Tulsa Ballet Ushers in Unique Works for 2019-20 Season

By EMILY RAMSEY
Contributing Editor

A new season has launched for Tulsa Ballet. As with its previous seasons, beloved favorites return in addition to new, unique works.
The season kicked off in September with its Creations in Studio K, which featured short performances by Resident Choreographer Ma Cong, Garrett Smith, who has created works for Houston Ballet and Marlinsky Ballet, and Val Caniparoli.
Throughout the year, family-friendly Peter and the Wolf runs at both locations, 1212 E. 45th Pl. and 1901 W. New Orleans St. in Broken Arrow. The ballet is targeted for young audiences and includes narration.
Giselle, a haunting love story, recently finished its run at the PAC on Nov. 3. Accompanied live by the Tulsa Symphony Orchestra, Giselle returned to Tulsa after 15 years.
Returning favorite The Nutcracker, in its 50th year, will usher in the holiday season, running December 7-22. “Nutcracker is a holiday tradition in the United States,” says Artistic Director Marcello Angelini. “It’s a story about family, happiness, generosity, bravery and love. As such, it embodies the holiday spirit, it reminds us of the important facets of life, and it inspires us to be better human beings.”
The ballet is set in 1920’s Paris, the birthplace of classical ballet, and features spectacular sets and costumes and an on-stage snow fall.
Next up will be Dorothy and the Prince of Oz, Feb. 13-16, 2020, a returning ballet that includes vibrant costumes, battle scenes and puppets.
Existing work (but new to Tulsa) Vendetta, A Mafia Story runs March 26-29. This work was created by Annabelle Lopez Ochoa. Angelini first viewed the work at its premiere. “The piece was fantastic, fun, entertaining, kind of Film Noir, very innovative in concept and look,” he says. The story, which focuses on two infamous rival mob families, includes touches of Broadway, Moulin Rouge and Vaudeville.
In summing up the season, Angelini says, “We don’t strive to be different. On the contrary, we are all about consistency. We wish for consistent growth; we look for consistent artistic quality, consistent entertainment value, consistent mix of classical and contemporary works; new full evening story ballets; and consistent quality of creations.
“And by virtue of being consistently good, we continue to introduce different works to our audience, both existing ones like Vendetta and brand new ones like world premieres.”