When Adam Sklute joined Ballet West as artistic director in 2007, it had been nine years since the company had last produced any new work. But, that would change dramatically. For example, between 2011 and 2016, Ballet West presented 16 Utah premieres of works by past and present choreographers. By 2016, the company’s Innovations program had generated 21 world premieres, including works by 10 company artists. Six editions of its Choreographic Festival have brought world, North American and Utah premieres of works by the current generation of young and emerging artists. For example, last year’s Asian Voices Choreographic Festival brought two world premieres and two company premieres Indeed, as any regular Ballet West patron knows, every season is guaranteed to have several works that are new to the company repertoire.
This week, Ballet West’s newest creative iteration, Works from Within, will signify how the company’s culture of regularly welcoming new work into its repertoire has been ingrained in Ballet West dancers, especially for those exploring their own choreographic voice. New works choreographed by five Ballet West dance artists, including one that will feature Utah Valley University’s Repertory Ballet Ensemble, will premiere in a five-performance run May 14-17 at the Jeanné Wagner Theatre in the Rose Wagner Center for Performing Arts.
In an interview with The Utah Review, Sklute said the company plans to program Works from Within and its Choreographic Festival in alternating seasons. At the end of last year, 14 dancers submitted proposals to Sklute who interviewed each applicant and then selected a few to set some short excerpts on Ballet West academy dancers before deciding on the final slate of works for the production. Meanwhile, Sklute mentored the choreographers on the array of practicalities and logistics of creating new work so they could decide who was available to fulfill their casting needs, what music they wanted to use and how to handle issues of copyright and licensing, work with the costume staff and learn the art of theatrical lighting by collaborating with the lighting designer. Each choreographer was given a budget to work with, which emphasized the realities of how creative producers learn to leverage the maximum artistic impact from limited available resources.
Two of the choreographers, Katlyn Addison and Emily Adams, have already set work for Ballet West. Joining them in premiering their respective works will be Nicole Fannéy and Vinicius Lima, demi-soloists, and Jazz Khai Bynum, company artist.
Performances will take place daily May 14-17 at 7:30 p.m., as well as a 2 p.m. matinee on May 17 at The Rose in downtown Salt Lake City. For tickets and more information, see the Ballet West website.
The Utah Review sent a short list of questions by email to each choreographer about their work and the impetus for its creation.
Katlyn Addison, Andromeda
Katlyn Addison has been a choreographer for the past five years and Andromeda will be the fourth piece she has set for Ballet West. She also has choreographed works for the University of Utah, University of Oklahoma, Kansas City Ballet, Ballet Jorgen in Canada, Bayou City Ballet, Ballet Des Moines, the Arts Festival in Utah, Redlining Project and the Gateway Chamber Orchestra.
As for choreographers who have influenced her work, Addison cited Donald Bryld as one example, with whom she worked at the Kennedy Center. “He taught me that creativity doesn’t always require extensive new material,” she explained. “His approach of reworking and reimagining existing choreography highlights the inherent potential within even a small amount of movement. This too is very similar to my work with Robert Binet.”
In finding innovation through manipulating the existing movement, Addison said this resonates in certain moments of Andromeda, where familiar ballet vocabulary is presented with a fresh perspective. “Furthermore, my experiences performing the works of William Forsythe, Jiří Kylián, Christopher Wheeldon, Frederick Ashton, George Arpino, Helen Pickett, Ben Stevenson, Val Caniparoli, and many other choreographers,” she added, ”have consistently reminded me that a compelling story can be told within the simplicity of movement, especially when combined with a strong narrative.”
The impetus for Andromeda came from a desire to explore a powerful female figure within classical mythology, Addison noted. “Andromeda’s strength and willingness to sacrifice herself for her people resonated deeply with me,” she explained. “I hope the audience finds the ballet entertaining and, more importantly, connects with Andromeda’s inner fortitude and selfless act. I aim to convey the enduring power of love, the necessity of courage in the face of danger, and the unwavering nature of faith, even in the darkest of times. Ultimately, I hope the audience falls in love with Andromeda’s story and leaves the theater eager to experience a full-length ballet of her journey in the future.”
