This ballet is a full length. Meaning, one ballet with intermissions, similar to a book with chapters. Act I: 42 minutes followed by a 20 minute intermission, concluding with Act II: 34 minutes.
A former dancer with New York City Ballet and Nederlands Dans Theater, Edwaard Liang has built an international reputation as a choreographer. Over the last decade, he has created work for the Bolshoi Ballet, Houston Ballet, Joffrey Ballet, Kirov Ballet, New York City Ballet, Pacific Northwest Ballet, San Francisco Ballet, Shanghai Ballet, Singapore Dance Theatre and Washington Ballet.
Born in Taipei, Taiwan and raised in Marin County, California, Mr. Liang began his dance training at age five with Marin Ballet. After studying at the School of American Ballet, he joined New York City Ballet in 1993. That same year, he was a medal winner at the Prix de Lausanne International Ballet Competition and won the Mae L. Wien Award. By 1998, he was promoted to Soloist. In 2001, Mr. Liang joined the Tony Award® winning Broadway cast of Fosse. His performance in Fosse was later televised nationally on PBS’ Great Performances series – “Dance in America: From Broadway: Fosse,” and subsequently released on DVD. By 2002, Mr. Liang was invited by Jiri Kylian to become a member of the acclaimed Nederlands Dans Theater 1.
While dancing with NDT 1, Mr. Liang discovered his passion and love for choreography. Since establishing himself as a choreographer, his works have been performed by dance companies around the world and he has won numerous awards for his choreography including the 2006 National Choreographic Competition.
In 2013, Mr. Liang was named Artistic Director at BalletMet where he continues to choreograph new works for companies both domestically and abroad. In 2017, he received an Emmy® Award for his short dance film, “Vaulted.” In 2018, he created a new ballet with Roberto Bolle for the opening of the World Economic Forum Annual Meeting in Davos, Switzerland.
View more information about Oliver Peter Graber here.
View more information about James Kronzer here.
Liz Vandal began her illustrious career in 1988 as a self-taught fashion designer, bringing her creativity and originality to dance, circus, films and mega-events. She soon began collaborating with renowned choreographers and dance companies around the world, working with the likes of Marie Chouinard, Kevin O’Day, Margie Gillis, Paris Opera, and the Hong Kong Ballet.
As a specialist in costume design for extreme movements, Vandal also designed flamboyant and masterful costumes for Cirque du Soleil’s productions of OVO, Viaggio, Sonor, Cosmos, and Excentick.
Vandal explores multiple domains in show business, from producing costumes for The Backstreet Boys Black ‘n Blue Tour, to working with multi-national IGT in creating Avatar costumes which were approved by Jon Landau and 20th Century Fox.
After collaborating in many dance films and productions, Liz designed clothing for the feature film The Lathe of Heaven (Philip Haas) and Quebec’s La Turbulence des Fluides (Manon Briand).
As a design and innovation consultant, Liz offers services to French multinational company Oxylane (Decathlon), in the development of new and avant-garde sportswear.
One of her greatest career achievements was the creation of 3,000 costumes for the closing ceremony of the Baku 2015 European Games in Azerbaïjan.
Vandal’s on-going, 20 year long collaboration with Artistic director Septime Webre, continues to unfold with the new productions of The Wizard of Oz (Kansas City Ballet), Peter Pan, and Alice in Wonderland (Hong Kong Ballet). Vandal won the Award of Best Costume Design at the Hong Kong Dance Awards, and was also nominated at Les Benois de la Danse.
“A [f]amily-friendly extravaganza”
Alice is a precocious young girl who follows her curiosity down a rabbit hole and into a magic-filled Wonderland. Her sense of reason is put to the test as she meets lively characters who intrigue, delight and frighten her—only to discover that with some logic, wit and strategy, she can find her way back to reality.
Mad Hatter is a mercurial and colorful character, especially in dress, and is oftentimes both witty and a bit nonsensical. His wild-eyed and energetic movements indicate his mind can easily be persuaded from one thought to the next, making his eccentricity come across as seemingly mad, i.e. “mad as a hatter.”
The White Rabbit
The White Rabbit, always in a hurry and often with a quivering voice, is sure to warm any heart with his persnickety yet loveable ways. He is fiercely loyal, aims to please and through his quest to keep others on time and on task, he indirectly guides Alice along her adventures.
There are parking garages near the Ohio and the Capitol theatres, as well as limited metered street parking (most of which is free after 6 pm and on Sundays).
Ohio Statehouse Parking Garage
$5 during events
Enter from westbound Broad Street or Third Street.
Riffe Center Parking Garage
$5 during events
Enter from Front Street. Take the elevators to the third floor and proceed along the hall to the Davidson Theatre. (For the Box Office or Will Call, descend the escalators to the first floor.)
Downtown traffic can be heavy, so please plan ahead. We recommend arriving 20-30 minutes early to park, find your seat, explore the program and relax before the performance. Audience members who arrive late may not be seated until intermission.
This is our most-asked question, and the answer is: You probably won’t feel out of place no matter what you wear. If you want to wear jeans, go for it—we promise you won’t be alone. If you want to dress up, feel free. Many others do, too. We don’t see as much formal-wear in the theater as we once did, though it wouldn’t be unusual to see a tux or a gown at a performance. Basically, anything goes.
No, dancers express the story or meaning through the movement. In some story ballets, dancers will use pantomime (exaggerated movements) to help you understand what’s happening. If you see a ballet with pantomime, head to the lobby, where we’ll have more information and guidance. If you ever struggle to follow along, feel free to chat with a BalletMet staff member in the lobby who will happily answer any questions you have.
If you are wowed by something you just saw, please do applaud. At BalletMet, we love to hear clapping. It’s uplifting to those performing, as they can often feel your excitement and energy on stage. So applaud whenever you see fit! Note: Not every ballet company feels this way, so keep that in mind if you happen to be at another company’s performance.
Images by Jennifer Zmuda