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Backstage: “Beauty and the Beast” Hints at Spectacular Show to Come
Arcadia Weekly Apr 15, 2015
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– Photos by Zuleyka Araiza
Inland Pacific Ballet to Present Unique Vision of Famous Fairytale
Evening. Last strains of a colorful dusk fall over the San Gabriel mountains. In an industrial parking lot by a long, gray-faced former warehouse in Montclair, streetlights shine on cheerful children and parents, dressed warmly, pouring in and out of glowing glass doors. We’re at premiere professional company Inland Pacific Ballet’s studio–three large, white, cool rehearsal stages with high ceilings crossed by exposed wood beams, metal vents, and cooling fans, and a number of smaller rooms and nooks for every aspect of ballet—from sewing costumes to snacking.
Inside the warm wood-floored lobby, few dancers are to be seen. But a step inside the main studio reveals about 25 of them, both male and female in various colored leotards, tights, or sweatpants (depending on the individual’s temperature, no doubt) finishing up a series of leaps, twirls, and triumphant poses–and we’ve arrived at the backstage rehearsal for IPB’s original ballet, “Beauty and the Beast.”
IPB, founded in 1994 by Southern California natives Victoria Koenig and Kevin Myers, is doing a completely original version of the famous fairytale. Based largely on the traditional story (not the Disney movie), this unique ballet has the familiar Beauty and her Beast, but adds in Beauty’s two selfish sisters, wolves, fairies, and gnomes. It is the masterpiece of IPB’s own choreographer, Clinton Rothwell.
Clinton, English-born, retired from a successful professional career–performing for the San Francisco Ballet, Royal Ballet, Het National Ballet of Holland, and National Ballet of Canada–to teach his art to students and professionals alike. He was brought to IPB by Kevin Myers, IPB’s co-founder, who was actually one of Clinton’s students!
“Now he’s my boss! I came to do a guest class and never left,” Clinton chuckles. He, his wife, and Victoria Koenig watch the rehearsal studiously from the sidelines, ready to both correct and encourage their performers for this “Village Scene.”
As “the villagers” wake up and greet each other, in front a delicate Asian dancer smiles, and steps up on her tip-toes as she lifts a basket in a dance. Nearby, two girls frown and react dismissively to her as their “husbands” look on in admiration. The girls yank their husbands away from “Beauty,” and though no word is spoken, it’s obvious what’s being said: “Stop flirting with her!”
These two are Beauty’s sisters, and their comic expressions–in face, gesture, and body–draw a big laugh from everyone watching. Every nuance is hilarious.
Time comes for Beauty’s father to enter the scene. Clinton leaps up and in to mime the performance, since Beauty’s father was unavailable for this rehearsal. The sisters tussle in a most unladylike way over their father’s gifts, but Beauty is gracious in accepting. And as principal dancers and the corps de ballet join together to perform a group number, the sound of pointe-clad feet thunders in the studio. It’s not dissimilar to a herd of galloping horses–beautiful and graceful, but surprisingly loud. The studio shakes in vibration as the dance comes to a close.
The music stops, and every one breathes heavily, hands on hips, perfect posture relaxing.
Clinton, who looks the creative spirit he is with a grey beard, ponytail, Harley-Davidson shirt, silver earring, and flip-flops, has a clear vision of what he wants. He gets up to demonstrate–“Keep the wrist broken; I don’t want to see the palms.”
A sneeze erupts. Clinton pauses in the middle of conferring with Victoria to chime, “God bless you, to whoever sneezed,” and, not missing a beat, continues conferring. Clinton and Victoria both offer constructive criticism and direction tailored for each dancer on the floor. Words like “amoeba-esque” are heard. Common ballet parlance, we’re sure.
The cast is given a “five-minute break,” and Clinton hands himself over for an interview. (Victoria heads off to a smaller studio to rehearse the “gnomes”– youngsters from the attached ballet school in a highly professional role).
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Clinton is at once jovial, gentle, and passionate–this interviewer jokes, “Hello, Santa!” and he responds with a big smile, “Were you a good girl this year?” But then we get to the main subject–Beauty and the Beast.
He gives us thirty whole minutes of his undivided attention. (Sorry, cast!)
“This is different from most ‘Beauty and the Beast’ translations,” Clinton says. He tells, in detail, the entire Charles Perrault version, on which he is basing the essential story.
“We couldn’t do talking furniture, so we have the ‘gnomes’ to help cook, clean the Beast’s castle. … We also added the fairies, the wolves, and the white rose [symbol the Beast’s true self].” This Beast, Clinton notes, is hideous, but truly kind and good on the inside. His description of the Beast’s dramatic rescue of Beauty from the wolves inspires shivers.
Clinton then brings out a thick sheath of papers that contain scribbling that looks like a mix of sheet music and calculus formulas. He explains that every single movement in the entire ballet is planned; from the “port de bras” or arm movements to every sideways glance.
