As a child, you may have often dreamed of yourself as a prince or princess in your favorite story. But as we age and discover the truth about the world around us, we begin to see the cracks in our beloved tales. We learn that those portrayed as evil may not have been so bad after all, and what we once thought to be the truth is merely a representation of what someone wants the truth to be. Now that we’re adults, how do we change these stories to reflect our reality, while still maintaining the magic they gave us as children?
This re-imagined classic story includes hundreds of original costumes, custom backdrops, and serves as a true celebration of the 25th anniversary of Hyde Park School of Dance.
August Tye, Founding Artistic Director of Hyde Park School of Dance, has the answer. August, her artistic team, and a cast of over a hundred dancers are getting ready to share this revelation in their production of Amira: A Chicago Cinderella Story at the Reva and David Logan Center in Hyde Park. This re-imagined classic story includes hundreds of original costumes, custom backdrops, and serves as a true celebration of the 25th anniversary of Hyde Park School of Dance.
DancerMusic Dance Editor Kristi Licera caught up with August to learn more about this massive undertaking. Here’s what August told us:
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Kristi: Creating a fresh take on a much loved classical ballet is no small task. Can you tell us more about the process behind building the choreography and staging for Amira, and how you used your choreographic aesthetic to bring new life and a new perspective to this updated Cinderella story?
It hit me that I just could not use this story in a world of “me too” and blended families that have great relationships with their stepbrothers and -sisters. Every story can look different if you’re willing to change your perspective
August: I was inspired to create a new modern Cinderella story after going to a performance of the classic version, which includes some typical sexist stereotypes, including a woman forced to do housework and a Prince who gets to choose from any of the women he fancies at the ball. Additionally, the stepsisters are portrayed as truly awful people. It hit me that I just could not use this story in a world of “me too” and blended families that have great relationships with their stepbrothers and -sisters. Every story can look different if you’re willing to change your perspective, and I knew we could find a fresh angle to tell a Cinderella story our students could take pride in.
I decided our Cinderella could be an immigrant named Amira who just arrived in Chicago from a faraway land. She would experience some of the divisive climate we live in today, where some people were friendly and welcoming while others were not at all. I felt my students and colleagues could relate to this new story and would become invested in telling the new version. Once that decision was made, I listened to the Prokofiev recording with this new perspective and found it was very inviting to the modernized version. Right at the top of the score I could easily envision an immigration scene where people are waiting months to be cleared to move on to a new country. Amira and her family are next in line, and there is a problem with her mother’s paperwork, and the family moves on without her.
As I worked with my students on these particular sections, we had in-depth discussions on being culturally sensitive and respectful in our storytelling. Modern day costumes would give an indication of the culture while staying away from cultural stereotypes.
From there, the second piece in the score has a very urban feel – Amira’s arrival in Chicago. Later in the score, there is a section in which the Prince in the traditional story searches many different countries to find Cinderella. This section led me to the idea of showcasing some of Chicago’s ethnic neighborhoods, and we matched the score with Little India, Humboldt Park, Chinatown and Bronzeville. As I worked with my students on these particular sections, we had in-depth discussions on being culturally sensitive and respectful in our storytelling. Modern day costumes would give an indication of the culture while staying away from cultural stereotypes. The movement would stay in my neoclassical style and focus on the journey of our Ordell searching through Chicago for the mysterious young lady he just met at the Masked Ball. The young lady just as mysteriously disappears at midnight, leaving only her beautiful scarf behind.
…all of the characters have significant name meanings. Amira means “princess,” her new friend Asha means “hope,” the boy who fancies her is Ordell and his name means “a new beginning”…
Before auditions, I spent a good amount of time renaming and redefining the characters that would be in our production. For example, all of the characters have significant name meanings. Amira means “princess,” her new friend Asha means “hope,” the boy who fancies her is Ordell and his name means “a new beginning,” and Vida, Amira’s mother who was left behind, means “dearly loved.” Vida appears throughout the ballet as the “fairy godmother “character.
Kristi: Tell us more about the costuming for Amira. As if creating hundreds of new costume looks weren’t enough, we also hear that there is a costuming element in the performance that adds a certain sparkle and shine. Can you tell us more about who is helping you take on this daunting task and how the look and styling for the show were determined?
I have worked closely with Ms. Sanders to create a modern day look in each scene. In the end we will costume 125 dancers with more than 300 newly created costumes.
