Posts Tagged ‘Classical Tutu’

Tacking Your Tutu: Part 1, Preparation

Tuesday, August 9th, 2011

When it comes to creating the perfect silhouette for your classical or bell style tutu, there are a number of factors to consider: how you cut your layers, the fabrics that you use, and so on.  However, “tacking” your tutu is one step which makes a grand difference (and entrance)!

Class Act Tutu's "Pancake" Style Classical Tutu Skirt
Photo:  Laura Gilbreath, soloist, Pacific Northwest Ballet © Angela Sterling

Whether you have made your own tutu, purchased your tutu or have a tutu in need of repair, “tacking” is a skill that you need to have if you are working with Classical or Bell Style tutus.  “Tacking” is when you secure the layers of your tutu together.  This keeps your ruffles from flying when you dance and helps to shape your tutu.  There are many different methods to use.  We thought it would be fun to share some of the tricks we have learned through the years.

We will be adding to our “Tips & How-To” blog category some of our favorite ideas for tacking your tutu.  First up is preparing your tutu for tacking.

Preparation:  Steam & Flatten

Although some may consider these steps optional, we think that preparing your tutu by gently steaming and pressing–or flattening your tutu is worth the time.  A tutu that is shaped and flattened before tacking is begun is much easier to work with and results in a better finished product.

  • To steam your tutu,  first test your fabric. Nylon melts and, if your steamer or iron is too hot, you can damage your tutu.  If you are using an iron, use the lowest setting that can provide steam.
  • Straighten, shape and steam the layers of your tutu one by one.  The idea is to straighten the layers so that they lie straight out from the tutu panty.  Visualize the spokes of a wheel.

Tutu Tacking Diagram

HINT: If you are making your own tutu, it is much easier to attach your tutu layers if you gently steam each layer where it is gathered before it is sewn on.

  • To press, lie your tutu topside down, arrange the layers neatly, and place heavy books all around the tutu.  Leave overnight.
Flattening Your Tutu with Books

Flattening Your Tutu with Books

As always, if you have any tips you would like to share—or would like us to share, just let us know!

Next Up:  Using a “Tagging Gun” to tack your tutu

Tagging Gun

Sightings: Aspen Santa Fe Ballet’s “Nutcracker by the Numbers”

Friday, December 10th, 2010

We love these mathematical rundowns of productions.  It gives a small sense of all the work that goes on behind the scenes to create a performance.  We were thrilled to see this piece posted by Aspen Santa Fe Ballet that show some Class Act Tutus in the piles!

Aspen Santa Fe Ballet, "Nutcracker by the Numbers"

Aspen Santa Fe Ballet, "Nutcracker by the Numbers"

Aspen Santa Fe Ballet has performances of the Nutcracker in Omaha, Santa Fe and Aspen.  Get your tickets!

A Peek Inside: The Rock School’s Nutcracker 1776

Sunday, November 28th, 2010
The Rock School's "Nutcracker 1776"

The Rock School's "Nutcracker 1776" Photo: Tiffany Yoon

The Rock School for Dance Education’s ‘Nutcracker 1776′ provides a delightful patriotic twist to a traditional holiday classic. Nutcracker 1776 “tells the tale of two children entrusted with an enchanted key and Nutcracker that lead them far from their home in colonial Philadelphia.”

Not only were we at Class Act Tutu proud to have created some of the production’s costumes, we were curious about the inspiration behind this beloved production.

We posed our questions to The Rock School’s directors, Bojan and Stephanie Spassoff.

What was the inspiration behind Nutcracker 1776? Why did the school decide to “travel off the beaten path” and branch out like this? (Which by the way, was an awesome idea!)

We wanted to “re-invent” a new Nutcracker.  Distill it and make it Philadelphia-centric.  Ben Franklin is our “Drosselmeyer” figure – a cross between Dumbledore and Drosselmeyer.  Instead of a German Parlor in the opening scene we are in Ye Olde City Tavern Inn, a real Philadelphia tavern  during colonial times where virtually all of the Founding Founders met, discussed and planned the issues of the day.  This seemed to us to make it much more personal for our Philadelphia audience as well as sneaking in some actual history.

