A leading force in the revival of 18th century ballet, challenging aesthetic conventions and bringing forgotten masterpieces to new audiences in what The Guardian has called “a whirlwind of desperately needed fresh air.”
Thank you to our dancers from over the years appearing in this collage: Thomas Baird, Michael Barriskill, Patricia Beaman, Brynt Beitman, Deda Christina Colonna, Justin Coates, Caroline Copeland, Seth Davis, Letizia Dradi, Sarah Edgar, Karen Eliot, Carly Fox Horton, Carlos Fittante, Jorge Fuentes, Junichi Fukuda, Stephanie Grover, Olsi Gjeci, Joy Havens, Timothy Kasper, Rachel List, Jason Melms, Hugh Murphy, Glenda Norcross, Valerie Shelton Tabor, Alexis Silver, Matthew Ting, Andrew Trego, Meggi Sweeney Smith, Catherine Turocy, Ani Udovicki, Seth Williams, Timothy Wilson, Gregory Youdan
Clockwise from most left and on floor: Julia Bengtsson, Patrick Pride, Facundo Ferreyra, Brynat Beitman, Alexis Silver, Glenda Norcross and Kaede Hibara
Dear Dancers,
What a pleasure it was to see you perform on March 14th in Dallas, Nicolas Bernier’s Apollon, Comus et La Nuit. The work was unstaged, but then staged and choreographed once the dancers made their entrance. An audience member said he was enjoying the concert and, unexpectedly, it transformed into a ballet! From the first appearance of the court dancers, Alexis Silver and Brynt Beitman and the Duchesse du Maine, Glenda Norcross, the stage was filled with a noble presence. Reminding us of ballet’s beginnings, we saw the perfect carriage of the body joining the earth to the heavens, not stiff, but elongated and proportionately filling the kinesphere around each dancer. The solo Gravement danced by Brynt represented the virtuosic male solos of the time and was performed with vigor and detail. Alexis brought the female counterpart to the male virtuosity, displaying a delicate use of the arms, a polite façade with hints of passion in her demeanor and a graceful intelligence in her footwork. Glenda had a non-dancing role, but it could only be inhabited by a fine dancer emanating grace and beauty. You all helped to set the context of the drama, an entertainment for the Duchesse who never slept!
The entrance of the Arcadian shepherdess and shepherd, Kaede Hibara and Facundo Ferreyra, followed by rather inebriated friends of Bacchus, Julia Bengtsson and Patrick Pride, brought two contrasting elements together which are always present in a good ballet: Harmony versus Chaos. A member of the musicians said one only had to see Kaede take her place for the beginning of the Sarabande to know we were entering a Utopian world of nature and harmony. Facundo’s clever dance mixing folk steps, playing the mandolin and executing entrechat quatre was a precursor to character variations in ballet. He immediately hinted there would be a pursuit of the heart as he danced for both the audience and Kaede.
Patrick Pride and Julia Bengtsson would have pleased any fans of the Grotesque style or Commedia dell‘ Arte. Special skills such as musicality, rhythmic percussion, ease in dancing off balance and a deep love of zany characters are a “must” for dancers in this role. This type of dancing is rarely seen on the contemporary ballet stages of today and was a true surprise and delight to the audience. One member of the audience commented on Patrick’s unbounded sense of joy and whimsy. Another audience member mentioned Julia’s cartoon-like role with the innocence of a child crossed with the mischievous insistence of a leprechaun.
The choreography followed ballet theory of the time. After the fun and games were over the Arcadian shepherdess performed a solo musette, restoring order and classical beauty to the stage. This was followed by a tender musette minuet for the Arcadian couple which never ended as the couple held hands and continued walking in an intimate circle as if in a dream. The final trio chorus began and it was Julia who had to touch them to break their spell and join the other dancers in a minuet inspired by Mr. Shirley’s Minuet for Six dancers. The geometrical group minuets of the period typically referred to cosmic theory with the dance of the planets and indeed, the audience felt a sense of completion. One audience member asked, “When is the next performance?” With two curtain calls and a standing ovation, we hope the answer is, “soon!”
