Battle of the Sexes III (Photo: Michael Cairns)

For those who can’t make any of the performances, NOW is time to panic, reshuffle your schedule, do what it takes to become part of the action.

As the title infers, a battle is brewing, promising to transcend each audience member on their own personal buzz ride where beauty, brilliance, and brawn collide. Energetically, Artistic Director, Robert Hill, effectively transfers his unconventional interpretations of dance and ballet, bringing Hegel’s dialectic full circle (and I thought studying philosophy would never come in handy) onto a medium previously not considered.

No doubt about it, Battle of the Sexes III is not grandma’s ballet… this is not a sport… this is not a game… this is the balance between love and sex where friction and frolic sway to an endless metrical strum.

Central Florida is fortunate to home one of the most dynamic, aggressive, and pushing-the-line ballet companies/schools in the country. It is with the upmost pride and confidence that I encourage our city beautiful to show appreciation and support to an artistic and cultural group worthy of global respect.

On this note, a quick shout out to Douglas, your progress is officially recognized… now if we can only do something about your obnoxiously striped shorts; psyche, always keep it real.

For those holding onto the belief that ballet is just a game, check out the upcoming battle. I have no doubt that by the end of the performance you will be looking forward to supporting Robert Hill’s next Orlando ballet’s magical creation.

While on the topic and for those holding onto an excuse, you don’t need two nets and a bouncing ball to believe in magic. Sorry Dwight, just saying on this stage, Douglas and his team of pure athletes take the game to a new level.

For ticket information, visit http://orlandoballet.org/performances/battle-of-the-sexes-iii/.

P.S. Dwight, this is for you, I’ll be covering the Clippers game Monday so if you got a beef, meet me after the game and we’ll settle it the old fashioned way… at the free-throw line.

Danny Huffman, MA, CEIP, CPRW, CPCC
Education Career Services
Got Twitter? Shadow me @dannyatecs

Don Cornelius

Don Cornelius, creator of the long-running TV dance show “Soul Train,” shot himself to death Wednesday morning at his Los Angeles home, police said. He was 75.

Officers responding to a report of a shooting found Cornelius at his Mulholland Drive home at around 4 a.m., police said. He was pronounced dead of a self-inflicted gunshot wound at 4:56 a.m. at Cedars-Sinai Medical Center, said Los Angeles County Assistant Chief Coroner Ed Winter.
Read More Here.

R&B Singer Keith Sweat performs at Zora Neale Hurston Festival, January 28, 2012 (Photo credit: Guy Ashford)

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JOY COMETH IN THE MORNING; The Joy Postle Blackstone Story

Penned by Judy Madsen Johnson, local author residing in Oviedo, Florida, Joy Postle Blackstone made Central Florida home. Known as the “Glamour Bird Artist,” poet, musician, and environmentalist, Blackstone painted murals that graced hotels, homes, banks, and Rollins College. Linked to Charles Lindberg, Carl Sandberg, “Ma” Kate Barker, and President Andrew Jackson, her stories are retold in the first person.

Readers may find Ms. Johnson’s books online at iUniverse, e-Books, and coming soon to Barnes & Noble, Amazon.com, etc.

If there’s an event supporting local artists, authors, or entertainers, remember your West Orlando News Online team wants to inform the world of our talent. Let us know your thoughts… and we’ll return the favor.

With Central Florida in our hearts, we are your source for what’s happening, and I am

Danny Huffman
www.educationcareerservices.com
Twitter: dannyatecs

The Nutcracker - Orlando Ballet (Photo: Orlando Ballet/Michael Cairns)

Nearly 119 years from the original performance, the Orlando Ballet exhibited a high level of dedication and skill as performers danced to an audience delighted by the wide vision and creative application of Artistic Director Robert Hill. Placing an interesting twist, this weekend’s production introduces over 130 children into the acts. Though much praise can be said of each scene and dancer, let’s keep to the highlights.

Clara was represented flawlessly by Briana Berrios, a young and talented star in her own right. As the main character guiding the storyline, Clara was not-so quietly upstaged by a remarkably talented supporting staff. Which makes me wonder who was supporting whom?

As the story began to unfold, Clara received a toy nutcracker on Christmas Eve from her Uncle Dosseimeyer, detailed to precision by Douglas Horne. In a fit of jealous rivalry, Clara’s brother broke the gift during a tussle.  From here the power of imagination and dreams morphs into an enchanted story for all to enjoy.
Sustained by oversized props blasting vibrancy and color, the stage carried attention tirelessly without distraction as a hefty crowd delivered approval by way of applause. As Act I progressed, I could not notice the lack of cadenced steps as Robert Hill constrained his ballet dancers, teasing those in attendance who were begging for action.