With enthusiasm, Clinton hops up to “show” the opening music–“The Lady and the Hooligan Introduction,” a silent-film piece by Dimitri Shostakovich–and take us through the very first scene of the ballet.
He hunches his back, and heaves up and down as the Beast, describing all the while the curtains’ (which will be painted like a forest) rise, the mist spreading the floor, and the riot of roses surrounding the solitary figure. His movement is fluid, animal, yet sorrowful–all describing the inner workings of the Beast. It’s not hard to see that Clinton was, and still is, an artist of the finest caliber.
As for the work that goes into making your own ballet, Clinton estimates he spent 150 hours on music selection and mixing alone. He chose pieces from 12 different composers–luminaries like Shostakovich, Dvorak, and of course Tchaikovsky–and put them together to tell the story just so. Then came, “Two weeks, 10-12 hours a day choreographing–I hear the music, then I see it in my head. It’s like television with no color, no costumes, just dance.”
When asked what allowed him to bring vision to life, Clinton responds: “People [at IPB] gave more hours than they had to give. I’m very blessed.”
His love for IPB runs deep. “Well, [I’m here] because of Kevin. And Vicki … These kids take criticism, they work hard … I like to see good ballet; I like good work … and when you have these people in front of you, you don’t get tired; you get inspired!” He sees himself as a fortunate man: able to express his passion artistically and work with wonderful, talented people.
Clinton concludes his interview by taking us outside to see his Harley-Davidson motorcycle, thus confusing every man who thinks ballet is for “sissies.”
After a quick trip to the costume shop next door (where the Beast’s mask, wolves’ masks, and Beauty’s lovely golden tutu are tucked neatly away), we caught up with Meilu Zhai, formerly of the National Ballet of China, who is playing “Beauty.” (“She’s the spirit of the Beauty,” Clinton emphasizes.)
Dancers had six weeks to prepare for this upcoming performance–the first is scheduled for April 25–and the company is comprised of professional dancers and “apprentice” level students from IPB’s Academy. Meilu is one of the professionals, but she also teaches at the Academy. “I want to share my experience with students. I want to see some of them become pros!”
She and her husband moved to the San Bernardino area from China, and her husband found IPB for her. “This company is very professional … When I came, they looked great; made me really want to join them.”
When asked what she likes about the role of Beauty, she pauses to think. “It’s very challenging; all the choreography is very beautiful. She’s a very brave girl–I like the character for that.
“I hope, when people come, they can be inspired by how beautiful ballet is–not just the fairytale ballet, but the deep meaning–the inner story–of Beauty and the Beast.”
Audiences young and old will have a chance to see the “beauty” thanks to Inland Pacific Ballet’s lovingly crafted and meticulously detailed show. From choreographer Clinton Rothwell to the young dancers perspiring in their pointe shoes, everyone at IPB is bringing their love, sweat, and tears into telling this “tale as old as time.”
Stunning sets, brilliant dancing, gorgeous costumes and a stirring musical score will transport audiences to an enchanted fairytale world. All vividly illustrate the drama and romance of this beloved story and, most importantly, the transformative power of love.
Clinton affirms, “The story is enchanting. If you can sit there without wet eyes ….”
Award-winning set designer and scenic artist Daniel C. Nyiri designed the village, forest, garden and castle scenes that serve as backdrops for the jewel-toned costumes by designer Jeanne Nolden. Special masks for the Beast and a pack of menacing wolves were created by Bonnie Sinclair, who worked for many years with Maurice Sendak on projects including Where the Wild Things Are.
At one hour and 45 minutes, IPB’s “Beauty and the Beast” is shorter than IPB’s last offering, “The Nutcracker.” Ten performances are scheduled in four theaters from the San Gabriel Valley to the Inland Empire. Tickets, starting at $34 with senior/child/group discounts, are available online at ipballet.org. Educational outreach is also offered with free online study guides connecting the arts to learning through music and movement.
Specific shows are Saturday, April 25 at 1 p.m. and 7 p.m., Sunday, April 26 at 1 p.m. at Bridges Auditorium, Pomona College, Claremont; Saturday, May 2 at 1 p.m. and 7 p.m., Sunday, May 3 at 1 p.m. at Lewis Family Playhouse, Victoria Gardens Cultural Center, Rancho Cucamonga; Saturday, May 9 at 2 p.m., Sunday, May 10 at 2 p.m. at Arcadia Performing Arts Center; and Saturday, May 16 at 2 p.m. and 7:30 p.m. at Fox Performing Arts Center, Riverside.
If Inland Pacific Ballet’s “Beauty and the Beast” is as good onstage as it seemed backstage, then it is a “can’t-miss” for children, ballet fans, and all who love fairy tales.
