This ballet is a full length. Meaning, one ballet with intermissions, similar to a book with chapters. Act I: 48 minutes followed by a 20 minute intermission, concluding with Act II: 43 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.
Adolphe Adam, born July 24, 1803 in Paris, France was French composer whose music for the ballet Giselle (1841) is noted for its easy grace and cogency. It has retained its popularity with dancers and audiences to the present day.
Adam wrote more than 70 operas, of which the most popular in their day were Le Châlet (1834), Le Postillon de Longjumeau (1836), and Giralda (1850). In his ballets—which he composed for production in London, Berlin, and St. Petersburg, as well as Paris—he skillfully coordinated the music with choreographic demands. His works were successful during the mid-19th century, but few, other than Giselle, are regularly revived. Adams died May 3, 1856 in Paris.
“Great storytelling, world-class dancing and an updated look that make it worth reserving a ticket for.”
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