Looking through the decades to when I choreographed this work in 1987 and performed it at NYU, and then Florence Gould Hall in 1988, I still see the original cast of dancers imprinting physical stamps on their dance characters. Luisa Meshekoff was the dance double of La Nuit and Ken Pierce was the dance double for Apollo. It was a courting rivalry which expressed their chemistry together and remains in the dances today. The comic timing and wit of James Martin as the original mandolin playing shepherd (thank you Alan Jones for the mandolin!) had a “rock star guitar playing” quality echoed by Roberto Lara who added his own sense of precision to the foot work in 2019. It seemed as if Facundo was able to blend these two qualities in his own performance. Miriam Cooper was the original shepherdess. I always admired her perfect ease and calm in pirouettes and for the musette she had a 3-measure pirouette with rises and a suspended flow. When Caroline Copeland danced this role in 2019 I completely changed the choreography to suit her strong points and again, this year, I created a new choreography for Kaede but I kept Miriam’s pirouette and the sustained flow of Caroline’s performance style. Kaede mastered both and added her own delicate grace. The followers of Bacchus in the original production were Thomas Baird, Patricia Beaman and a third character danced by Renouard Gee. The choreography has not changed a lot but it was changed from 3 dancers to two. The hemiola rhythms played with the same metal goblets, but different wooden plates, are a challenge. Fortunately, all 3 casts had a comic style of their own which truly shines in this choreography. Matthew Ting (2019) added a hemiola walk which I have kept. Julia and Patrick took naturally to these roles and I have been able to embellish the chaos thanks to their talents.
In conclusion, the choreography is affected by who is dancing the role. With each iteration of the ballet through the decades, it is already rich, but is further enhanced by the new performers. With each generation, the choreography gains another facet.
Observing this process over and over again since 1976, a half century, it has been a gift for me as a choreographer to witness what legacy means and to understand the legacy of embodiment as each dancer adds a quality or a step or a glance to the character they are playing…bringing even more grace, beauty and truth to the ballet.
James Richman, harpsichordist and conductor as well as the Music Director for the NYBDC over these 50 years, has enriched my knowledge of the French Baroque style. He directed our last performance with musicians from the Dallas Bach Society led by concert mistress Clare Cason. Matthieu Peyregne sang Apollo, Andrew Dittman sang Comus and Haley Sicking was La Nuit, all inspiring artists and we were honored to have them in the March 14th show. And last, but not least, a big thankyou to our new co-director, Julia Bengtsson, who helped to coach the new dancers!
Thank you to all!
Catherine Turocy
Alexis Silver and Brynt BeitmanKaede Hibara and Facundo FerreyraPatrick Pride, Julia Bengtsson and Facundo Ferreyra
March 14 at 7:30 in Caruth Auditorium at SMU in Dallas, TexasPresented by The Dallas Bach SocietyTicket DFW The Duchesse du Maine, Louise Bénédicte de Bourbon (1676–1753) with her revels in politics and the arts, and her popular salon at the Château de Sceaux, was a legendary insomniac and famous for her nocturnal fêtes at Sceaux. Her “court” was the opposite of that of Louis XIV known as the Sun King. She was the Moon. The Duchesse was the patroness of the cantata: Apollon, La Nuit et Comus (1715) by Nicolas Bernier.
We look forward to seeing you on Saturday!
Notes on the Dance There are no surviving period dance-notation scores from Apollon, La Nuit et Comus. In the period, it is known that many choreographers were not champions of dance notation, as the system in use only recorded the steps of the dance and not the dramatic action. Hence, Ms. Turocy has had to choreograph the work by drawing on her experience in reconstructing period-dance notations (over 300), using steps and movement described in the following treatises: Chorégraphie by Raoul Anger Feuillet (published in Paris, 1700), Louis de Cahusac’s La Danse ancienne et modern, ou Traité historique de la Danse (The Hague, 1754) and others. Most helpful was Claude-François Ménestrier’s essays “On Ancient and Modern Musical Productions” (Des Représentations en musique anciennes et modernes , 1681) and “On Ancient and Modern Ballets, After The Rules of Theatre” (Des Ballets anciens et modernes selon les règles du théâtre , 1682) which were influential in the development of ballet as a dramatic style capable of expressing emotion and narrating a complex story. He drew upon accounts of ancient Roman texts on pantomime. The 18th-century ballet technique uses a 90-degree rotation of the legs, pointed and relaxed foot, complicated pirouettes with varying foot placements, full range leg extensions, and various expressive attitudes, as well as acrobatic and virtuosic steps for grotesque characters. There are three genres of dance styles: la danse noble et héroique dominates and employs balancing on the points of the toes, the indeterminate pirouette (where the dancer spins for as long as possible), graceful attitudes of the body, as well as virtuosic dance passages. The port de bras and high use of the arms are typical of the “high dancing” used on the stage. Following the Italian tradition that influenced French practice, pantomimic gestures associated with danza parlante are used in la danse demi-caractère style. The more exaggerated and acrobatic grotesco style works well with comic characters.
