The Nutmeg Ballet – where you’re always welcome home
March 26, 2014
IMPACT 2014 was more than just a wonderful weekend of performances at the Warner’s Nancy Marine Studio Theater; it was an unforgettable experience from beginning to end.
All the work with guest choreographers Kirk Peterson, Brian Reeder, and Cynthia Quinn, the many days of dedication and determination spent by the trainees in the studios, the countless hours spent by The Nutmeg Ballet Artistic Director, Victoria Mazzarelli, and her gifted staff supported by a selfless team of volunteers culminated in something truly spectacular.
With the goal of reuniting alumni and honoring a rich tradition of ballet training at the program founded in 1969 by Sharon Dante, entering the theater lobby was virtually a time-travel experience featuring an exhibit of images, stunning costumes, and archival footage on display. Volunteers of The Nutmeg’s Legacy Project have been working tirelessly to sift through photographs, costumes, and performance videos that span the 45-year history as the first steps in a long-term plan to archive the vast store of history housed in the walls of their beloved building.
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Friday’s VIP Reception and Dress Rehearsal hosted by Children’s Ballet Mistress and Nutmeg Ballet alumna, Susan Szabo, was the opening event of IMPACT 2014 weekend and there was so much attention to detail that guests could not help but feel honored to be a part of the celebration. Not only was it a picture-perfect presentation of delicacies both sweet and savory, but it was the camaraderie and excitement about this opportunity to reunite or even meet for the very first time that sparked something extremely special. After previewing the show during the dress rehearsal, guests lingered long afterward to congratulate the dancers and revel in their delight over the performance.
What followed Friday’s prelude to the weekend was no less remarkable. Both casts of IMPACT delivered moving performances that elicited cheers and enthusiastic applause. The dancers were beautiful in the Raymonda tutus handcrafted by The Nutmeg’s Costume Mistress, Sue Fazzino, and the dancing, staged by the Nutmeg artistic staff, was equally dazzling.
The second act continued to charm the audience with the intricate footwork and quick-timing of Kirk Peterson’s exquisite ‘Lombardi Variations’ paying homage to Bournonville and a Paris Opera from the days of old. MOMIX repertoire is always a crowd favorite, and this year, ‘Marigolds’, an excerpt of Botanica, delighted young and old with wonderful whimsy and efflorescent excitement skillfully translated via flowing layers of bright orange petticoats.
Having switched gears to contemporary ballet, Victoria Mazzarelli’s choreography with its mesmerizing movement set to the mystical music of Maneesh de Moor was spellbinding. Transporting the audience back to classical repertoire choreographed by Agrippina Vaganova and staged by Eleanor D’Antuono and Tim Melady, was ‘Diana & Actaeon’, a pas de deux with challenging yet delicate movements, both grippingly powerful and yet sublimely subtle—a testament to the training of these rising artists.
Closing out the IMPACT 2014 repertoire was ‘Pulse’, choreographed by Brian Reeder. A large-scale dance creation, Reeder describes it as “one pattern or shape making reference to another, perhaps even crossing through each other.” Such was a fitting finish to a wonderful series of IMPACT performances kicking off The Nutmeg’s 45th anniversary year.
IMPACT 2014 was but one beautifully written chapter in a rich and compelling story that is still being crafted each day in the studios of the building of glass and steel and bricks on Torrington’s Main Street. This weekend’s events were inspired by 45 wonderful years of dance in Torrington where The Nutmeg Ballet has attracted aspiring artists from all corners of the world to ply their craft.
Like a beacon welcoming home all those who have left their imprint at The Nutmeg Ballet, the IMPACT 2014 performances transformed into a unique opportunity to preserve and continue a beautiful legacy.
IN THE MEDIA
After 50 years of building a reputation for professionalism in dance instruction, Nutmeg Ballet was forced to put that reputation to the test this year. Audition tour director Joan Kunsch injured her arm and was unable to go on her annual 18-city nationwide recruiting tour. But, “Nothing will be canceled,” she promised in early December. “It was up to me to solve it,” said Kunsch. “I thought, ‘Who better to represent Nutmeg than the former students who are making professional company careers around the country?’” She compiled a list of about a dozen Nutmeg alumni around the country and called them. They eagerly accepted the challenge. For example, Kunsch said, “We have a Nutmeg graduate, Amy Potter, who is a principal dancer in the Oklahoma City Ballet, and I called her and she’s ecstatic to do it. She said, ‘Proudly, I would do it. Proudly.’” Another former student, Thel Moore, trained at Nutmeg from 2012 to 2015. He agreed to cover three of Kunsch’s scheduled cities, including Richmond, Va., where he is a danseur at the Richmond Ballet Company. Moore said in an email, “What I typically look for in an audition is a base in classical ballet but also a love for ballet as well. I’m looking for a spark that you usually can’t teach but mold into something beautiful.” He said students are nervous at first, but “when they see the brochure [and] how beautiful the building is and how incredibly professional the staff is, they usually lighten up and get really excited for the audition.” The far-flung team of Nutmeg-trained dancers are directing auditions in January and February in nearly 40 cities in the United States and Canada. Some of these cities are on Tim Melady’s usual itinerary as audition tour co-director. Melady, Nutmeg’s principal ballet master, is also standing in for Kunsch in several cities. Speaking by phone from an airport near St. Louis, Mo., Melady said, “I have been to the West Coast. Seattle had a good turnout. Portland had a good turnout. San Francisco had a good turnout, and they are all so interested in Nutmeg and Torrington!” He said, “We’re so lucky that we have such a respected reputation.” When an auditioning dancer asks about Nutmeg, he refers them to former Nutmeg students in the area, who are happy to talk about their experiences. Melady said the constant influx of students from thousands of miles away is enriching for them, for Nutmeg and for Torrington. “People come to Nutmeg and say, ‘Oh my God, we’re meeting people from Wyoming! From California! This is crazy.’ Everybody knows about Nutmeg Ballet. It’s wonderful!” Kunsch said that when she has gone on the audition tour – which she has done every year since 1993 – she tells dancers, “Not only are you auditioning for Nutmeg; Nutmeg’s auditioning for you.” She tells them, “We’re not looking for perfection. If you were perfect, would you need us? We’re looking for trainability.” Moore said, “Bringing talent from all over is very important because it keeps Nutmeg as one of the best schools to train at in the United States.” Melady said, “[The auditioners] have heard of us, and they’ve heard of our reputation. And that’s a real advantage. Our reputation is golden. There are more and more schools just vying for this slice of talent. And there is always talent.” Victoria Mazzarelli, artistic director, said Torrington auditions at the Nutmeg Conservatory attract not only local aspirants but dancers from New York, Massachusetts, New Jersey and Pennsylvania for both the summer and year-round programs. Remaining auditions at the Conservatory at 58 Main Street are Feb. 1, 15, 29 and March 7, from 9 a.m. to noon. And by the way, said Mazzarelli, locals are most welcome! “During these next few months, our year-round students and faculty are rehearsing and preparing for our Spring Studio Series that will be held on March 18, 19, 20 and 21,” she said.