Elisabeth Champion as Giselle (with Phillip Riskin as Albrecht)
Elisabeth Champion, a Passionate Ballerina.
By René Daveluy
Principal Dancer Elisabeth Champion is moving forward as a History Major at Smith College in Massachusetts. Elisabeth joined Central West Ballet in 2013 and was promoted to Principal thereafter.
A lyrical ballerina with a strong personality, Elisabeth performed the coveted role of Giselle in our 2015 production. This she did with grace and depth. Although very devoted to daily class and lengthy preparations at the theatre, Elisabeth would attack her roles with passion and a fiery disposition. This made her an interesting subject to create on, such as recent ballets like Love Duets and Summer Rhapsody. In the last two years, Elisabeth also performed the principal parts of Swanhilda in Coppélia, as well as the perennial role of Cinderella. Her ability to back up her dancing with strength of character made her performances exciting and fulfilling.
Elisabeth was also Leslie Ann Larson’s main faculty teacher at the Central West Ballet Academy, entrusted with our highest levels. This was due to her dedication and serious approach to class ethics and respect. Elisabeth was trained in Russia in the famous Vaganova style and technique. She speaks fluent Russian and has a wide outlook on ballet. However, the main reason for Elisabeth’s appeal was her willingness to commit fully to the art of dance, to have that old fashioned respect for the craft and put her art first in her life. That is what made her a great collaborator.
Elisabeth Champion as Katrina Van Tassel (with Aaron Gulevich as Ichabod Crane - Right: Hugh Rose III as Diedrich Knickerboker)
In her 5 years with Central West Ballet, Elisabeth grew as an artist and succeeded as a headliner in our performances. Her partnering abilities became superlative as she created wonderful partnerships with our male dancers. With Phillip Riskin as her Albrecht, she flowed through Giselle, perhaps her best role with Central West Ballet. But she also became a good performer in Balanchine ballets such as Valse Fantaisie and Who Cares?
With Aaron Gulevich as Ichabod Crane, Elisabeth stepped into the role of Katrina Van Tassel and brought a joyous atmosphere to Legend of Sleepy Hollow. With Aaron she also danced Night Pas de Deux, a CWB classic from 1001 Nights. Elisabeth developed a fascinating rapport with Grant Landon. Champion and Landon had a chemistry that was sensual, exciting and distinctive. This made for wonderful moments on stage in many shows such as Rat Pack in Revue, as well as in the full length Coppelia. In Love Duets, their Pas de Deux entitled Interlocht became a timeless neoclassical favorite. Recently, I revived Summer Rhapsody for Central West Ballet. In this Elisabeth danced her last Pas de Deux with Grant to The Summer Knows, a famous standard by Michel Legrand.
These compliments on her serious dedication to dance does not prevent Elisabeth from having a wonderful sense of humor and a delightful sarcasm that I particularly enjoyed. Elisabeth is an articulate person and loves to talk shop in sharing her passion for dance. That is why dance will always be part of the fabric of her life. Elisabeth, on and off the stage, will always hold a special place in our hearts. Leslie and I wish her the very best in her future endeavors. She will be missed.
-René Daveluy, Artistic Director
Elisabeth Champion as Swanhilda (with Grant Landon as Franz)
Elisabeth Champion in Summer Rhapsody (with Grant Landon)
Sheridan ~ Back on the East Coast
Caroline Sheridan in Don't Rain On My Parade (CWB 30th Anniversary Gala).
Caroline Sheridan, A Dancer's Dancer.
By René Daveluy
Caroline Sheridan has joined Ballet Hartford, Connecticut. Caroline came to Central West Ballet in 2013 and was subsequently promoted to Principal Dancer.
Caroline Sheridan arrived to the Company as a talented and determined artist. A tall, statuesque dancer with a beautiful charisma, Caroline became a passionate Central West Ballet performer. In her first year, Caroline harnessed her passion for dance and gave each role assigned her very best. Whether it was a character role or a soloist opportunity, she applied herself marvelously and through shear will, she began to transform her body into a specimen of physical integrity, as well as rhythmical and technical accuracy.