The New York Baroque Dance Company, Catherine Turocy, Artistic Director, Choreographer
I was asked by the International Conference link on Pierre Rameau this past December to speak about my history and relationship to his treatise (300th anniversary), The Dancing Master. Below is a copy of my comments at the roundtable:
Reflections on Pierre Rameau’s Influence on My Work as a Dancer and Choreographer 1971-2025
By Catherine Turocy
Artistic Director and Co-founder of The New York Baroque Dance Company
celebrating its 50th Anniversary in 2026-27
Learning Baroque technique was a trial by fire as Shirley Wynne crafted her choreography for the 1972 fully-staged premiere of Rameau’s La Naissance d’Osiris with Alan Curtis. I was among the eight dancers at Ohio State University performing in this groundbreaking collaboration. Many scholars today have read Shirley’s dissertation on “Complaisance” thinking this work represented her views of the baroque dance style. In reality, Shirley’s work was emotional and theatrical, quite the opposite of Wendy Hilton working at Juilliard, whose contribution was on comportment and the pure style of social dance. The early days of the historical dance revival in America were filled with bloody fights guided by Apollo and Dionysus. As scholars and performers struggled to define this new field, I knew I wanted to be a part of it. Focused more on our performances, Shirley did not teach us the sources systematically and I was obliged to study them on my own, but I did learn a lot from her example.
As a student at OSU, my understanding of how notation functioned was influenced by reading dances recorded in Labanotation and then writing my own dances in Labanotation as part of my training. Later, when I learned what was then called the “Feuillet system,” I already understood what notation could and could not relay.
In 1974 I reconstructed my first baroque dance for the Baroque Dance Ensemble. (This company was formed by Shirley in 1973 but then dissolved in 1975.) I read La Bretagne notated by Pierre Rameau and an older version notated by Feuillet. Confronted with 2 different versions, I learned a lot about questioning sources and the development of ideas.
My perspective in reading notation scores was as a dancer/choreographer. Considering my first commission as a choreographer at age seventeen was for musical theater, and I performed in a ballet company during my high school years, it is not surprising I considered notation from a performer’s perspective. While reading Rameau’s work, I compared step descriptions with choreographies I reconstructed. For me, it was important to take his work out of the book and to place it into the context of a choreographic phrase, much as individual music notes are not music until they are in a composition.
My history in studying Le Maître à Danser since co-founding The New York Baroque Dance Company with Ann Jacoby in 1976 involved studying the original work in French, reading the book again with Wendy Hilton and then Ana Yepes, reading parts of the book with Ken Pierce and then, most recently, reading through the book with NYBDC members during Covid. I have also compared translations of the work by John Essex in the 18th century and by Beaumont in the early 20th century and studied Rameau’s modifications to the Beauchamps/Feuillet system.