August: At Hyde Park School of Dance we have a tradition of casting everyone who auditions in parts that suit their level of training and skill set. This is not only a fun and rewarding challenge for our choreographers, but it is also a daunting task for our costume team, led by professional dance costumer Jacquelyn Sanders. I have worked closely with Ms. Sanders to create a modern day look in each scene. In the end we will costume 125 dancers with more than 300 newly created costumes. Ms. Sanders has a talented and dedicated volunteer corps that helps construct the costumes after they have been designed.
Fireflies will transform Amira into her ballgown and be with her in the form of a light-up ballgown as she arrives at the Masked Ball. Olivia Issa, a senior of the University of Chicago Lab School, has taken on the challenge of collaborating with Ms. Sanders to create the magical light-up effect.
One of the most exciting elements in our new show is the use of light in some costumes. Fireflies will transform Amira into her ballgown and be with her in the form of a light-up ballgown as she arrives at the Masked Ball. Olivia Issa, a senior of the University of Chicago Lab School, has taken on the challenge of collaborating with Ms. Sanders to create the magical light-up effect. About a year before the production was set to begin I was discussing this vision with Olivia, who happens to be a ballerina and a computer programmer. Eager to combine her talents, she enthusiastically offered to help create the lighting system for Amira’s gown. She will also dance the title role Friday night and the Saturday matinee, not because she helped create Amira’s dress, but rather due to her strong presentation at the audition!
Kristi: One of the scenic elements of Amira that helps root the story in Chicago are the photos and illustrations by Damien Thompson that will appear throughout as backdrops. Can you tell us more about Damien and how this creative partnership came to be?
I mentioned this project to Damien and right away he had fantastic ideas that took my simple thoughts to a whole new dimension, adding movement and illustration to the scenes.
August: Originally, I was going to take a much more simplified approach to the backdrops for Amira by using stock photos and simple Photoshop effects to help tell our story. I soon realized that it would be valuable to partner with a designer to work on this project. I have been working with photographer Damien Thompson for more than five years on creating professional quality images for HPSD. I mentioned this project to Damien and right away he had fantastic ideas that took my simple thoughts to a whole new dimension, adding movement and illustration to the scenes. He called on his colleague Sara Petrolis to add illustration to the photos. I was excited to turn over this very important element of our production to a professional artist who I trust and admire.
Kristi: Once you and Damien decided on what neighborhoods would be included in the production, what was the process like determining what images would be used to represent each one?
We discovered quickly that although there was a lot to see, one photo alone was not going to be able to illustrate all of the neighborhoods we were hoping to showcase.
August: Initially, we took a day to drive around Chicago and get some sketch photographs to work with and further our brainstorming. We discovered quickly that although there was a lot to see, one photo alone was not going to be able to illustrate all of the neighborhoods we were hoping to showcase. Damien suggested partnering with an illustrator to really help us detail the scenes. We’ve settled on images for Humboldt Park, downtown and Chinatown and are still working on imagery for Bronzeville. You’ll have to come to the show to see how it turns out!
Kristi: HSPD has long been celebrated for its contributions to and enrichment of its community. Aside from featuring the different neighborhoods and cultures in Chicago, Amira also celebrates diversity, immigration, and perseverance. Beyond the production of Amira, how does HPSD hope to continue to celebrate these themes and support the community at large?
Our performances allow our students to present their hard work to an appreciative audience, but just as importantly, allow us to reach audience members who may not otherwise have the opportunity to experience the art of dance.
August: Each year, we work hard to create a season of free and low-cost performances that our students present throughout Chicago -particularly on the South Side. Our performances allow our students to present their hard work to an appreciative audience, but just as importantly, allow us to reach audience members who may not otherwise have the opportunity to experience the art of dance. It is extremely rewarding to see our audience members watch a dance performance for the first time and leave excited and inspired by the joy of movement and storytelling.
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Hyde Park School of Dance will premiere Amira: A Chicago Cinderella Story on Friday, June 15 at 7pm, with additional performances Saturday, June 16 at 1pm and 6pm, and Sunday, June 17 at 2pm. All performances take place at the Reva and David Logan Center for the Arts, 915 East 60th Street Chicago, IL 60637.
Tickets are available online at hydeparkdance.org/tickets or in person in the HPSD administrative office (located at 5650 S. Woodlawn Avenue, Chicago) during open office hours (3 pm – 6 pm weekdays, 8 am – 1 pm Saturdays). To purchase tickets via phone, call the HSPD office at 773-493-8498 during open office hours (3 pm – 6 pm weekdays, 8 am – 1 pm Saturdays).
To learn more about Hyde Park School of Dance, visit hydeparkdance.org.
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