She became a dancer that I looked forward to rehearsing with, to create on, to mold into the perfect soloist performer. Caroline took pleasure in this torturous rehearsal process and she was an absolute joy to work with. I would often make her laugh and she brought out in me a renewal of energy. Her positive attitude was crucial to her success. Her intelligence and instincts are sharp. Her beauty and sense of line is a refreshing sight to see. Her performances are a delight to watch.
Caroline Sheridan in Summer Rhapsody (with Aaron Gulevich)
This is how Caroline managed to create unforgettable dances on stage. In Rat Pack in Revue, she tore up the stage in Birth Of The Blues with her boundless energy. As a ballerina, in the Nutcracker and in Coppelia, she brought an ever growing and pristine technique to all her roles. This is how she became a lead dancer with our company and her capacity to absorb every detail of a dance was astonishing. In Balanchine’s Who Cares? she was a quintessential neoclassical mover, her performance in I'll Build A Stairway to Paradise was as good as it gets. Her performances in King of Pop were essential to the success of this ballet to the moves of Michael Jackson. In Legend of Sleepy Hollow, her solo as Sophie de Vries, a role created especially for her, was one of the high points of the show. As the Ice Queen in our production of Nutcracker in Jazz, her amazing stamina and exciting dancing brought the house down. Recently, her performances as the Fairy Godmother in Cinderella was another show of Caroline’s beauty and love for the classical tradition.
Caroline's versatility is an asset to any director. That is the core of her talent in dance. This led to many more special moments on stage, In Purple Tribute, she led the way in this Rock Ballet honoring the memory of Prince. Much of this ballet was made for her, to showcase her wonderful talents. In the revival of House of Folk, she showed what a true Central West Ballet dancer is all about; passion, intelligence, charisma and technique. Yes, that’s Caroline Sheridan. In Central West Ballet’s latest Creations, Caroline delivered a thoughtful and dramatic performance with Aaron Gulevich in a Pas de Deux from Summer Rhapsody. Although I am sad to see her go, I also know that she will bring her passion for dance to many more audiences in the future.
-René Daveluy, Artistic Director
Caroline Sheridan as the Fairy Godmother in Cinderella
Caroline Sheridan in Breakdown from Purple Tribute.
History in the Central Valley
Central West Ballet's 30th Anniversary Gala was held on February 8 and this special evening of dance was a chance for everyone to enjoy a wonderful look at the evolution of the Company since its inception in 1987. It was also a great time for directors René Daveluy and Leslie Ann Larson to celebrate the work done under their tenure since 2004.
"Leslie and I were at the beginning of our forties when we took on leadership of the Company 13 years ago and this adventure was in many ways the most wonderful of our dance careers". Daveluy and Larson say they have witnessed many superb moments during the development of Central West Ballet as it became a resident company of the Gallo Center for the Arts. "We started in the high school system", Daveluy goes on to say, "back then, it really was a community effort to get everything done with the dedication of parents, volunteers and the beautiful creativity of many seamstresses, carpenters and entire families to get the shows produced".
Daveluy says the Gallo Center changed everything in 2007. "The arrival of the Gallo Center challenged everyone to step up to the next level, including Central West Ballet", he goes on to explain, "however, with Central West, the advantages were that some pioneering elements, such as discipline and a well organized system helped in making the transition to the Gallo Center". Daveluy says the system Larson and he inherited had a good foundation. "With the visionary work of Founding Artistic Director Gretchen Vogelzang and Founder Juline Schmitz, there was common ground for a solid vision, and setting up the company to evolve further into the future". Daveluy adds that the work of Coleen Patterson as one of the subsequent Artistic Directors of Central West Ballet maintained the crucial discipline needed in keeping the company moving forward. "Coleen was organized and dedicated to every aspect of the company". In their years working with CWB's Board and Executives, Daveluy and Larson say they are grateful to many exceptional individuals and the visionary work of CWB Board Presidents Anne Porteous, Ann Endsley, Sandra Cash and through the entire time, Hugh Rose III, who has given his support in all aspects to keep the company going. "We have been graced with so many dedicated board members who have given their time, money and resources from one fundraiser to the next, it is astonishing". Daveluy also says his relationship with Executive Director Cynthia Coughlin has produced many memorable and significant seasons for CWB. "With Cynthia, we have seen many projects come to life; a very successful two year run of a James Irvine Grant for Dance Initiative, an Academy of Dance, a new relationship with the Grand Theatre Center for the Arts in Tracy and continued solid seasons at the Gallo Center".