Le Maître à Danser, was not a means to an end but more of a window, opening to a vast study of hundreds of dance notations from the stage and court. Performing while learning was important to my process. I needed the pressure of performance combined with relating to the audience to test concepts of art theory, especially movement of the soul. I also needed a company of dancers, just as an orchestra and voices are required to study opera. Writings of René Descartes gave me a historical and scientific perspective on expression, passion and the soul. Writings from Abbé de Pure, Claude-François Ménestrier, Saint-Hubert and John Weaver aided my understanding of creating a ballet and the importance of its placement within an opera. Gottfried Taubert’s work stressed the systematic structure of ballet, helping me to connect ars combinatoria with Feuillet’s work. Treatises in acting, painting and architecture as related to sacred geometry were helpful. The Reverand Gilbert Austin’s Chironomia was a revelation, demonstrating how the entire declamatory body shifted, seemingly dancing from measure to measure. These studies created a larger context for my mission: to define dance theory, expression and performance practice of the Baroque. Over five decades of performing, choreographing and stage directing 100 operas and numerous plays, videos and ballets assisted my growth as an artist. The impact I made on historical dance practice through lecture/demonstrations at conferences of The Society of Dance History Scholars and the Dance Studies Association (both of which I was a founding member) included introducing the use of expressive dramatic gesture in dance reconstructions (1978), stressing the mask as a vital part of historical performance (1979), and using the work of the Reverend Gilbert Austin to demonstrate the movement of the body within a dramatic sphere (1985). Presently, I am working with Historical Movement Archive to develop a digitized archive for Baroque dance.
I am grateful to the researchers and practitioners (many in this room) who have conversed with me over technical and philosophical questions, especially the early pioneers Ingrid Brainard, Belinda Quirey and Shirley Wynne, the late Regine Astier, Rebecca Harris Warrick, Carol Marsh, Alan Jones, Ken Pierce, Françoise Dartois and Jennifer Nevile. I am also grateful to James Richman, my husband, for our collaborations which expanded my understanding of historical music theory and practice, drawing many parallels to dance.
Lessons from Rameau…
1. People often refer to Pierre Rameau as if he describes all of Baroque dance. However, Anthony L’Abbe, in the frontispiece of Essex’s translation, describes the book as addressing “genteel dancing.” Stage dancing is not included. Later in the preface of the original book, Rameau says: “Dance did not appear in all its lustre until the invention of Opera .” As Le Maître à Danser only covers social dance, we must look elsewhere for explaining theatrical step variations, theory and dramatic performance practices. Hence, Pierre Rameau is not my primary treatise. Instead, I read the Jesuit writings on creating opera-ballets because this is where dance was “in all its lustre.”
2. The title page of the Essex translation, The Dancing Master or the Whole Art and Mystery of Dancing Explained reminds us that the book was intended to “demystify” dance for the English public. The first intention of the book according to Essex is: “Treating of the proper positions and different attitudes for Men and Women from which all the steps are taken and performed…” The idea of moving from position to position in the feet, as well as in the attitudes of the body, immediately suggested to me a link to painting, sculpture and poetry where proportion and expression create beauty.
3. Page 5: Rameau begins to talk about step proportions and the proportion of one’s own body. This statement inspired me to explore proportion in art. In the 1980’s I began to study Leonardo DaVinci’s Vitruvian Man. This important connection to dance theory led me to inventing the concept of the “Baroque Bubble” which I use in teaching and coaching the Baroque dance style. The concept of the bubble is useful in explaining proportion, expression and psychological states of the mind.
4. Page 12: Rameau speaks of always moving through 1st position when bending in an upbeat for the next step. This principle is not addressed in the notation but was stressed in the 1970’s with Quirey, Hilton and Wynne. This practice organizes the legs and makes the dance more legible.
5. Chapter 17: Rameau discusses the order of the ball and appropriate behavior. The order of the ball reflects the order of society which reflects the divine order. This concept touches on the need to connect to the cosmography of the microcosm and for me stimulated discussions with Regine Astier in the 1980’s. Cosmography has since influenced my views on performance practice and creating dances.
6. Chapter 18: Rameau suggests a perfectly obvious action, to wear gloves in dancing. In our own time we rarely wear genteel gloves so this reminder is important. I have observed that gloves make the dancer more aware of the power of the port de bras. The audience, in turn, finds the arms more articulate. Wynne stressed wearing gloves in the 1970’s and I continue this practice.
7. Chapter 19: Rameau mentions the power of motion and how each joint works. His description of the instep is important to executing terre à terre movements crucial to the technique and style. This thought affected the lightness in my dancing and allowed a more subtle performance.
8. Chapter 22: I am disappointed Rameau gives no metaphysical description of the minuet, its history and why the S figure was changed to a Z. Taubert’s “lunar orbit,” “infinity figure” or using the figure “2”which contains aspects of the S and Z touches upon dance theory.
