Ballet Hispanico Residency at Skidmore College - Report on an open rehearsal
- Arts and Education
- On Location
Check out our Sponsors
Ballet Hispanico Residency at Skidmore College,
Saratoga Springs, NY 12866
(Ballet Hispanico Website)
Tina Ramirez, Artistic Director, Ballet Hispanico
Office of the Dean of Special Programs
Don McCormack, Dean of Special Programs
Sharon Arpey, Director of Community Education
& Summer Conferences
By Dr. Roberta E. Zlokower
June 17 and June 18, 2003
Originally Published on ExploreDance.com
June 18, 2003, Open Rehearsal, Ballet Hispanico: The Saratoga and Skidmore College community was invited and totally filled the auditorium, including the steps, of the Skidmore Dance Center for this performance of Eyes of the Soul, Batacuda Fantastica, and Nightclub, Act III. Tina Ramirez, Artistic Director of Ballet Hispanico, welcomed the packed and eager audience with remarks that informed them of the nature of the works to be presented. She also appeared at the curtain call and warmly thanked the audience for their accolades.
Ballet Hispanico Dancers: Pedro Ruiz, Jennifer DePalo-Rivera, Eric Rivera, Irene Hogarth, Yarden Ronen, Natalia Alonso, Chan Koo Paik, Walter Cinquinella, Rodney Hamilton, Nicole Stoner, Teri Miller, and Chris Vasquez (Actor).
Rehearsal Director: Gina Bugatti
Executive Director: Verdery Roosevelt
Eyes of the Soul (2000): Choreography by Ramón Oller, Music by Joaquín Rodrigo, Set Design by Eugene Lee, Costume Design by Willa Kim, Lighting Design by Roger Morgan, Performed by the Company. This was a piece about the blind composer, who was danced by Pedro Ruiz, with Jennifer DePaolo-Rivera as Rodrigo's devoted partner. With the exquisite Rodrigo score for guitar and orchestra, Ballet Hispanico was in rare form, after such a grueling day of rehearsals for Nightclub, the later work in progress.
The green, gold, black, and red decorated female costumes and the flowing sleeves, with velvety tights, worn by the male dancers, were striking tonight, against the simple stage and the romantic mood, created by the choreography, the attitude, and the music. Pedro writhed as a blind musician, sitting in his chair or walking with angst and despair. There were gravity-defying leaps and lifts, in Pedro's duet with Jennifer, followed by his own leap into her arms, as she carries him offstage.
Batacuda Fantastica (1982): Choreography by Vincente Nebrada, Music by Luciano Perrone, Costume Design by A. Christina Giannini, Lighting Design by Roger Morgan, Variation VII, out of VIII, Performed by Rodney Hamilton. With a wild, Samba rhythm, Rodney Hamilton brought the audience to high energy, as his hyper-kinetic dance style and engaging presence were incredible.
Nightclub Act III (Hoy Como Ayer, a work in progress) (November, 2003, New York Premiere): Choreography by Sergio Trujillo, Assistant to the Choreographer: Cindy Ricalde, Music by dj St. Germain, Asher, Bunnett, Latinique, XAlfonso, Performed by the Company, featuring Pedro Ruiz, Irene Hogarth, and Walter Cinquinella. Chris Vasquez also appears in a speaking role. Chris Vasquez served as a seductive and welcoming force to this modern day nightclub, with dancers in erotic and provocative partnering, electronically enhanced, with rhumbas, cha-chas, and a fusion of Latin Jazz. Wild kicks and twirls, as well as sexually imitative movement, are the signature motif of this work. Pedro Ruiz was the swaggering figure, who eyes both females and males with a hungry glare. I look forward to the New York Premiere of this work in November.
Kudos to Tina Ramirez, Ballet Hispanico, Pedro Ruiz, Skidmore Department of Special Programs, especially Don McCormack and Sharon Arpey, and the wonderful students and musicians, who made this Skidmore Dance Residency visit so meaningful. Watch for an upcoming diary of the Skidmore Jazz Institute in July.
Chris Vasquez and Roberta at Uncommon Grounds Cafe, Downtown Saratoga Springs, NY, after the Open Rehearsal