resident choreographer. Welcome!

When I first entered the upstairs portion of the theater like rehearsal room, I was cheerfully greeted by others there to see the rehearsal. The one person that I did not recognize was Mr. David Herriman, who is one of the sponsors of the choreography for Mozart’s Requiem. Without hesitation, he reached out to shake my hand and then we were ready to watch the rehearsal.

While Adam placed the dancers in lines to begin, which at this point is a full rehearsal and not individual scenes like I’ve watched in the past, Devon Carney used red tape to mark spots on the floor. Although I knew what he was doing and why, it wasn’t until later that I saw just how important the markings were. As usual, some of the dancers were more excited than others which just shows me that it really is just like any other job.

What I didn’t expect to see were all of the dancers simply sitting in folding chairs in a row as if they were watching me. If only they were looking up. Then the music starts and slowly they come to life. The ballet ends the same way except for the fact that they are sitting on suitcases, not chairs. What does this mean? I’ll tell you that on March 26th.

One of the first scenes  danced by Sarah Hairston and Selahattin Erkan Zack Grubbs (sorry Zack), is a very dark, almost strange part. I cannot honestly tell you what is going on just yet but I can feel Sarah’s  anger and despair through her dancing. The emotion in her movements and facial expressions is gripping and real.The rest of the first act continues in this way although I am not sure quite as intense. Still, it is beautiful and honest in it’s own way.

Each year, the ballet’s spring season brings the more contemporary pieces to life. It’s a different side of the ballet world where the dancers can have fun and the public can see the pure strength and depth of these professional dancers. It shows the raw athleticism; power of a gymnast with grace and flexibility only a true artist can possess.

In another scene, Kristi Capps dances a part that showed me the unbelievable amount of trust that the dancers have in each other. Part of hers is a solo dance and part relies on some of the male dancers who lift her into the air while she twist her body as if moving through the sea. I later learned it’s actually called the Dolphin Lift. Go figure.

During a short break, I had the opportunity to speak with Victoria Morgan and Mr.  Herriman, who called the first act “Very Intense”. Such a kind man to interact with, he seemed genuinely impressed and  excited by what we had just witnessed to which I must agree. Victoria, who is the Artistic Director & CEO of the ballet, first introduced Mr. Herriman to Adam and the dancers. Of course we all applauded him for his generosity. Then, she introduced me as the one who blogs for them and gets the word out, to which they all greatly applauded as well. I was shocked to say the least and have to wonder what shade of red my face turned. I cannot thank this group enough for the joy that they have brought to my life.

While the first act is dark  and really deep with the intensity of the music from Mozart’s Requiem, showing different lives and the inevitable fear of going into the unknown, the second act is lighter with an idea of hope. Even the stage will turn from dark to light. Mozart’s music has a more luminescent playful feel to it as well. The stage props are turned upside down to signify change. Or, is it right side up?

Adam choreographs more typical ballet moves into the second act although the arms remain more stiff than you would usually see in a ballet.  Mr. Hougland tells me that the reason behind the dancer’s arm positions is to show the “tension and anticipation of the emotional journey”.

The end of the performance leaves us no longer discouraged and pained by the unknown as the dancers portray a light at the end of the tunnel with Adam Hougland at the helm. Nice job.

When I asked Adam what his inspiration was, he told me that he would picture different things that reminded him of certain dancers that he has come to know so well. There is a more indepth interview with Mr. Hougland on the Ballet’s website, cballet.org. This years New Works production Mozart’s Requiem is a ballet like nothing I have ever seen before. There is no Princess or her fairy godmother, no parties for the Prince and certainly no dolls. Pure inspiration that came from a talented choreographer based on music written by one our most famous musical geniuses.

I cannot wait until opening night [March 26th 8:00pm] to see if the performance once put together feels the same as the rehearsal, naked and unadorned by backdrop yet never lacking in passion.