9. Page 96: Rameau states the cadence is the soul of dancing. The movement of the soul is often mentioned in art theory of the time. I am delighted Rameau linked the soul to the musical cadence but also sorry he did not spend more time discussing music.
10. Page 99 and page 199: Rameau speaks of the thumb not pressing against the forefinger. This is contrary to most theatrical dance iconography from the period and to dancing masters, Tomlinson and Taubert. Hence, why are some practitioners never touching when Rameau seems to be outnumbered on this issue? What is the symbolism of the fingers touching? In sacred gestures at the time (see statues in churches) one is joining the earth with the heavens, or the material world with the spiritual world. Art theory makes this connection with the divine and perhaps this is one of the ways it happens in dance.
11. Pages 146-7: While describing the gaillard step to the side, Rameau asks for a slight bend in the supporting ankle before perching high on the leg and then falling. This ankle release is not in the notation but is key to using the instep to give lightness and fluidity to dancing. Traditional dance maintains this sense of ballon in the ankle. As Rameau says, one must avoid looking stiff. Belinda Quirey (a student of Melusine Wood in the 1940’s) paid keen attention to the instep and ankle. She emphasized this action in my private class with her in 1980 .
12. Page 152: Rameau states that pirouettes performed on one leg with the other leg to the side should employ a jumping action to the relevé. In the 1970’s this principle was much in discussion with Wynne and Hilton not wanting to spring to the balls of the feet in a pirouette. By the 1980’s most dancers were jumping to the supporting leg.
13. Page 168: Rameau describes taking the side contretemps with both feet on the ground and springing up from 2nd position. However, the notation of this step does not show a clean second position. In the 1970’s many dancers sprung from one leg and not the second position and landed in a bent knee. In the 1980’s in a discussion with Ken Pierce, I was finally convinced that this interpretation could be a matter of practice which was not reflected in the notation. Tomlinson does not suggest the second position spring from two feet. On page 61 of his treatise, Tomlinson states that one bends the knee upon landing from the hop. In my own practice I choose to bend or not bend on the landing depending upon the music, the tempo and the intended expression of the step.
14. Page 187: Rameau talks about linking steps together. He suggests alternating the quick with the slow or the more active steps with those which emphasize gravity. This notion is linked to dance theory emphasizing variety and concepts in opposition, giving energy to the composition.
SECOND PART
15. Page 196: Rameau states arm positions are like the frame of a picture, emphasizing the dimensional use of the body so it does not look as flat as all the images in the book. One perceives the arms in relation to the core of the body and the arms become more expressive, creating a sculptural context for the body as it shifts through space. I believe the framing of the body is an important aspect of the style.
16. Second Part Chapter 7: Rameau emphasizes always moving the shoulders and head with the opposition of the arms. I see this explanation as supporting the aesthetic principle in art theory that the spiral is the line of beauty. The spiral of the body lives through the entire spine with the head and arms emerging from the spine. The body is not sectioned off into feet/arms/head but is one moving sculpture from head to toe.
17. Second Part Pages 247-8: Rameau is clear about accompanying a primary movement on one arm with a sympathetic smaller movement on the other arm. He says this happens every measure. In the 1970’s in America, Rameau’s description guided choreographers like Hilton, Wynne and myself in our creations. We always moved both arms in harmony to every measure. In today’s practice, some choreographers will hold the arms in one position over many measures or they will make an action with one arm and freeze the other arm in place. According to Rameau, no part of the body is isolated in stillness over a series of measures. Also, he never describes a position for the arms as being held behind the waist. In today’s practice it seems many dancers are working with isolation which is a modern concept in modern dance from the first half of the 20th century. Most noticeably the modern technique of Merce Cunningham (which I studied in college) works with isolated movements and space holds of body parts. François Raffinot of Ris et Danceries directed by Francine Lancelot studied Cunningham technique in NYC in the 1980’s. I often wonder if his reconstructions were influenced by the purity and precision of Cunningham technique which he then used in his Baroque creations. The aesthetic of Baroque dance embraces a more natural and integrated use of the body.
