FIRST POSITION SPOTLIGHT p. 10 | ANATOMY OF A SCENE p. 11 | EN POINTE p. 12 | UPLIFT p. 13
mWae kr ni negr ’ os ff rt hi eenpdisehciep, ft rootmh eFi ra rslheayraendd po fa sHsoi ouns tfoonr Bc laalsl es itcdaal nacr te rasn. d a d m i ra t i o n C i tTyhteh rdoyungahmci hc udrucoh ma nedt icno Nn ne ewc tYeodr k immediately. F a Rr leemy reemf lbe ec rt si n, “gBtohtehi roffi russt rme aelei zt iendg…, tt hh ae tsoaumrel,i fbeu’ st mo ni seswi oint hs wmeursei cbaans idc a l l y ot hnee cwl ai st hs i cdaalntcrea,dwi thi oi cnhwi si ttho ae smebnrsaecoef renewal.”
Love in Motion Choreographer Silas Farley and composer Kyle Werner give insight into their creation process of Four Loves.
RENOWNED CHOREOGRAPHER SILAS FARLEY returns to Houston Ballet fMo al l rogwa irne gt Ah li ks edke bWuitl lai at mt hse J 2u 0b 2i l 2e e oi nf sDpai rnactei o. Hn ifsr onme wpehsitl obsaol lpeht yd or anwt hs e f(oauf fre cGtri oe enk) , wP ho irldi as (f of rri el onvdes:hSi pt o)r, gEer o s (l or ov em) .a Tn ht iics lwo voer)k, af enadt uArgeaspaen( os pr iigr ii nt uaal l sbcyoFrae rfloery ’as ffur il el no rdc ahne ds t frrae cqoume npto s e d collaborator, Kyle Werner. Love, in its various forms, fittingly undergirds the
By Carlee Sachs-Krook
HOUSTON BALLET
9
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