This weekend,¬†the second annual Kansas City Dance Festival gets under way, assembling dancers and choreographers from the local, national and international stage.
A recent rehearsal found¬†dancers Logan¬†Pachciarz¬†and Molly Wagner working on a pas de deux under the watchful eye of departing Kansas City Ballet ballet master James Jordan, as they¬†honed both steps and expression during a walk through of the late Todd Bolender‚Äôs "The Still Point."
A blowing March wind on Thursday roared outside the windows of a rehearsal and performance space in the Bolender Center for Dance & Creativity. Ilya Kozadayev, a former soloist with Houston Ballet, watched intently from the audience as a group of six dancers from the Kansas City Ballet moved without music. For long stretches of time, only the sound of occasional claps and feet upon the floor could be heard as they went through the motions of a final tech rehearsal.
It's been nearly 120 years since the publication of Bram Stoker's gothic novel Dracula. But his tale of the Count, who stalks living creatures and survives on their blood, continues to this day to be interpreted and popularized in theater, television, film, and dance. This season, the Kansas City Ballet is staging choreographer Michael Pink's Dracula, based on Stoker's classic work.
Many ballets often depend on the concept of tension, whether in the muscles of the dancers or the story itself. That may be even more evident in the Kansas City Ballet's production of Dracula, opening this Friday.
In bringing the iconic character to the stage, the company is venturing to its dark side with a production that is the first in the Ballet's history to come with parental discretion advised.¬†
This year, the Kansas City Ballet launched a second company called KCB II. It‚Äôs a selective program ‚Äď there are only five dancers in the ensemble ‚Äď and they're charged with taking dance out into the community.
Ramona Pansegrau is a musician whose life has been shaped by dance. This marks Pansegrau's seventh season as both the music director and the conductor for the Kansas City Ballet. And, after three decades of working with dancers, she says creating wonderful moments on stage still gives her a thrill.
The Kansas City Ballet's new artistic director, Devon Carney, begins his tenure with a world premiere. His work, Opus I, will open the ballet's season this month, and it provides a hint of the vision he has for the company.
It's the ultimate collaboration for three dancing companies in Kansas City. The Kansas City Ballet will join forces with Owen/CoxDance Group and Wylliams/Henry Contemporary Dance to present a triumvirate of original work .
On Friday's Up to Date, we talk about why this collaboration is so groundbreaking and what it means for dance culture in the city.
A festive crowd gathered Saturday evening at Roanoke Park with blankets and lawn chairs for the 15th Annual "Dance in the Park" presented by City in Motion Dance Theater. Local companies presented a diverse range of dance ranging from modern to classical ballet, and East Indian to Afro-Brazilian capoeira.
The Kansas City Ballet is joining other dance companies around the country ‚Äď from Boston Ballet to the Alvin Ailey American Dance Theater ‚Äď to create a training ground for young dancers: a second company.¬†
Devon Carney, newly appointed artistic director of the Kansas City Ballet, described the second company, Kansas City Ballet II (KCB II), as a "natural next stage of development," based on the Ballet‚Äôs growth in recent years.
For most dancers, the off-season is a time of rest and recuperation from the rigors of performance. But six months ago, Kansas City Ballet dancers Anthony Krutzkamp and Logan Pachciarz began to plan a more ambitious summer break.
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.
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.
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.
Choreographer Karole Armitage, a native of Lawrence, Kan. says artist Jackson Pollock can be viewed as "a metaphor for the creative process"; his lines of dripped and poured paint are like a dance. Kansas City Ballet concludes its season with a world premiere by Armitage, exploring the intersection between art, jazz, and dance.
The Kansas City Ballet‚Äôs "A Midsummer Night's Dream" is a Shakespeare comedy performed in dance. The process of developing a character through movement and pantomime is one that often takes a close collaboration between dancer and choreographer.
In a basement room of the¬†‚ÄčBolender Center, Costume Shop Supervisor Jennifer Carroll and her assistant Joey Gee spend busy days fitting and repairing the costumes as the Kansas City Ballet prepares for its annual production of The Nutcracker.