A General Observation: Pierre Rameau ends step descriptions with the dancer being on a lengthened knee and flat foot. In the 1950’s perhaps through the 1980’s, dancers were ending each measure with a bent knee. I remember Ken Pierce speaking to me in the 1980’s suggesting we needed to take another look at Rameau and other dancing masters. As a result, we re-read the masters and looked more closely at the notation. We came to the conclusion that it was time to change our interpretation and to end a measure with a lengthened knee and flat foot. This totally shifted the flow and poetry of the dance style.
*Please note that there were important artists and scholars working in Britain, Canada, Germany and France before the 1970’s but I did not work with them, so they are not included in this paper.
Thank you to the Colloque on Pierre Rameau for this invitation to speak of my experience and work. It is an honor and privilege to be with all of you today!
Il Ballo delle Ingrate with Catherine Turocy, Valerie S. Tabor, Glenda Norcross and Alexis Silver
Valerie Shelton Tabor (September 20, 1973- October 30, 2025)
I first met Valerie when she was a student at Southern Methodist University and I was the ad interim Chair of Dance (1995-96). I was drawn to her elegance and beautiful epaulement as well as her quick wit. The department was working on its spring concert and I mounted my choreography on four dancers to J.S. Bach’s French Suite #5. She was perfect for dancing the saraband with her refined technique and languid arms. I was eager to have her join The New York Baroque Dance Company at that time, but she decided to pursue a law degree.
We later connected when she wanted advice on starting a contemporary ballet company. I encouraged her to begin with a school before starting the company… the rest is history. In 2005, Lindsay DiGiuseppe Salih opened the school, Contemporary Ballet Dallas, in Lakewood with a goal of establishing a dance school of the highest caliber, offering various techniques, and in a positive environment to shape dancers as dancers and as individuals. Read More https://www.contemporaryballetdallas.com/about-dance-school
Valerie performed with our company and we collaborated on projects both in New York City and in Dallas. She was praised for her role as the Unicorn in Jean Philippe Rameau’s opera ballet, Zephyre, by The New York Times:
“There was a charming Unicorn dance for Valerie Sheldon Tabor, who crossed the stage in dainty prances while wearing a towering headpiece in the form of the mythical creature.” ( In the photo above dancer Alexis Silver offers the Unicorn an apple.) Full review: https://www.nytimes.com/2010/09/23/arts/dance/23baroque.html
Valerie also danced with passion in Monteverdi’s Il Ballo delle Ingrate (pictured at the top) performed with Ars Lyrica Houston and then the Dallas Bach Society. And in our last collaboration where she created a ballet based on the story of Joseph Bologne, Chevalier de St. George, she was an inspired collaborator. https://artsandculturetx.com/music-milestones-dallas-bach-societys-spring-season/
Marcea Daiter, Catherine Turocy and Valerie S.Tabor, collaborators on the Bologne ballet
Valerie’s departure from this world just a few days ago is difficult to understand and she will be missed. Our sympathy goes out to her family and to the many dancers who worked with her and were moved by her artistry, determination and passion for life.
It is with great sorrow that we announce the passing of Sandra Noll Hammond on September 13, 2025. As a specialist in early ballet (only one of her areas of study) we were privileged to work with her. She was a guest for three summers at the NYBDC Santa Barbara Baroque Dance Workshop(link to video archive) as well as Historical Dance at Play. At the SBBDW she taught our students ballet technique ranging from the late 18th century into the early 19th century.
In 2013, as a gesture in gratitude, I set up a website for Sandra, hoping her students could help her post and write updates about her work. With the website Sandra would have an online presence… very much lacking for this brilliant artist whose career was more in the 20th century. We were, in fact , contacted by the Basque Cultural Institute asking to include a video of her work in their exhibit, “Soka,” focused on basque dance. The exhibit took place in Biarritz (2015-09-10 – 2015-10-11 – Northern Basque country – France) and traveled to Donostia – Southern Basque country (Spain) in February 2016. We believe it also traveled to Paris and Barcelona in 2017.
Sandra’s website also allowed for former students to get in touch with her and to share comments on the Website.
To learn more about the work of Sandra, Wickipedia has a lovely entry: Sandra Noll Hammond
The New York Baroque Dance Company and United Palace
On September 21, dress up and join us for a festive ball at the United Palace! This event will offer plenty of dancing, community, live music and fantastic costumes. Light refreshments will be provided.