How has the community received the production over the years?

This is only our third year of doing this production but the response has been overwhelmingly enthusiastic.   The School’s Rock Reach outreach program has a special dress rehearsal for over 1,800 under served children from schools in Philadelphia, Camden and Chester County.  The children are thrilled to see what may be their first and only Nutcracker.  The response rivals a rock concert!

That’s amazing! So do you offer a more traditional production as well? If so, how do attendance/ticket sales compare between the two?

No, we do not as this production is specifically geared to be more accessible for families with young children and fathers who do not want to sit for two and a half hours.  It is truly still a traditional Nutcracker.  We try to keep it fresh every year by adapting to the students enrolled in The School.

In closing, what advice would you give other dance schools or companies looking to spice things up over the holidays?

Just look at your audience to see what is going to make it more feasible for them to go and enjoy something for the whole family, that is beautiful, elegant, and yet dynamic.  It is also important to review show times, assess when the performances are better attended, and to take into consideration feedback from the audiences.  Incorporating elements of magic, the unexpected and a variety of smaller charming little parts for children in the production is pleasing to both participants and the audience.  Keep the joy in the dancing!

For more information about Nutcracker 1776 or to purchase tickets, please visit their website at TheRockSchool.org.

Class Act Tutu created the V-Neck Tutu Bodices and the Romantic Skirts with Basque (color:  White) for The Rock School’s Snow Scene as well as the “Betsy Ross” Classical Tutu Skirt (color: Royal Basque/Red Skirt   style:  soft classical).

Sightings: Pointe Magazine, October/November 2010

Tuesday, October 5th, 2010

In the Costume Shop:  Magic is made behind the scenes.

Thank you so much, Pointe Magazine, for featuring our “Happily Ever After” tutu in your article, In the Costume Shop:  Magic is made behind the scenes.  [ page 38]

"Happily Ever After"

"Happily Ever After"

This Classical Tutu design was created by CJDL Design for Class Act Tutu.  It features a Sweetheart Tutu Bodice style with a fabric upgrade (Gold/Silver Brocade), a Classical Tutu Skirt with Hooping and  Scalloped Edges.  The Embellishment is an amazing array of  hand-made fabric shapes with crystals, beads & painted accents.

This is definitely one of our all-time favorite tutus. Just imagine how this gorgeous “Beauty” would look on stage! Whether you’re dancing Cinderella or Sleeping Beauty–or any other Princess role–no Prince Charming could possibly resist!

With all of its lavish design features and incredible “wow” factor, our Happily Ever After is more than just a costume–it’s a fairytale dream come true!

For information on how to purchase this tutu, please contact us.

Review: Pacific Northwest Ballet’s Coppelia

Monday, June 7th, 2010
Pacific Northwest Ballet's Coppélia  All photos © Angela Sterling

Pacific Northwest Ballet's Coppélia All photos © Angela Sterling

Pacific Northwest Ballet pulled out all the stops with their latest production of George Balanchine’s, Coppelia.  This fantastic production features all new lavishly designed (read: gorgeous!) sets, to die for costumes, and of course the high-caliber artistry that PNB is world-famous for.

Swanilda/Coppélia

Saturday’s matinee featured Lesley Rausch as Swanilda/Coppelia, Jerome Tisserand as Franz, and Olivier Wevers as Dr. Coppelius.  Right off the bat, I have to give serious applause to Rausch for her outstanding interpretation. She not only delighted everyone in the audience with her arrogance and saucy attitude, but she transported us into the heart of her character. Sure, Swanilda isn’t the nicest of young ladies, but her love for Franz is evident, even when faced with the sting of rejection.
 