By the end of act II, most of the children left the stage as a beautiful snow queen, pirouetted by Rosalinda Moeller, mesmerized all with her eloquence and supporting snowflakes. As the final snowflake fell, I was sold.

As opposed to Act I, Act II was dominated by mature dance, beauty, and magnitude. No doubt the mischievousness imposed by Robert Hill was allowed release for the better part of 30 minutes, exploding passion with every twirl, move, and engagement.

For those seeking to begin (or reinforce) a new family holiday tradition, Orlando Ballet may be your best bet.

Feeling overwhelmed and ready for rest, the following shout-outs are in order:

* Robert Hill for his creative wisdom and impeccable splash of humor
* Andrea Harvey who’s animated doll scene transfixed our devotion
* The Russian Dancers, Stefan Grigore Drach, Dylan Santos, Balazs Krajczar, and Telmo Moreira, your devotion to detail raised the bar
* The Dew Drop Fairy, Katia Garza, your seamless splendor entranced my soul

Orlando is fortunate to have such a great team in our midst. Each player is amazing. Each performance delivers. Thank you Orlando Ballet, we BELIEVE in you… please don’t go.

Feeling the spirit of the holidays, I am

Danny Huffman
educationcareerservices.com
Twitter: dannyatecs

"Christ carrying the Cross Dragged by a Rogue" by Girolamo Romani

Following decades of intrigue and months of international negotiations, U.S. officials on Friday seized a piece of valuable Baroque art stolen from its Jewish owners by the Nazis in World War II that found its way from Milan to a local museum in north Florida.

Agents for the U.S. Department of Homeland Security seized the 473-year-old painting that was on display at the Mary Brogan Museum of Art and Science in Tallahassee, which had the piece on loan from an Italian museum since March.

The seizure comes four months after museum officials and federal agents said they were informed about the history of the painting’s 20th Century ownership.

The Baroque work, “Christ Carrying the Cross” by Girolamo de’ Romani, who was also known as “Romanino,” was part of a collection of 50 paintings on loan from the Pinacoteca di Brera in Milan, Italy to the Brogan museum since March 2011.

The exhibit was slated to close Sunday.

Orlando Ballet - Vampire's Ball (Photo: Michael Cairns - Wet Orange Studios)

October is the time for horrific fun that concludes with Halloween.  Starting in the early part of the month there is Spooky Horror Empire, the convention that brings together all kinds of delightful morsels of horror fun. A few weeks later in Tampa, Necronomi Con combines horror and science fiction while Disney, Universal, and Busch Gardens all have their celebrations for the entire period. In horror fiction Vampires and Zombies are the most popular they have ever been. The Orlando Ballet has its take on the month with the incredible ballet “Vampire’s Ball.”

Of all the ones I’ve been to this year “Vampire’s Ball” was the biggest audience I have seen attend a production. Almost every seat was taken at the Bob Carr Auditorium for the Saturday performance.

There was something very different with this production that was a preview of things to come. As the audience was still taking their seats with the house lights still on, members of the cast came out on stage and performed different exercises in their scary costumes that whet the apetite for what lay in store. As Act I began there was a piercing set of screams throughout the building as one of the cast members ran down the stairs to the stage when a vampire follows her. I loved how the production had the vampire stand on a platform that was raised giving the impression that he was rising, beginning the production’s eerie numbers.

As I watched I thought “what is this all about?” There was a zombie, an evil doctor, a male and female vampire and a woman and man in all white, and plenty of dancers in red and black costumes who seem to be dancing around the vampire. Later I thought the two in white were targets of the vampires and the evil doctor, while everyone else were souls in waiting, to be vampires. Just before intermission a voice explained Act I and gave a preview of Act II. Because of courses in literature in college I took many years ago I thought I never could understand the symbolism of what I was learning. I’m happy to say that with this production I do get it, maybe because watching the production unfold is for enjoyment and not for a grade.

I was also reminded in places of Michael Jackson’s “Thriller” or Tevye’s dream sequence in “Fiddler on the Roof” I didn’t look at the program booklet so I was surprised when the entire cast performed “Thriller” as the final number. I was laughing as they danced to the song in the same way Jackson did in the video.

Robert Hill masterfully combined different forms of dance with elaborate dark and sinister costumes and music pieces that fit the mood of the season. I was also amazed at several numbers where the cast members, in perfect sync performed many complicated dance routines that made it look so simple. There were three children who performed masterfully, receiving several rounds of applause from the audience.

