south bay ballet

Stunning scenery, dazzling costumes, and many hours of intense rehearsals
are all a part of what makes a ballet extraordinary. You, the audience, will
never know the incomprehensible number of carefully constructed costume
pieces or the precise backstage bustle that combine to ensure that each and
every dancer looks wonderful. You, however, will experience the splendor
and spectacle of such an elaborate show as South Bay Ballet’s The Sleeping Beauty.
Take a closer look at what occurs behind-the-scenes at SBB from Artistic
Director Diane Lauridsen and Wardrobe/Set Designer Janice Munson.

The Production

Q. Diane, when and why did you decide to add this challenging, classic ballet to the Company’s repertory?

It was a goal to complete our repertory of Storybook ballets in 2010. I have always considered The Sleeping Beauty to be extremely challenging for a student company, and felt our wonderful dancers and creative team were prepared.

Q. How many hours were invested in choreographing The Sleeping Beauty for South Bay Ballet’s Storybook series which presents child-oriented versions of the full-length ballets?

I started working with the storyline in August of last year, and we have not stopped since! Perfecting the ballet will take place up until very the last minute.

Q. You are known for your collaborative spirit, share with us the resources and talents you drew upon for this production?

Our creative team is exceptional. Candice Davis brings her keen sense of choreographic flow; Alicia Head has an unerring sense of style and knows this ballet inside and out; Elijah Pressman is our pas de deux expert. Together, our vision was to present a child-friendly ballet that did not lose the integrity of the original.

Q. South Bay Ballet has a large company of dancers at all levels of ability, how do you find a role for everyone?

The objective is for each dancer to have a challenge, but one that can and will be met.

Q: Janice, when did you start conceptualizing the costumes and sets for The Sleeping Beauty?

Work began about a year ago, right after we finished costuming for A Midsummer Night’s Dream. Thousands of hours by the entire artistic team have gone into this brand new ballet and it will be rewarding to see production come to life on stage.

Q: How did you select the color scheme for this production’s elaborate sets and magnificent costumes?

I think color is one of the most useful elements of design because it is essentially free. My approach is like a painting, you do the background – that’s the scenery; and then you do the people – that’s the costumes. Working closely with the artistic directors is the key to choosing colors that highlight movement.

Q: What are some of the most important things you have to keep in mind when you’re designing ballet costumes?

Dancers put their bodies in positions that would rip the seams of normal clothes, so we take special consideration to allow for freedom of movement as much as possible. Equal thought is given to every costume I design, no matter how small the part or how difficult the role. Also, I try to design costumes that can easily be altered for future casts.

Q: Some dancers have costume changes that have to take place within minutes. How is this accomplished?

Costume changes can be very challenging. Often dancers are required to change layers of costumes, tights, shoes, or headpieces in a matter of minutes. Thoughtful design is as important as the backstage volunteers who keep the dancers organized.

Did you know?

• This brand new production features 110 costumes consisting of 272 costume pieces, 71 headpieces, and 21 tiaras

• Except for the tutu skirt bases, some unitards and tiaras, all of the costumes are made by our in-house costume department

• More than 1,000 hooks and eyes were sewn by South Bay Ballet’s costume department

• Several thousand Swarovski crystals are sewn on by hand using invisible thread

• Hundreds of yards of trim were purchased at the Los Angeles fashion district

• The spinning wheels in our production are from Poland. The large spinning wheel is a working model, altered slightly for our use, and hand-painted and decorated with crystals. The smaller wheels are models of larger wheels with the classic look of old European spinning wheels.

The subject of casting comes up a few times a year, and it can be a sensitive issue. People sometimes take things personally, making themselves and everyone around them miserable. I thought I would explain how the process works.

First of all, casting a ballet or a show is a huge puzzle. A place for everyone, and every part gets filled. There are factors like who can partner whom, how the heights go together, and who can wear the costumes. Who has time to change. Who looks good dancing with whom. Who has endurance on pointe for that tech week. Who is strong technically, and who is strong artistically.

Each part affects all the other parts. More often than not, I can’t make a decision I want because of how it affects everything else. Sometimes, the two parts I would like someone to have won’t work because they occur at the same time on stage. There is trying to see that everyone gets a challenge during the year, but a challenge that can be met. Sometimes a dancer will have wonderful role in one ballet, but not in the next. Sometimes we have to look ahead to future performances, trying to be as fair as possible. We also consider the growth of the dancers and of the company. Some of the most talented dancers need the most protection while they are growing or injured. There is value in earning your way up.

Of course, dancer strengths are considered — after all, there is an audience out there! And everyone wants to show off well. It is better to do something that is too easy than something that is chancy. Someone said to me a few weeks ago, “I saw the ballet on tape, and thought it would be a piece of cake. But it really kicked my ***!” All ballet is more difficult than it looks.

We really care about how people feel, but in a professional company, no one cares. If you don’t like how you are cast, learn to brush it off. Be happy for your friends. The important thing is how well you do with what you are given. It’s a tough world out there and if you are going to be emotionally prepared to be a dancer, this is just one of the things you need to learn.

We could be one of those companies who does recitals:everyone gets a solo and everyone is happy. Or one of those companies who puts little people in the middle of a grand pas. But we are South Bay Ballet! We are proud to be part of something truly fine.

Diane Lauridsen

Artistic Director

South Bay Ballet

SOUTH BAY BALLET ANNOUNCES SPECTACULAR 2009 – 2010 SEASON
Join the excitement!

South Bay Ballet Artistic Director Diane Lauridsen announced programming today for the Company’s 30th season.  South Bay Ballet’s 2009 – 2010 season showcases the Company’s versatility with a variety of ballets beginning with The Nutcracker in December, as well as its annual Bravo! concert in March featuring new works by Heather Grey and Kenneth Walker, emerging work by Skylar Burson, and more.  Following the great success of this year’s A Midsummer Night’s Dream, the Company will premiere another Storybook Ballet in June 2010, Sleeping Beauty, with grand new sets and beautiful new costumes by Janice Munson.

The proven training program of South Bay Ballet is designed to prepare dancers for a professional performing career.  Curriculum features a foundation in traditional classical techniques enhanced by thirty years of experience incorporating cutting edge anatomical and kinesthetic principles. Company dancers experience a real company atmosphere and performance opportunities that mirror the professional world.  This season’s Senior Company begins work on Saturday, August 22nd, and the Junior Company on August 29th.

Join the excitement!  Diane Lauridsen continues to seek excellent dancers with the drive to grow and mature as an artist.  To arrange an audition, please contact Diane directly at (310) 963-1247.