fauns and roses


We are headed to The Vets this week, and already I feel the familiar excitement of performance time.  Choreographer Dominic Walsh returns to Providence tonight, so it seems an appropriate time to look back on this interview from a few weeks ago, when he was in town setting his works.  In the clip, Dominic sheds some light on the inspiration behind his reinventions of Le Spectre de la Rose and Afternoon of a Faun.  Being able to learn about the birthplace of his creativity and take special note of those influences now, while preparing his pieces for the stage, has been so rewarding.  I especially love seeing the Rodin sculpture of Nijinsky that inspired the iconic first pose in his Faun.  Dominic makes such a poignant statement about creation:

“That time of The Ballets Russes was so exciting; They were breaking barriers.  There was this dedication to exploration and excellence.  So I think to reinvent these works is one way to contribute to the roles and responsibilities of the cultural institutions, and therefore our community.”


Very well said.  If you have a minute, check out his interview below.  The extended version is even juicier, if you’re interested.

For tickets.

Photo of FBP ladies in rehearsal for Dominic Walsh’s Afternoon of a Faun by Alex Lantz; Second photo featuring Ty and Marissa Parmenter in Dominic Walsh’s Afternoon of a Faun.

new bruises, ancient worlds

For the past week, I have slept with a pillow under my left knee, I’ve had completely un-sing-able compositions stuck in my head, and the sweet start of a callus forming on my right big toe.  FBP’s 38th season is underway at last.IMG_2743

These days the studios are vibrating with a mix of Stravinsky (both Firebird and Apollo), Debussy, and Weber.  Our halls host Dominic Walsh (and his squeezable 6-month-old daughter, Vivi) for the setting of his Afternoon of a Faun and Le Spectre de la Rose for our October Ballets Russes Reinvented show.  You guys, this stuff is beautiful.  Dominic practices the challenging yet grounding method of “spiraling” through movement, in which the body continuously twists in opposition of itself, growing taller while sending energy out through the floor.  His choreography depends on a releasing of the muscles in the legs and neck, while engaging the back, ankles, and core from the center outward.  It’s such an anti-visceral way of working for me, but I am enjoying the freedom of expression this technique allows.  Practice, practice, practice.  Good thing I have sweet penny candy from a far sweeter guy to fuel me!  Anyone else have a strange love for this stuff?IMG_2742

As I don the many hats of nymph, princess, monster, and muse, I can’t help but feel transported back in time.  I’m reminded of the days of Russian monarchy, defection, and reinvention in a country to which ballet had yet to arrive.  This time of dramatic discourse between companies battling for fame.  A period of creative cultivation and collaboration between artists the likes of which has not yet been repeated throughout history.  This ancient world where Balanchine, Stravinsky, Nijinsky, Dalli, and Matisse spawned new work with a seemingly endless fervor.  And speaking of ancient worlds, I’m spending every off duty hour immersed in the Foundations of Theology, because, you know, the fall semester wouldn’t be complete without a course at Providence College.