Daveluy points out that the group of dancers that started under his tenure had special aptitudes to realize the goal of a professional company. "They were talented, feisty, charismatic and passionate", he goes on to say, "what Leslie and I did is take all the raw elements, focused these with increased professional work and added industry standard costumes and resources to the already wonderful local work". Daveluy says he produced some of his best ballets with the dancers of Central West in those early years. "It was inspiring for Leslie and I and an exciting time for the dancers, everything felt new and unexpected, a rollercoaster ride every season", he says, "everyone was delighted to experience something special at each turn, it was magical, thrilling and it seemed there was no end to the adventure". Daveluy says he looks back at this time period with admiration for the headlining performers who developed under his directorship, "they were and still are amazing and unique".
Professional Goals - Caniparoli and Balanchine
Central West Ballet has risen to professional levels under Daveluy and Larson. Their contacts with other seasoned professionals brought in experience from the field to propel the company forward. Over the years, some illustrious names in the world of dance helped in nurturing the dancers. It became natural to see John Hart CBE in rehearsal coaching the dancers. Jeffrey Rogers, former Principal Dancer of Ballet West came to Modesto to teach, coach and train the dancers in everything from stagecraft to theatrical fencing. Jan Clark Fugit, a long time professional and master teacher coached, taught and choreographed on the dancers. Eventually Wendy Van Dyck of San Francisco Ballet and Zippora Karz of the New York City Ballet came in as re-stagers.
Daveluy says two choreographers had a significant impact on the Company through the last decade. "My most significant move was to bring in ballets by Val Caniparoli and George Balanchine to the company", he goes on to explain, "one evening at the office, I took the phone and called Val to ask if he would let us dance one of his choreographies. He was most gracious and sent me a few ballets on DVD to choose from. I took the hardest, a ballet entitled Violin, a beautiful piece with intricate Pas de Deux moves and tough ensemble sections. It was a pivotal moment in changing the dancers' perspective and giving the company a new path". Central West Ballet presented Caniparoli's Violin, then a work for women entitled Songs and a trio titled Suite from 2010 to 2012.
From 2013 to 2015, Daveluy brought in Balanchine ballets, starting with an excerpt from Serenade, a milestone for Central West Ballet. "I contacted the Balanchine Trust and we established a relationship that enabled us to grow the company's artistic profile even further". The company went on to perform Balanchine's Valse Fantaisie and the concert version of Who Cares? In recent years Ronn Guidi, Founding Artistic Director of the Oakland Ballet lended his support and coached the dancers in his choreography Trois Gymnopédies.
An Ongoing Spirit
In a tough economy and competitive environment, Daveluy has worked tirelessly to keep Central West Ballet's seasons original and exciting. His work with Executive Director Cynthia Coughlin and CWB's Board of Directors over the years has weathered many storms and situations. "I have always kept a belief in Central West Ballet's future as a professional entity", Daveluy goes on to say, "with the growing responsibility of keeping the Company's budget balanced, we shifted some of our attention to building a dance academy to offer quality training to students from all around the Central Valley and opening our own pipeline to channel those who wish to become Central West members down the line. We have kept our commitment in financially helping the dancers, and have found new projects to make the company''s repertoire unique and creative".
Daveluy says the company has gone through wonderful changes and as always, has a bright future ahead, "Central West Ballet is a unique company. It isn't a copycat. It's an original. It has a maverick quality to it. The dancing is genuine, the passion is always there and the dancers are magical. I want to see Centra West Ballet keep its uniqueness and shoot for the stars, aligned and all".