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Address:
Ballet Ensemble of Texas
145 Fitness Court
Coppell, Texas  75019

Phone (972) 745-0199
Fax (972) 745-0201

TCA

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The Ballet Ensemble of Texas was formed in May of 2001


The goal of this company is to present quality ballet performances for the local communities and to provide advanced ballet students with the opportunity to prepare for a career in dance. 

It is the official company of the Ballet Academy of Texas in Coppell. Ballet Ensemble of Texas is a non-profit company that is funded solely by donations and coordinated by the volunteer efforts of many of individuals. 

                                                              Director Lisa Slagle

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The Nutcracker 2014

Pictured here are Yuki Takahashi and Aldrin Vendt as the Snow Queen and Snow King.

Nutcracker Rehearsal 2014

 


Review: 2014 Spring Performance |
Ballet Ensemble of Texas | Irving Arts Center

Seeing Red

Ballet Ensemble of Texas delivers a near-flawless Firebird (and more) at the company's Spring Concert.

by
published Saturday, April 5, 2014

Firebired

Photography by Cathy Vanover

Breanne Granlund in The Firebird
Irving — Luscious scenery, elaborate costumes, catchy compositions, authentic storytelling and proficient dancing: Ballet Ensemble of Texas’ restaging of George Skibine’s Firebird had something for everyone Saturday afternoon at the company’s Spring Concert at the Irving Arts Center.
Firebird, danced of course to the music of Igor Stravinsky, tells the tale of Prince Ivan’s encounter with the mystical Firebird. In the first scene he tries to capture the marvelous creature, but fails; the Firebird offers him one of her feathers instead. Next Ivan meets the beautiful Tsarevna and they fall in love. A battle ensues between Ivan and the evil Kostchei, and the Firebird is called upon to help defeat him. In the final scene Ivan and Tsarevna are wed and everyone lives happily ever after.
Firebird is a challenge that calls for dramatic flair and daring dancing—and the dancers responded with commitment and consistency, a tribute to stager Thom Clower’s passion and BET director Lisa Slagle’s training. Breanne Granlund thrived in the role of the Firebird. Her commanding stage presence, innate musicality and clear-cut pointe work were a match for Skibine’s detailed choreography and Stravinsky’s quick staccato composition. Even her smallest movements—fluttering arms, twitching head—seemed to entrance the audience. Texas Ballet Theater’s Brett Young excelled as Prince Ivan. He made the transition from hunter to lover appear effortless, though his solo in the opening scene must have tested his endurance with its multiple grande jetes and tours.
Young proved also to be a solid partner, executing the tricky over the head lifts and counter-balance holds with ease during the pas de deux, but softening his movements when dancing with his love Tsarevna (Abby Granlund). Abby exuded tranquility, creating the illusion that her movement never stops even when she is standing still. The surprise performance of the evening came from Aldrin Vendt, who played Kostchei. Under heavy makeup and layers of clothing, he compensated with exaggerated gestures and a sense of tension that radiated from every part of his body.
Fernando Bujones’ Splendid Gershwin and Marius Petipa’s Paquita, both restaged by American Ballet Theatre’s Susan Jones, rounded out the rest of the show. The company showed off its aptitude for more traditional ballet movement in Paquita. Yuki Takahashi sparkled in this role. Her beautiful breathing technique, inhaling as she elongates and exhaling into balance holds, added texture and anticipation to her performance. Soloists Masumi Yoshimoto, Natalie Tsay, Jimena Flores-Sanchez and Breanne Granlund gave solid performances that highlighted their musicality and poignant pointe work. Guest Artist Shea Johnson ate up the stage with his gravity-defying leaps and turning sequences. While at times his movement appears labored, he can execute a triple pirouette with ease.
The men stole the show in Splendid Gershwin with their Fred Astaire-like grace and personality. Dressed in tuxes and top hats, Samuel Chadick, William Sheriff, Aldrin Vendt and Johnson glided across the stage in a series of turns punctuated with pivots and drag steps in “Embraceable You.” Roman Mejia charmed the audience with his consecutive toe touches and cheeky air as he attempted to impress four female dancers in “Ladies & The Tramp.”
After seeing Ballet Ensemble of Texas deliver on consistency, authenticity and versatility with this Spring Concert one has to wonder, is there anything BET can’t do?

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Former Ballet Ensemble of Texas dancers Nathan Vendt (19) and Courtlyn Hanson (16), have recently been offered positions with American Ballet Theatre's Studio Company in New York.

They performed as a representative of the Ballet Academy of Texas at the Miami International Young Medalists' Ballet Gala presented by YAGP in August, 2013, before leaving for New York.
They are seen here in the "Flower Festival" Pas de Deux from that performance.

Nathan Vendt and Courtlyn Hanson

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Plaza del Fuego

Plaza del Fuego

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American Portrait

American Portrait 2013

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No Pressure

No Pressure

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Walpurgisnacht

walpurgisnacht

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Video featuring the pre-professional company performing Swan Lake, Tarantella, Coppelia and more...


Emerging Talent

Ballet Frontier of Texas and numerous guest companies from around
North Texas offer a spirited Youth Ballet Festival.

by Cheryl Callon
published Monday, January 14, 2013

Fort Worth — Underneath the grandeur and awe of the professional dance companies in the Metroplex lies a vibrant and quite large community of pre-professional artists eagerly working their way up. Saturday night's Sixth Annual Youth Dance Festival presented by Ballet Frontier of Texas at the W.E. Scott Theatre in Fort Worth gave platform for many of them to strut their stuff.
Ballet Ensemble of Texas brought the best work of the evening with Lisa Slagle's Rhapsody, neo-classical ballet with black-and-white clad dancers. Dallas Blagg and Katie Cheng delivered an exquisite duet, in addition to their respective solos.  Their performances, however, only completed an already outstanding picture.  Elaborate floor patterns and precise pointe work did much to bolster the piece, but its biggest strength was that the dancers truly looked alive.
Overall, the evening once again proved two things: The Metroplex has some extraordinary young dancers, and their teachers are doing a phenomenal job nurturing that talent.