Franz

Jerome Tisserand’s Franz was perfectly executed. Like Rausch, he had a way drawing me in, making me feel almost as fed up with Swanilda’s antics as he was. His attitude was a perfect blend of inflated ego meets young playboy looking for love.  After discovering that his love interest is only a doll, one would expect Franz to act a bit more sheepish over his foolish behavior. (I mean, seriously!) However, Tisserand remains true to character and Franz casually glosses over that “minor faux pas” with a sudden profession of love for Swanilda, which of course, she accepts.

Dr. Coppelius

 
Olivier Wevers deserved the standing ovation he received for his performance as the highly eccentric, slightly creepy, Dr. Coppelius. How it is Wevers can pull such multi-faceted characters out of his back pocket is beyond me! His Dr. Coppelius was a thrilling “yin and yang”; an absent-minded and lonely old man, whose walking stick doubles as a handy weapon against “the wild hooligans” of the town. But underneath that “grumpy old man” veneer lurks a borderline-fiendish soul.

Honorable Mentions

 
Act three’s splendid cast also deserves special mention. I was most impressed by Carrie Imler’s “Dawn” and Sarah Ricard Orza’s “Prayer”. These dancers gave equally passionate and exquisite performances. Imler was a vision of dazzling sunlight–bright, confident and striking.  Ricard Orza danced “Like a fairy tale princess!” (to quote the little one sitting next to me) with her flowing port de bras and delicate phrasing. The action-packed “Discord and War” featured Batkhurel Bold and Lindsi Dec entering the stage like wild flashes of lightning dressed in silvery armor. As always, the power behind these two striking  dancers takes your breath away. Their amazing turns and leaps were all done whilst holding long spears–none of which whacked anyone else nor made kabobs out of their thighs. (An acrobatic feat of epic proportions, especially when you consider how clumsy the rest of is–read: yours truly!–would be in the same situation.)PNB’s Coppelia is filled with good natured humor, an outstanding cast, and delicious imagery. If you haven’t yet made your way to McCaw Hall to catch the “Happiest Ballet on Earth!”, I would highly suggest that you do so. Like…today!

Coppelia runs from June 3rd-13th. Tickets are available by visiting PNB.org.

 

For those of you unable to attend, please enjoy our gallery of  Pacific Northwest Ballet’s premiere production of Coppélia: Choreography by Alexandra Danilova and George Balanchine © The George Balanchine Trust (after Marius Petipa).

All Photos © Angela Sterling

For more stunning dance photos, visit  Angela Sterling Photography.


By Denise Opper

Review: Pacific Northwest Ballet’s Sleeping Beauty

Monday, February 8th, 2010

What a gorgeous evening! There are simply not enough adjectives to describe the splendor of Pacific Northwest Ballet’s The Sleeping Beauty.  This outstanding company of dancers whisks its audience deep into the heart of this beloved fairy tale, thrilling and delighting both young and old alike.
The scenery and costumes  designed by Peter Docherty are lush, vibrant and visually delicious. Enchanted foliage moves to ensconce the royal castle. Costumes shimmer and sparkle with life of their own. Aurora’s bower is delicately ornate and enveloped in a golden beam of light.

The Christening

The opening Christening Scene exceeded all expectations. Otto Neubert (King Florimund) and Victoria McFall (the Queen) are poised experts of their craft. Their characterization is well-established and believable.
The seven enchanted fairies and their cavaliers were dazzlingly  in sync. The Cavaliers, with their impressive turns and jumps, were thrilling to watch. The fairies were perfectly cast, each bringing their own unique style and interpretation to the role. Most memorable solos include Lindsi Dec’s (Fairy of Wit) spunky finger pointing and skillful pointe work, and Chalnessa Eames‘ (Fairy of Generosity) charming, slightly coquettish performance.

