LEGENDS & LEGACIES
NEWS & UPDATES
BRIAH Danse is a project based company based in Boulder, Colorado ~ dedicated to dance as an inspirational art form, blending movement with color, tone, textures, telling stories, holding fast to connecting through the human experiences of dance & movement. To this end BRIAH Danse is committed to preserving the legends and legacies from the masters through maintaining quality level dancers who continually train and rediscover the work and traditions of not only western dance but world traditions not through appropriation but through emersion to come to know the culture, the movement, the essence of expression. B
BRIAH Danse supports new choreographies and choreographers; pushing the envelope of today’s dance.. perhaps creating their own legacies and connections through dance and collaborates with visual, performing and musical artists, dancers, companies, and groups to lift the human spirit thought the arts!
To this end, BRIAH Danse is proud to dance the work of Antony Tudor in Project ‘19 and looks forward to adding the works of George Balanchine and Jose Limoncellos in Project ‘20. The dancers join's us each season from April - August to explore, expound, discover and share through the arts
Follow us as we prepare for the Upcoming Project ‘20. Support us through your interest and donations. Join our journey!
Project’19 BRIAH Danse proudly presented Legends & Legacies that included the works from the Antony Tudor Trust; Cleo Parker Robinson; New Works by New Choreographer, Domenico Luciano as well as resident Artistic Director, Jayne Persch.
Project ‘19 Antony Tudor Trust Awards Licensing & Permissions to BRIAH Danse
The Project included the reconstruction of Antony Tudor’s “Romeo’s Farewell” from the full length ballet now under development. This work is rarely performed even in excerpt, is cloaked in more perfume and mystery with every passing decade. But it was a truly magical ballet.
Created in 1943 for Ballet Theater, this one-act version is set to Delius’s “Walk to the Paradise Garden” rather than the more familiar Prokofiev score. The piece is as typical of Tudor’s distinctive style as it is different from familiar full-blown versions by John Cranko and Kenneth MacMillan.
Here Tudor is as much contemplating young love and youth as he is telling a story. But the story is there, told in quiet, highly contained drama communicated through unstressed small gestures in performances of heart-rending simplicity and delicate precision.
There are no big, ardent lifts and no roaring about the stage, capes fluttering. Instead everything is said through such moments as Juliet touching her eyes with the hem of her dress and Romeo resting his head tenderly in her lap. Shakespeare’s lovers were children, and Tudor remembers that.
Romeo & Juliet was staged by Amanda McKerrow and John Gardner on Sharon Wehner and Chauncey Parsons.
The Trust also set the beautiful Pas de Deux #2 from The Leaves Are Fading on Emily Speed and Nicolas Pelletier. To round out the spectrum of Antony Tudor’s choreographic investigations - Fernanda Oliveira and Martez McKinzy danced an excerpt from Cereus.
BRIAH Danse looks forward to continued collaboration with the Tudor Trust, Amanda McKerrow and John Gardner through the Legacy & Legends Projects.
Antony Tudor/Antony Tudor Trust
Tudor is generally accepted as of the great originals of modern dance forms. Along with George Balanchine, he is seen as a principal transformer of ballet into a modern art, but of a genius that uses, rather than proceeds from, ballet forms. His work is usually considered as modern “psychological” expression, but — like their creator - of austerity, elegance and nobility, remarkably primarily using only classical forms. Mikhail Baryshnikov said, "We do Tudor's ballets because we must. Tudor's work is our conscience." A disciplined Zen Buddhist, Tudor died on Easter Sunday in his residence at the First Zen Institute of America, aged 79.
Thirty of Tudor's dances have been documented in Labanotation by the Dance Notation Bureau. The scores' introductory material contains history of the dances, cast lists, stylistic notes, background on Tudor, and information needed to stage the works (costumes, sets, lighting, music).