For so long the general public has had a fascination with elements of horror, and “Vampire’s Ball” is a welcome addition to that attraction. I hope that “Vampire’s Ball” brings more first time viewers who become hooked and want to see more productions by this incredible company. If there’s anything negative to say, it’s that the production is only for one weekend.

Pop star Rihanna

Barbadian pop star Rihanna has skyrocketed to the top of the charts again, with her new single We Found Love, according the Official UK Charts Company.

Rihanna, who collaborated with Scottish DJ Calvin Harris on the track, took some heat last week for her topless dancing as she shot the music video for the song.

It is Rihanna’s sixth No. 1 single.

Read More Here.

In short, the story tells of Truffaldino, a hungry servant who takes on two masters with dreams of double the meals. Unknown to him, one of his masters is a woman named Beatrice in disguise as her brother Federigo, who has come to town in search of her lover Florindo. Ironically enough, Truffaldino’s second master is Florindo himself. On top of that, with “Federigo’s” return, his previous betrothal to a young woman Clarice is back on the table, ruining Clarice’s current engagement with her lover Silvio.

The confusing mess of shenanigans amongst these quirky characters was strongly brought to life by Timber Creek High School. With vibrant color schemes shown in the sets and costumes, bubbly players who never missed a beat, and a loveably hilarious ensemble of zannis who transitioned scene to scene, the school’s production brought smiles and laughter throughout its entire length.

Richard DiBacco, who portrayed Truffaldino, gave his character the perfect amount of silliness and levity. He made the audience fall in love with his jumbled up thought process and never lost any believability while on stage. Amanda Milanetti (Beatrice) and Mohammad Barhamje (Florindo) were both extraordinary – Amanda playing a hilarious double role as a boy and a girl and Mohammad playing a flamboyant and outrageous master bringing out tears of laughter.

The show would be incomplete without Sean Staley’s portrayal of Pantaloon. His constant characterization and movement with a hunched back and cane showed his true dedication to his character and dominance on the stage. The characters of Clarice and Silvio, played by Jenny Petty and Chris Leary, both brought huge smiles with their show of cliché young love. The ensemble, or zannis, truly made the play. Their show within a show brought comedy and acrobatics together in between scenes and were a fantastic addition to the production.

The sets of the Inn, the courtyard, at Pantaloon’s house were all easily accessible by the characters, who made use of everything on stage from performing stunts on a fountain to climbing up a ladder on the side of the building. The bright costumes seemed to fit each character perfectly – Clarice with a pink dress and wig, Dr. Lombardi with an all black arrangement, and Truffaldino in rags. The stage was always well lit and the microphones had no issues with helping anyone be heard.

Despite some rushed lines, the show was easily understood and enjoyed by all. Timber Creek’s production of A Servant of Two Masters was wonderful example of dedication of time and effort by both the cast and the crew.

by Jacque Frank
Cypress Creek High School

(Photo credit: Michael Cairns, Wet Orange Studios)

Just in time for Halloween, nightmares of the night come to life with Vampire’s Ball (October 21-23), the Orlando Ballet’s first performance of the 2011-2012 season.

This performance, which brings out a variety of creatures that go bump in the night, features a series of connected vignettes revolving around a young couple beguiled by seductive vampires, a mad scientist, the undead, ghouls and much more, each evoking the frightening, the erotic and the campy.

Featuring original choreography by Artistic Director Robert Hill, Vampire’s Ball contains high-energy dancing that has become part of Orlando Ballet’s signature style, and includes pieces from classical ballets such as La Bayadere, Swan Lake and Giselle – with a twist. The performance is perfectly balanced with a soundtrack that includes everything from the classical – the eerie score of Bach – to the current – the soulful sounds of Adele.

According to Hill, “We are excited to be a part of the vampire obsession which has glamoured audiences from the big screen to the stage. We look forward to entertaining our audience with a humorous, convoluted tale of vampires, humans and other strange monsters of the nighttime world.”

This year’s Orlando Ballet Family Series, featuring abbreviated performances for children and families, begins the season with a fairy tale favorite, The Sleeping Beauty (October 22 at 11am). Young ballet fans will enjoy the tale of the famous sleeping princess and her Prince Charming. Tickets are $22-30.

All performances take place at the Bob Carr Performing Arts Centre (Oct. 21 and Oct. 22 at 8pm, Oct. 23 at 2pm). Tickets for regular season performances range from $15-75.

For tickets or more information on the Orlando Ballet’s 2011-2012 season or Family Series, call 407.426.1739 or visit orlandoballet.org.