The Making of The Ugly Duckling Ballet: A chat with award-winning choreographer Jimmy Orrante
Written by Leilani Tian
You’ve been hearing about Ballet Austin’s The Ugly Duckling and may have even seen it on stage. Between rehearsals, I spoke with the mastermind behind this delightful children’s ballet, Jimmy Orrante. A professional dancer for over 20 years and choreographer of more than 15 premieres with Ballet Met, Orrante received several awards such as the 2005 inaugural Princess Grace Choreographic Fellowship, the National Choreographic Recognition Award for Regional Dance America, and Choreographer In Residence at Denison University. Here, we talk about the making of The Ugly Duckling, why you should come see it, and the future of ballet.
Q: What was your inspiration for creating The Ugly Duckling?
Orrante: It is a story that everyone can relate to — a classic tale. It is a story that reaches a new audience, a young one. We have to think about our younger audience as our future: future dancers, future board members, future donors. It will open avenues to different art forms, not just ballet, for this audience.
It also deals with issues that are relevant in today’s society, namely bullying. While it deals with a serious topic, I wanted to bring a comedic aspect to it. So you have both — funny and serious — in one ballet.
I would like for the audience to see that the issues that are presented on stage are portrayed through movement, in lieu of voice, and that our bodies are very emotional. I would like them to see what these characters go through and how it is not far off from what people go through in real life. Most of all, I want them to come see live art.
Q: What inspires you as a choreographer?
Orrante: …The unknown part of it. You go in there with ideas but your ideas can change when you have bodies in front of you. Your idea, your path, it just takes many different twists and turns and by the time you figure it out, it’s always surprising. The way you get there is always different.
Q: What was the choreographic process for The Ugly Duckling like?
Orrante: I read the book, I did a layout of each scene, keeping in mind that I wanted to keep the ballet under an hour. Then, I searched for music to match and connect the scenes, a pretty grueling and detailed process.
After, I worked with dancers and used the music as a motivator for the steps. When I listen to the music, I don’t just see the steps, I see the story that I want to create. However, I rely a lot on the dancers; I rely on their personalities to come out and for them to add to what I create. In that way, the collaboration becomes a leap frog process.
Q: Who in particular should come see The Ugly Duckling?
Orrante: think everyone should come see it, kids and adults alike. Whether your child has seen ballet before or not, bring them to watch it. What shows like The Ugly Duckling do is start conversations, especially between child and parent. It allows them to discuss and think about themes of bullying and exclusion together. It is easier to connect emotionally when you see something live.
Q: What are you most excited about for Ballet Austin II?
Orrante: I know that it is my choreography, but there is a lot that goes into it that has to do with what the dancers bring to it. I am excited to see how the characters evolve as the dancers of Ballet Austin II get more and more comfortable with them. As young dancers, taking on a role, seeing how they can enhance and connect with the audience better is a whole artistic learning process. So characters like those from The Ugly Duckling to portray over and over again give them the opportunity to do that.
Q: What do you think is ballet’s role in modern times, and where do you think it is going?
Orrante: It’s another language. As live performers, ballet is our platform to communicate. The dancer now is much more athletic, more versatile. I think it has do with how dance has become more popular, with it being on TV and such.
Q: What would you say to those reluctant to see ballet or who don’t know enough about it?
Orrante: Give it a try. Although it is this classical art form, you will be surprised by all that ballet can be. It is not always what one expects. For example, if you come see any one of Stephen Mills’ works, there is a variety in what you will see. Similarly, in The Ugly Duckling, you will see art ranging from girls en pointe to disco dancing. Often when people think of ballet, they have tunnel vision of what it is like but it is important to keep an open mind about ballet or any other art form.
Q: In terms of your artistic path, what do you think is next?
Orrante: I never know. That is what is so exciting about being an artist. I never know where the next project will bring me. I might even end up back here!
Four more chances to see The Ugly Duckling, during the final weekend of performances, Oct. 27–28, with matinee shows both days at 2 p.m. and 4:30 p.m.
Location: AustinVentures StudioTheater @ Ballet Austin (501 W. 3rd Street, downtown Austin)
Buy tickets here: https://balletaustin.org/performances/theuglyduckling2018
Parking information here:
https://balletaustin.org/parking
Special feature: The Ugly Duckling Curricula
Two of Ballet Austin’s core values are “to honor the diversity of the human experience” and “to enrich our community.” Ballet Austin’s Pre-Show and Post-Show Classroom Curricula for Kindergarten through 2ndGraders, developed by Ballet Austin’s Community Education Director, Pei-San Brown, does just that. These curricula support students’ social and emotional learning, critical thinking and problem-solving skills, and develops cognitive development through music, movement, and language-focused activities. If you would like to learn more or bring these to your classroom, contact Brown at pei-san.brown@balletaustin.org.