The Lilac Fairy

Carrie Imler’s  interpretation was not only masterful, but exhibited a profound sense of strength under control. I got the distinct impression that Lilac could’ve really given old Carabosse a swift kick in the skirt, but chose not to because that wouldn’t be very ladylike. Their relationship seems tethered by a delicate wisp of a truce; “I will only allow you to go so far,” Lilac’s penetrating gaze warns.
Imler’s port de bras were gorgeous and fluid; her grace extending all the way through her fingertips. Her expressions were soft but commanding; her movement precise yet poetic. Imler’s Lilac seemed to care deeply about all those within her domain, and their allegiance to her was not without cause.

Pacific Northwest Ballet principal dancer Carla Körbes as the Lilac Fairy with her attendants, puts the kingdom under a sleeping spell in Ronald Hynd’s The Sleeping Beauty.  Photo © Angela Sterling.

Pacific Northwest Ballet principal dancer Carla Körbes as the Lilac Fairy with her attendants, puts the kingdom under a sleeping spell in Ronald Hynd’s The Sleeping Beauty. Photo © Angela Sterling.

Carabosse

Jonathan Poretta’s portrayal of this devilish fairy was dramatic, powerful and just plain fun. Everything from his grand, swooping entrance accompanied by the sound of crashing cymbals and stark flashes of light, to the fiendish ways in which he lashes out over not being invited to the celebration was absolutely superb! Carabosse may be profoundly wicked, but she is still no match for the Lilac Fairy’s power. One moment, Carabosse is whirling feverishly about, her cackling laughter almost audible. The next, she is cowering on the floor under Lilac’s quietly dominating presence.  I was almost sorry she was stabbed to death by the heroic Prince in the end.

Pacific Northwest Ballet principal dancer Olivier Wevers as the evil Carabosse, and principal dancer Carla Körbes as the Lilac Fairy in Ronald Hynd’s The Sleeping Beauty.  Photo © Angela Sterling.

Pacific Northwest Ballet principal dancer Olivier Wevers as the evil Carabosse, and principal dancer Carla Körbes as the Lilac Fairy in Ronald Hynd’s The Sleeping Beauty. Photo © Angela Sterling.

Princess Aurora

With her delicate phrasing and uncanny ability to channel the emotions of a sixteen year old Princess, Mara Vinson has secured her place as a legendary ballerina. During the famous Rose Adagio, Vinson was unfathomably brilliant. Her balance was spot-on as she greeted each of the four Dukes; her supple back hinted of the beautiful woman our heroine is to become, and her developpes unfurled toward the sky. Last but not least, those fantastic poissons (fish dives)with the Dukes and later, the Prince, were nothing short of extraordinary. Indeed, Vinson’s performance left many viewers gasping with excitement.

Pacific Northwest Ballet principal dancer Mara Vinson as Aurora, with company dancers in Ronald Hynd’s The Sleeping Beauty.  Photo © Angela Sterling.

Pacific Northwest Ballet principal dancer Mara Vinson as Aurora, with company dancers in Ronald Hynd’s The Sleeping Beauty. Photo © Angela Sterling.

The Prince

Yet where would our lovely heroine be without her handsome Prince? Seth Orza proved his mettle by meeting the challenges of this highly demanding ballet. Orza starts out as a dashing, slightly aloof young man who quickly becomes enraptured by the girl of his dreams (literally). He begs the Lilac Fairy to show him where she can be found, a request which the benevolent fairy is only too happy to oblige. Orza’s characterization is rich and articulate; his strength and power–sheer bliss. When he finally kills the wicked Carabosse then leans in to kiss his beloved Aurora, you have to literally stop yourself from cheering.