Addison said the movement vocabulary in Andromeda is rooted in classical ballet, but with moments of more contemporary fluidity. There are eight scenes (The Constellation On, Aethiopia, Cepheus and Cassiopeia, A Resolution And A Sacrifice, Ribbons And Robes, In Winged Shoes, Cetus and Perseus and Andromeda and Perseus). As she summarizes in her program synopsis:
Andromeda is a dramatic and unique take on the Greek myth of royal pride, divine wrath, and enduring love. Aethiopia celebrates the birth of Princess Andromeda. Years later, Andromeda’s beauty and kindness have become legendary. Queen Cassiopeia boasts that Andromeda surpasses the gods in beauty. This incurs the wrath of Poseidon, who demands the princess as a sacrifice or he will destroy the kingdom and all its people. In the throne room, as the King and Queen despair and the city pleads, Andromeda bravely offers to save her people and agrees to be sacrificed to the monstrous Cetus.The Greek hero, Perseus, discovers Andromeda, who is tied to the rocks and awaiting her fate. He instantly falls in love with her. Learning that Poseidon has demanded Andromeda’s sacrifice to Cetus, Perseus confronts and defeats the sea monster using Medusa’s head to turn it to stone. Freed, Andromeda finds love with Perseus amidst the danger they have overcome.
Nineteen dancers are in Andromeda’s cast, including Jenna Rae Herrera as Andromeda, Jordan Veit as Perseus, Loren Walton as Poseidon, Hadriel Diniz as King Cepheus and Nicole Fannéy as Queen Cassiopeia. Addison is using an original score composed by Jonathan Sanford and pre-recorded in Los Angeles. “It utilizes traditional orchestral instrumentation and features a small group of vocalists, an organ, and a bit of a violin concerto for the sixth and seventh movements,“ she explained. “The violin soloist represents Perseus, while the vocalists, at different times, represent the voices of Cassiopeia, Andromeda, Poseidon, Nereids and the people of Aethiopia.”
She has worked with Jason Hadley and Cindy Farrimond from the Ballet West Costume Shop on repurposing costumes from previous ballets at Ballet West and with James Larsen on lighting. “Dancing in such a wide range of ballets at Ballet West has prepared me for Works from Within. For instance, my experience performing in a Balanchine work honed my understanding of musicality and precision, influencing the intricate phrasing in the pas de deux between Andromeda and Perseus,” Addison said. “Similarly, the dramatic storytelling inherent in some of the narrative ballets I’ve performed has informed my approach to conveying the emotional arc of Andromeda’s sacrifice. As this is my first time creating such a work, my deepest hope is that the character of Andromeda resonates and connects with each audience member.”
Addison hopes to become a resident choreographer or as a creator on a commission basis for various companies. “The process of bringing a story to life through movement and collaborating with dancers and other artists is incredibly rewarding,” she added, “and I am particularly drawn to exploring narratives that highlight human resilience and connection.”
Nicole Fannéy, Lingering Echoes
In approaching her first complete project as a choreographer and those whom she has considered as formative influences or as models for her artistic development, Nicole Fannéy said, “I think I have taken bits and pieces from all the choreographers I have worked with and ballets of theirs I have done so far in my career, as well as how they run rehearsals.” She added, “As for choreographic style, Jiří Kylián, William Forsythe, and Christopher Wheeldon are big influences. I am a huge fan of their works, and I feel their ballets draw audiences into the atmosphere their pieces are conveying.”
Fannéy also cited Caili Quan, Nicolo Fonte, Jennifer Archibald, Juliano Nunes, and Sophie Laplane as major influences. “Each of them have very distinct styles, and the way I run rehearsals has been influenced by my observations of them conducting rehearsals,” she explained. “Working with them first-hand as a dancer, I see what is the most efficient and effective way of running rehearsal and creating a new work. Also, the dancers I work with have a great influence on what I choreograph. I watch the way they move and see what their bodies naturally want to do, and I base a lot of my steps off of them.”
Fannéy said Lingering Echoes explores the themes of togetherness and loss. “It grapples with the bittersweet realities of life, where joy and sorrow intertwine,” she added. “It is also a reflection of shared memories, the enduring power of love in the face of separation, and the ways in which grief can be a path to understanding and growth.”