The Antony Tudor Ballet Trust was established to continue staging Mr. Tudor’s works. His Last Will and Testament appointed Sally Brayley Bliss as the sole Trustee of his ballets upon his death in 1987. She retire in 2018 and the Trusteeship was transferred to Amanda McKerrow who is now the Sole Trustee and Repetiteur of the Antony Tudor Trust.
Amanda McKerrow - Répétiteur
Amanda McKerrow is one of America's most acclaimed ballerinas. She has the honor of being the first American to receive a gold medal at the lnternational Ballet Competition in Moscow in 1981. Since then she has been a recipient of numerous other awards, including the Princess Grace Foundation Dance Fellowship. Ms. McKerrow was born in Albuquerque, New Mexico, and began her ballet training at ! the age of seven at the Twinbrook School of Ballet in Rockville, Maryland. She later studied with Mary Day at the Washington School of Ballet, where she danced with the company for two years and toured extensively throughout the United States and Europe. Ms. McKerrow joined the American Ballet Theatre under the direction of Mikhail Baryshnikov in 1982, was appointed a soloist in 1983, and became a principal dancer in 1987. Her repertoire includes: the leading roles in Cinderella, Giselle, Romeo and Juliet, Manon, La Bayadere, Coppelia, Don Quixote, The Sleeping Beauty, Swan Lake, La Sylphide, and The Nutcracker. She has been acclaimed for performances of shorter works by George Balanchine, Antony Tudor, Sir Frederick Ashton, Jerome Robbins, and Juri Kilian. Ms. McKerrow has created roles in ballets by choreographers such as Twyla Tharpe, Clark Tippet, lames Kudelka, Agnes DeMille, Choo San Goh, and Mark Morris. She has also appeared as a guest artist throughout the world.
In 2000, together with her husband John Gardner, Ms. McKerrow began working for the Antony Tudor Ballet Trust, staging and coaching his superlative Leaves Are Fading around the country. She has also staged numerous other ballets for professional companies and schools across the United States. During her last ten years performing as a principal ballerina with the American Ballet Theatre, she spent as much time as she could working with students and young dancers. Upon her retirement from ABT in 2005, she has devoted the majority of her time to teaching and coaching this great art form that she loves so much.
John Gardner - Répétiteur
John Gardner was born in Lafayette, Louisiana, and began his ballet training at age 12 with Gwen Ashton in Lafayette, and subsequently trained at the National Academy of Arts in Champagne, Illinois, under the direction of Michael Maule. He received a scholarship to the American Ballet Theatre (ABT) at the age of 16 and joined ABT's second company three months thereafter, in 1977. In 1978 he joined ABT's main company and was promoted to the rank of soloist in 1984. Mr. Gardner's diverse repertoire included many soloist and principal roles, representing an extensive range of styles and giving him the opportunity to work with some of the great ballet choreographers of the 20th century, including Antony Tudor, Jerome Robbins, Agnes DeMille, and George Balanchine.
In 1991, Mr. Gardner joined Mikhail Baryshnikov's White Oak Dance Project, affording him the opportunity to work closely with choreographers such as Merce Cunningham, Paul Taylor, Mark Morris, Lar Lubovitch, and Martha Graham. Mr. Gardner created numerous roles during his time with the White Oak Dance Project and toured extensively in Europe, the United States, Asia, and South America. He returned to ABT in 1995, where he danced a wide variety of roles with the company until 2002. In 2000, Mr. Gardner, together with his wife Amanda McKerrow, began working for the Antony Tudor Ballet Trust, staging and coaching his superlative ballet, Leaves are Fading, around the country.
During the course of his career, Mr. Gardner has achieved an excellent reputation as a master teacher and coach for ballet on both the professional and student levels, and has staged numerous ballets for professional companies and schools across the United States.
BRIAH Danse looks forward to more collaborations and presentations from trusts and foundations including: Balanchine Trust, Joffrey/Arpino foundation, Bruce Woods Foundation, Jose Limon Dance Foundation, & Paul Taylor Trust.