The Wedding

The third act of this ballet is filled with some of the most well-known and cherished variations. The Gold and Silver Pas de Trois, featuring Lindsi Dec, Andrew Bartee and Lucien Postlewaite was refreshing, effortless and commanding. I was duly impressed with how well Dec’s strength and beautiful lines held their own against Bartee’s and Postlewaite’s esteemed technical prowess and bold execution.
The Bluebirds (Rachel Foster and Benjamin Griffiths) were absolutely stunning.  Griffiths shined with his jaw-dropping leaps and jumps, while Foster’s fluttering movements provided a sense of harmony and balance.
Red Riding Hood and the Wolf (Abby Relic and Jerome Tisserand) was mildly sinister yet extremely charming. I heard more than a few giggles emanating from the children in attendance.
However, it was the humorous dance between Puss in Boots (Jordan Pacitti) and the White Cat (Sarah Ricard Orza) that really got the audience’s attention.  This talented duo made the most convincing pair of sparring felines imaginable. Pacitti was the ever-determined suitor vying for Ricard Orza’s finicky feline affections; Ricard Orza transformed herself into the most feisty little kitty cat, holding Pacitti at arm’s–or claw’s–length. After multiple strikeouts, Pacitti finally decides to give Ricard Orza the gift no kitty in her right mind can resist; a tasty mouse!

Pacific Northwest Ballet soloist Seth Orza and principal dancer Mara Vinson as Prince Florimund and Princess Aurora in Ronald Hynd’s The Sleeping Beauty.  Photo © Angela Sterling

Pacific Northwest Ballet soloist Seth Orza and principal dancer Mara Vinson as Prince Florimund and Princess Aurora in Ronald Hynd’s The Sleeping Beauty. Photo © Angela Sterling

Conclusion

By taking on this technically demanding ballet and performing with aplomb, Pacific Northwest Ballet has once again proven itself worthy of the highest of accolades. The dancers enamored the audience with their incandescent performance and spawned a new generation of wistful Auroras!

by Denise Opper, Media Relations Class Act Tutu & Vala Dancewear

All photos © Angela Sterling

Pacific Northwest Ballet performs Ronal Hynd’s The Sleeping Beauty

February 4 – 14, 2010


Review: Pacific Northwest Ballet’s Nutcracker

Tuesday, December 1st, 2009

A Little Bit of Magic

The magic of the holiday season has descended upon McCaw Hall, ushered in on the wings of Pacific Northwest Ballet’s annual treat, The Nutcracker.  The air inside the theater was alive with anticipation, and the excitement emanating from all the hundreds of children present was palpable.

Clara's Christmas Tree - A signature moment of Pacific Northwest Ballet’s Stowell/Sendak Nutcracker occurs when Clara’s Christmas tree grows from 14 to 28 feet.  The majestic tree was constructed by Boeing engineers and weighs 1,000 pounds.

Clara's Christmas Tree - A signature moment of Pacific Northwest Ballet’s Stowell/Sendak Nutcracker occurs when Clara’s Christmas tree grows from 14 to 28 feet. The majestic tree was constructed by Boeing engineers and weighs 1,000 pounds.

The Story and the Set

The ballet is based on the original story written by E.T.A. Hoffman and brought to life by the choreography of former PNB Artistic Director, Kent Stowell.  The sumptuous sets designed by Maurice Sendak (Where the Wild Things Are) play a crucial role in the success of this stellar production.  They not only envelop the stage like a lush, Victorian picture book, but also provide a sense of pure magic.  Everything from the massive growing Christmas tree and the enormous Mouse King that wickedly encircles the stage–to the realistic boat ride along the sea, leaves audiences captivated and riveted to the edge of their seats.

Clara

The role of young Clara was marvelously played by PNB student, Eileen Kelly.  Kelly’s mannerisms and characterization were both impressive and believable.

Carrie Imler , Principal Dancer, PNB, as adult Clara was nothing short of outstanding.  Imler’s Clara provides a stunning portrayal of a maiden whose heart is laced with the charms and emotions of girlhood.  She is her Prince’s devoted equal in terms of bravery, and wants nothing more than to remain locked within the confines of this beautiful dream with him forever.

The Prince

Batkhurel Bold, Principal Dancer, PNB, gave a powerful performance as the dashing Prince.  His movements were breathtaking, his character regal and confident.  Bold not only captivates audiences with his impressive strength, but sweeps them off their feet as Clara’s faithful protector, companion, and hero.  Their gorgeous, sweeping pas de deux conveys all the beauty and promise of young love.

