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This ballet is a full length. Meaning, one ballet with intermissions, similar to a book with chapters. Act I: 50 minutes followed by a 20 minute intermission, concluding with Act II: 40 minutes.
Gerard Charles was born in Folkestone, England, and received his dance training from Moya Kennedy, and at the Royal Ballet School in London. In addition to numerous guest appearances, he danced professionally for Ballet International in London, Milwaukee Ballet and BalletMet. On retiring from the stage, he served as Ballet Master for BalletMet and Les Grands Ballets Canadiens. Mr. Charles was named Artistic Director of BalletMet in 2001 and served until 2012. Under his leadership, the company continued its artistic and financial growth. It commissioned more than 50 World Premieres, was invited to perform in Russia and three times in New York. Mr. Charles also formed collaborations with other ballet companies and arts organizations to present pioneering and adventurous programming. These collaborations resulted in two Artistic Achievement awards and the Columbus Arts Endowment Raymond J. Hanley Fellowship. He then worked at the Joffrey Ballet, most recently as Director of Artistic Operations. During his career, he has been fortunate to work with, and learn from, a wide range of choreographers and teachers including Hans van Manen, James Kudelka, Stanton Welch, John Butler, Jirí Kylián, Ohad Naharin, Agnes de Mille, David Nixon and Larry Long. Mr. Charles has choreographed and staged works internationally and received an NEA Choreographic Fellowship. Today, Mr. Charles is the Artistic Director of the Royal Academy of Dance in London.
Russian composer Pyotr Ilyich Tchaikovsky was born on May 7, 1840, in Kamsko-Votkinsk, Vyatka, Russia. Tchaikovsky’s work was first publicly performed in 1865. In 1868, his First Symphony was well-received. In 1874, he established himself with Piano Concerto No.1 in B-flat Minor. Tchaikovsky resigned from the Moscow Conservatory in 1878 and spent the rest of his career composing yet more prolifically. Tchaikovsky is most celebrated for his ballets, specifically Swan Lake, The Sleeping Beauty and The Nutcracker. He died in St. Petersburg on November 6, 1893.
“…the production does not want for magic or enchantment. Among the dazzling sights were gift boxes that glided in the air and dolls that were summoned to life.”
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