'Giselle' (choreography by Devon Carney), 2011, featuring Janessa Touchet.
Credit Peter Mueller
Frisch's Presents 'The New Nutcracker,' 2011. Devon Carney danced the part of Drosselmeyer.
Credit Peter Mueller
'The Sleeping Beauty' (choreography by Devon Carney), 2010, with Cincinnati Ballet dancers.
Credit Peter Mueller
'The Sleeping Beauty,' 2010, Dawn Kelly, with Cincinnati Ballet dancers.
Credit Peter Mueller
'Swan Lake' (choreography by Devon Carney), 2009, Anthony Krutzkamp, who now dances with the Kansas City Ballet, and Kristi Capps, with Cincinnati Ballet dancers. .
Credit Courtesy: Cincinnati Ballet
The Kansas City Ballet's new artistic director Devon Carney
Credit Laura Spencer / KCUR
Jill Marlow and Anthony Krutzcamp at the Bolender Center, Both danced at Cincinnati Ballet before Kansas City Ballet.
Credit Laura Spencer / KCUR
Executive director Jeffrey Bentley calls Carney 'the right person...at this point in time.'
After an extensive search process, the Kansas City Ballet has a new artistic director. Dancer, choreographer and teacher Devon Carney begins his new post in July. Carney succeeds outgoing artistic director William Whitener.
The Kansas City Ballet has named Devon Carney as the company's new artistic director. For the last decade, Carney has worked with Cincinnati Ballet; since 2008, he's served as associate artistic director.
Like any city of its size, Kansas City was designed and developed on an urban grid of streets and boulevards in order to make the city work. The Charlotte Street Foundation is currently presenting a month-long multimedia project that features nearly 40 artists who, in their own way, address how the city's layout is both influential, essential, and an ever-mysterious labyrinth.
After nearly 20 years as the chairwoman of the Kansas City Symphony's board, arts patron Shirley Helzberg is stepping down. Bill Lyons, civic leader and former CEO of American Century Companies, Inc., succeeds Helzberg on July 1.
It was only fitting that one of the pioneers of the Crossroads Arts District would announce on a First Friday, May 3, that after two decades, his gallery would close. John O’Brien moved the Dolphin from the Crossroads to the West Bottoms five years ago. But now he says it’s time for something new.
The signature style of the vocal group Octarium is eight singers, blended into one voice. After a decade of performances, this weekend marks the group's farewell concert. Octarium anticipates continuing to perform at least once a year, over the holidays.
The first floor galleries at the Nerman Museum of Contemporary Art are filled with glass display cases. Inside: the glittering black ceramics of Navajo artist Christine Nofchissey McHorse. Her abstract works bridge modern sculpture and traditional Southwestern pottery.
This marks Artistic Director William Whitener's final season with the Kansas City Ballet. After 17 years with the company, he's preparing to return to New York. Whitener answered a few questions before the final performances.
To look at the collected paintings of Pierre-Auguste Renoir is to see all possible colors and textures made more rich and tactile by the light. Gilles Bourdos’ evocative Renoir is less a comprehensive biography than a portrait of the man in his golden years (played with astonishing physical accuracy by Michel Bouquet) when his output is hardly dented at all by his physical impairments.
This Sunday, the lawn of The Nelson Atkins Museum of Art will be transformed into the main stage for the larger-than-life puppets of StoneLion's puppet pageant "Mother’s Day for Mother Earth."
William Whitener became Artistic Director of the Kansas City Ballet in 1996. After having staged, taught, acquired, commissioned or created 85 works for the organization and seeing it move into its new rehearsal and performance spaces, Whitener now prepares to leave the Ballet and embark on yet another chapter in his remarkable career.