A Cast of Characters

Herr Drosselmeier/Pasha

Jordan Pacitti shines in the dual role of Herr Drosselmeier/Pasha.  As Drosselmeier, Pacitti is teasing yet harmless, a classic example of a man who is “a little boy on the inside.”  He not only revels in his ability to shock and amaze the party guests, but takes the most delight in getting a rise out of young Clara.  Later, however,  as the Pasha, Pacitti transforms from a fiendish eccentric, into a protective father-figure, possessive of both Clara and her affections.

Ballerina Doll

Sarah Ricard Orza gave a lovely performance as the wind-up Ballerina Doll.  Her masterful display breathed new life into this well-loved character, one who is sure to star in many little girls’ dreams.

An Enchanted Land

The Moors, A Chinese Tiger, The Commedia

Act Two whisks Clara and the Prince along to an enchanted land where they are greeted by a lavish display of hospitality, courtesy of the Pasha.  Moors dance about with bright, energetic flair.  A dancing Chinese tiger, charmingly played by Ryan Cardea, received more than a few giggles and squeals of delight.  The Commedia (Liora Reshef, Benjamin Griffiths and Rachel Foster) were reminiscent of a precious music box or toy shoppe window.  Griffiths’ acrobatics and technical prowess were evident both here and during his role as Sword-Dancer Doll in Act One.

The Chinese Tiger

The Chinese Tiger

The Peacock

Lesley Rausch, soloist, PNB mesmerized in her role as the fluttering, sensuous Peacock; a winged beauty transported via gilded cage.  Rausch’s expert characterization was daring, captivating, and hypnotic.

Pacific Northwest Ballet soloist Lesley Rausch as the Peacock in PNB's Stowell/Sendak Nutcracker.  Photo © Angela Sterling

Pacific Northwest Ballet soloist Lesley Rausch as the Peacock in PNB's Stowell/Sendak Nutcracker. Photo © Angela Sterling

The Whirling Dervishes

The three whirling Dervishes (Barry Kerollis, James Moore, and Josh Spell) were absolutely thrilling. These fantastic dancers created a spectacular “tour de force” that left every little boy in the audience inspired and awe-struck.

Flora

Lindsi Dec, soloist, PNB,  soared to new heights as the beautiful blossom maiden, Flora.  Dec gave herself completely over to her role, and that coupled with her long, gorgeous lines and jubilant expression, made her performance exhilarating to behold.

Pacific Northwest Ballet soloist Lindsi Dec as Flora in the Waltz of the Flowers from PNB's Stowell/Sendak Nutcracker.  PNB’s acclaimed production of Nutcracker runs November 27 – December 30, 2009 at Seattle Center’s McCaw Hall.  Tickets are available online at www.pnb.org or by calling 206.441.2424. Photo © Angela Sterling

Pacific Northwest Ballet soloist Lindsi Dec as Flora in the Waltz of the Flowers from PNB's Stowell/Sendak Nutcracker. Photo © Angela Sterling

Snow, Waltz of the Flowers

PNB’s corps de ballet performed beautifully as a chorus of swirling, icy snowflakes glittering in the moonlight. Their dazzling display literally made a chill run down my spine.  Later during the Waltz of the Flowers, I could almost smell a hint of jasmine and rose being carried along on a soft, spring breeze.

Pacific Northwest Ballet’s, Nutcracker

I was once again impressed with the caliber of dancing and characterization offered by this amazing company, as well as the talent that exuded from its students.  Pacific Northwest Ballet’s Nutcracker is a must-see and should be a part of every family’s holiday tradition.

PNB’s acclaimed production of Nutcracker

runs November 27 – December 30, 2009

at Seattle Center’s McCaw Hall.

Tickets are available online at www.pnb.org or by calling 206.441.2424