The piece comprises three movements with four couples. In the opening movement, with its slow tempo, each dancer’s movements “echo” off each other. “The second movement is faster paced and there is a more vigorous touch,” Fannéy said. “I would say it represents the anger that comes with grief.” About the third movement’s themes of acceptance and love, she explained, “Each couple has their own pas de deux that in a way tells their own story. The dancers and their partners support each other in an environment of sorrow and comfort.” The couples to be featured will be Lillian Casscells and Adrian Fry, Rylee Ann Rogers and Loren Walton, Kristina Pool and Jordan Veit, and Mikayla Gyfteas and Dominic Ballard.
For the music, Fannéy selected an intriguing trio of pieces. One is Poema (1975, arranged for cello and organ by Seppor Murto & Kari Lindstedt), a piece by 20th century Finnish composer Erkki Salmenhaara, one of the most definitive firebrands of avant garde music in the last century. The other two selections come from the Baroque Era: Toccata and Fugue in D Minor by Bach (William McVicker) and Nisi Dominus, RV 608: IV. Cum Dederit by Vivaldi (Jean-Christophe Spinosi, Ensemble Matheus and Philippe Jaroussky).
“I feel very grateful to have been chosen to choreograph for Works from Within,” Fannéy said. “Adam [Sklute] has created a safe space for new and aspiring choreographers to experiment and grow. This process has been very eye-opening, challenging, and enjoyable. As a first-time choreographer, I would love to choreograph again and continue to grow my artistic and choreographic skills.”
Jazz Khai Bynum, With Feeling
Other than movement class assignments during her college years, Jazz Khai Bynum said this is her first complete work as a choreographer. Bynum trained with the Dance Theater of Harlem’s residency program at The Kennedy Center, Maryland Youth Ballet and at the Boston Conservatory where she earned her bachelor of fine arts degree. “I am constantly inspired by music and what it makes me feel,” Bynum added. “In that regard I love works created by Jennifer Archibald, William Forsythe and Christopher Wheeldon. The way they capture the music and create movement that pulls at your emotion is something that is captivating to watch and fulfilling to dance. ”
About the themes for With Feeling, Bynum said, “I was driven by our connection to music, how it moves us, how it brings out emotion when we can’t vocalize it, how it’s something we all share coming from different upbringings and backgrounds. With Feeling is the place where we exist in the music, the feelings it pulls out of us when we are immersed in the chords. I hope the audiences see this and leave with joy!”
Featuring seven dancers from Utah Valley University’s Repertory Dance Ensemble, the piece comprises three movements, which opens on a jazz club set. “They are in the middle of the dance floor surrounded by ‘the band’,” Bynum explained. “They will be moving and playing with formations, timing, and grooving with one another.” All but one of the seven dancers head off stage for a brief respite at the start of the second movement, while the remaining dancer is drawn to the next jazz song. “The second movement consists of two solos,” Bynum said, “and both dancers are so wrapped in the music they forget there are others around them. They almost lapse into a dream state, until someone comes in and interrupts the groove.”
All seven dancers rush back on stage fpr the final movement, dancing to different rhythms in the music, manipulating formations and grooving with the band. “The dancers finish as they had begun, together and with feeling,” Bynum explained. “The movement throughout the ballet is a mixture of classical ballet, neo-classical ballet, and some nuances of jazz. All dancers in With Feeling are in pointe shoes!“
Bynum sets the ballet to music by Duke Ellington, one of the greatest titans of jazz, along with pieces by contemporary composer and clarinetist Derek Bermel, who is well known for his scores blending world music,nfunk and jazz in classically recognized forms. To achieve an intimate and warm appeal in her set design, Bynum chose a color palette of blush pink, lavender, deep red and blue velvet.
“So far in my journey with Ballet West I have been among dancers selected to have new works set,” Bynum added. “I really enjoyed both of those processes and being a part of those creations. When I began creating With Feeling, I strove to cultivate an inviting, inspiring, and joyous environment.“ She explained that she plans to continue exploring her voice as a choreographer. “Not only did this process allow me to achieve a new milestone, I feel it has added to my artistry as a dancer and to own my way of moving,” she said.