The program will feature dances fom the Baroque to the Revolutionary era and the early days of the United States, including compositions by George F. Handel, Jean-Jacques Rousseau and African American composer Francis Johnson (1792-1844). All are welcome-dances will be taught at the ball, and even more can be learned at NYBDC workshops Classes.
Join in on the dance floor or enjoy as a spectator! Live music from the vituosic ensemble Twelfth Night, and led by David Belkovski for our special event.
Early Bird Tickets: $25 – Reserve online before September 12 BUY TICKETS
$30 – General Admission after September 12 BUY TICKETS
Time: 6:30-8:30pm on September 21
Location Address: United Palace Theater, 4140 Broadway at 175th St, New York, NY 10033
The Uptown Ball is the grand finale of Crackalackin, the United Palace’s celebration of Uptown arts. The Crackalackin concert is free and is 5-6:30. The ball follows from 6:30-8:30 with live music, dancing for all and dance demonstrations from the professional dancers of our company.
CLASSES- Prepare for the Ball
Would you like to learn some dances ahead of time? Join our two Saturday zoom classes on September 6 and September 13 or join our in-person dance workshop with Live Music taught at the Morris-Jumel Mansion on September 20th from 5:30 to 7pm. Admission is only $7! Classes
This project is made possible in part with funds from Creative Engagement, a regrant program supported by the funding agencies DCLA in partnership with the City Council and NYSCA with the support of the office of the Governor and the New York State Legislature and administered by LMCC. We are also grateful for the support of Medical Center Neighborhood Fund and the United Palace Theatre!
We have been in rehearsal all of April and now we are at the exciting part where the orchestra joins us in our preparations. Marie Anne Chiment finished with the costume fittings yesterday and she was joined by Morgan, her assistant and the wig designer, Carissa, who has a multi-colored punk wig for our lead character, Thalia, the Muse of Comedy.
Join us for the modern premiere of an opéra-ballet that broke the mold! This present-day retelling cleverly swaps the original muses’ debate over the qualities of comedy and tragedy for composers, librettists, and choreographers debating which of their art forms garners the best reviews!
Produced by Opera Lafayette, Dance Collaboraters: The New York Baroque Dance Company
Join us for the modern premiere of an opéra-ballet that broke the mold for its time by putting contemporary characters on stage.(Produced by Opera Lafayette, Ryan Brown Artistic Director)
True to its innovative roots, this present-day retelling cleverly swaps the original muses’ debate over the qualities of comedy and tragedy for composers, librettists, and choreographers debating which of their art forms garners the best reviews!
With renowned conductor Christophe Rousset on the podium and Catherine Turocy directing, this witty, joyful, female-centric tale will have you laughing and cheering until the end. Thalie promises to uphold Opera Lafayette’s reputation as “one of the most creatively game and artistically sound operations in the business.”(The Washington Post).
Thalie features a diverse and talented cast of American singers including Jonathan Woody (Opera Lafayette Artistic Associate), Angel Azzarra, Pascale Beaudin, Scott Brunscheen, Jean Bernard Cerin, Patrick Kilbride, Paulina Francisco, John Taylor Ward, and Ariana Wehr. The production also includes eight dancers led by choreographers Anuradha Nehru and Pragnya Thamire, Julian Donahue and Julia Bengtsson of the NYBDC, and Caroline Copeland, Associate Director of NYBDC.
UPCOMING PERFORMANCES The John F. Kennedy Center for the Performing Arts, Terrace Theater Washington, DC Friday, May 3, 2024, 7:30pm Saturday, May 4, 2024, 7:30pmPre-show discussion begins at 6:30pm both nights.&El
Museo del Barrio New York, NY Tuesday, May 7, 2024, 6:00pm Pre-show discussion begins at 5:00pm at El Café.
Online Event at 6pm Eastern time with discussion, photos and videos looking at their recent production of Charpentier’s Les Arts Florissants, soon to be released as a recording!
Turocy and Richman, speak out on their work together over 4 decades of producing Baroque opera, using their last collaboration as a catalyst to reveal their perspectives on the vitality, emotional depth and beauty to be experienced in performing this art today.
Sign up with Eventbrite to Register for this Free Event!
The New York Baroque Dance Co. 
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