Vinicius Lima, Elis
Prior to Elis, Lima had choreographed solos for students to perform in ballet competitions as well as an ensemble at Waterford Dance Academy. “Being a choreographer is hard because you don’t have the canvas like a painter has the canvas at their house to just create,” Lima said. “I do have my body to create on me, but creating on 20 dancers is very different and I found it really challenging to just put the group sections together.” Lima’s piece entails the largest number of dancers to be featured among the five premieres, by using one more dancer than in Addison’s Andromeda.
He explained, ”I am very inspired by the humor and humanity in Bob Fosse’s works, as well as the musicality and crispness that come from [George] Balanchine works, and the range and length that [William] Forsythe’s works require from the human body.” Lima structured his work to explore four general human emotional states, including love, play, grief and togetherness. The music of his Brazilian homeland is central to the foundation Lima built for his work.
The title is an homage to one of Brazil’s most iconic boss nova singers, Elis Regina, whose career skyrocketed after appearing at a 1965 music festival at the age of 19. Although her life was tragically cut short at the age of 36 in 1982 by a drug overdose, the legacy of her artistry continues to reverberate, with many music historians comparing her approach and style to other female legendary singers including Janis Joplin and Billie Holiday. Her interpretations of songs by Pixinguinha, Gilberto Gil and Antonio Carlos Jobim continue to draw attention and inspire creative producers.
”I love Brazilian music and that is where my creative brain really turns on,” Lima said. “Everything that I’ve had the opportunity to dance with Ballet West has shaped my identity as a choreographer and as an artist. The people that have coached me, the ballets that I have been part of, the choreographic process that I got to experience with other choreographers. Every single life experience has shaped who I am as a choreographer and as an artist.”
Lima said a future goal is to become a full-time choreographer. “I found in choreographing a love and a sense of purpose that I only had found before in being a dancer,” he explained. “It excites me to find in another career the same love and sense of purpose that I had when I first started dancing. I hope my work touches people’s hearts, and I hope I can make them feel better when they leave the theater.”
Emily Adams, Mass Hysterical
Of the five choreographers for Works from Within, Emily Adams has the largest and most extensive portfolio, going back to her days in 2004 when she began choreographing as a student in the New York Choreographic Institute. ”I’ve always been drawn to choreography as a playful, creative and collaborative process,” she said. “Balanchine’s intricate musicality and Jiri Kylian’s effortlessly fluid partnering work have probably had the most impact on me as a choreographer. I draw a lot of inspiration from artists outside of ballet as well. Watching Charlie Chaplin tell stories through movement has always been a great resource for me.”
This is her seventh ballet she has created for Ballet West and it represents the fifth time she has collaborated with film and ballet composer Katy Jarzebowski, who has been a Sundance Institute Fellow. In fact, it was with the Sundance Institute and a Ballet West commission that the two created The Thing with Feathers, a 2021 work.
In 2023, Adams received the highly regarded Princess Grace Choreography Honoraria Award. In 2019, Adams collaborated with The Way of the Rain, Sibylle Szaggers Redford, and composer Tim Janis to create Earth Movements: A Symphony for Ballet, which was presented at the United Nations’ 68th international conference for NGOs. She received the Utah Arts Festival’s Choreographic Commission in 2017 and in July 2022, was one of four choreographers chosen to participate in the National Choreographers Initiative.
Adams said that she and Jarzebowski workshopped the concept for Mass Hysterical in 2022. “It’s kind of the product of that time. It explores the comedy and horror of group social behavior and emphasizes the importance of being as well as the importance of being brave when fear seems to be taking over,” Adams said. The work is set in seven movements on 16 dancers.
In collaborating with Jarzebowski, Adams said they start with the story, characters and the reason for the ballet’s creation. “We work together on the journey we literally and emotionally want to take the audience,” she added. “As an artistic team, we strive to create ballets that are unique, heartfelt and cinematic.”
Adams added, “I’m hopeful to expand my career as a choreographer by working with a variety of companies to create both one act and full-length ballets as well as works for film.”