‘Alice in Wonderland,’ ‘Don Quixote’: Classics come to life in KC Ballet’s next season
As artistic director of the Kansas City Ballet more than a decade now, Devon Carney keeps checking off his to-do list. From “Sleeping Beauty” to the upcoming “Jewels,” he has been programming classics of the ballet repertoire that have never been seen in Kansas City.
In the newly announced 2024-25 season, he’s ticking off another big ticket item: “Don Quixote,” one of the great ballet masterpieces of the 19th century.
But wait, there’s more.
In addition, we’ll see the return of “Alice in Wonderland” and “The Nutcracker,” as well as what promises to be an exciting evening of modern dance, including a new work by an up and coming Kansas City choreographer.
“We have two full-lengths based on classic novels, so between ‘Alice in Wonderland’ and ‘Don Quixote’ there’s a theme of great literature next season,” Carney said. “I’m thrilled that we have a chance to bring these two really well-known works in terms of their literary background.”
Even “The Nutcracker” is based on a literary work, a short story by E.T.A. Hoffmann. The other children’s classic, “Alice in Wonderland,” based on the absurd, surrealistic story by Lewis Carroll, was first performed by the Kansas City Ballet in 2014.
“I was involved in the birth of ‘Alice in Wonderland,’” Carney said. “It was first created by Washington Ballet, and Cincinnati Ballet (where Carney was artistic director) was the first company to do it after it had been performed at the Kennedy Center. So it has a special place in my heart.”
Like the Kansas City Ballet’s recent ‘Peter Pan,” “Alice in Wonderland” abounds in color, humor, surprises and lots of memorable characters.
“It’s an iconic story about the White Rabbit, the Mad Hatter and the Queen of Hearts and all those great characters that we know and love, although I guess it’s a love-hate relationship with the Queen of Hearts,” Carney said. ”The story is similar, in some respects, to ‘The Wizard of Oz,’ in how Dorothy had some friends that were with her on her adventure. Don’t think you can get through life on your own. You gotta lean on your friends.”
Like the eye-popping “Wizard of Oz,” which the Kansas City Ballet presented in 2022, the choreography is by the extremely inventive Septime Weber, and Carney promises “Alice” will be just as colorful.
“The colors are quite bold, like a kid’s story book, with strong reds and greens and purples and yellows, especially in the Mad Hatter scene with the tea party,” Carney said.
And, like “Peter Pan” and “Oz,” Carney says that “Alice” has lots of roles for children.
“We have little doors played by children. They’re rolling doors around. And there are hedgehogs, baby flamingos and junior cards. There are roles for different age groups. I Iike that Septime was able to figure out how to be inclusive with technical ability.”
Another classic ballet that is a delight for both the children on stage and those in the audience is “The Nutcracker.” Carney’s brilliant conception of the work will return in December.
“We were thrilled with the response that we had with ‘Nutcracker’ this year,” Carney said. “It was historic in terms of audience attendance. We were up to 40,000 single seats that were filled over the course of our 24 shows.. It was just unbelievable, and it says a lot about the community and how they value what we bring to the stage. I couldn’t believe how many people wanted to come and see it.”
But the big news about next season is the Kansas City premiere of “Don Quixote” in March 2025. The ballet was first performed at the Bolshoi in Moscow in 1869, and is considered a bedrock work of the classical ballet repertoire.
“I’ve had a chance to dance the role of Don Basilio in two well-known productions, one was Nureyev’s and the other is the one we’re going to do,” Carney said.
The choreography by Anna-Marie Holmes is based on the original choreography that Marius Petipa created for the first production in Russia.
“I’ve known Anna-Marie for 40 years now. 40 years! She was my ballet master and associate artistic director and the artistic director at Boston Ballet. We were together quite a long time in Boston. And I’ve kept in touch with her ever since. It’s really exciting to bring Anna-Marie’s work to our company, and I can’t wait to get started on it.”
Don Quixote is one of the most famous characters in fiction, His very name has entered the language as quixotic, to indicate an impractical idealism.
“It’s a story about a crazy guy who goes on this mission to conquer windmills and be chivalrous and save Dulcinea,” Carney said. “You know, there’s something to be said about someone who’s very much a bold personality, who really cares about those in the world who may be in some way oppressed.”
George Balanchine made a famous version of “Don Quixote” for the New York City Ballet in 1965, in which the choreographer cast himself in the title role. Might we see Carney as Don Q?
“Boy, you snuck that one in, didn’t you, mister?” Carney said. “We’ll see. You know me too well.”
The season will conclude in May with a program Carney is calling “Fusion.” It features a selection of four short, contemporary dance works, including three that the company has performed before: “Tulips and Lobster” by Annabelle Lopez Ochoa, “Celts” by Lila York and “In the Middle, Somewhat Elevated,” by William Forsythe. The fourth work will be a world premiere.
“I’ve been waiting for years for this, and that’s a commission from Caroline Dahm,” Carney said. “She’s an emerging choreographer who is based here in Kansas City and is beginning to expand her borders. She has done several works for us for New Moves. She is a dynamic, powerful choreographer who has a very interesting and unique choreographic voice. I believe in her artistic abilities, and I think it’s time to bring her work to the Kauffman Center stage.”
The Kansas City Ballet has built on the foundation laid by Carney’s predecessors to become the powerhouse regional ballet company that it is today. But there are many more staple works like “Don Quixote” that still need to be given their Kansas City premieres. If Carney has his way, he’ll get around to all of them.
“It’s hard to believe, but it will be my 12th season with Kansas City Ballet,” he said. “But the sky’s the limit, the sky’s the limit. I’m thrilled to know that we are continuing to reach ever higher in what we bring to the stage at the Kauffman Center. It just means the world to me to be able to do this work and know that we’re having a positive impact on the community.”
Kansas City Ballet 2024-25 season
All performances at the Muriel Kauffman Theatre, Kauffman Center for the Performing Arts, unless otherwise noted. For more information, 816-931-8993 or kcballet.org.
Sept. 14-15: JCCC New Dance Partners Performance (Midwest Trust Center, Johnson County Community College, 12345 College Blvd., Overland Park).
Oct. 18-27: “Alice in Wonderland.” Choreography by Septime Weber, music by Matthew Pierce.
Dec. 6-24: “The Nutcracker.” Choreography by Devon Carney, music by Peter Ilyich Tchaikovsky.
Jan. 30-Feb. 2: New Moves. (Todd Bolender Center for Dance and Creativity, 500 W. Pershing Road).
March 21-30: “Don Quixote.” Choreography by Anna-Marie Holmes after Marius Petipa.
May 9-18: Fusion. Works by Annabelle Lopez Ochoa, Lila York, William Forsythe and Carolin Dahm.
Heartland Men’s Chorus
The Heartland Men’s Chorus can do it all. Whether it’s challenging works by contemporary composers or holiday favorites, one thing’s for sure, they’re never dull.
The group’s penchant for popular music will be on full display March 22 to 24 at the Folly, when the chorus presents “Princes of Pop.” Elton John, George Michael, Michael Jackson and Prince will all get the Heartland Men’s Chorus treatment.
7:30 p.m. March 22 and 23, 3:30 p.m. March 24. Folly Theater, 300 W. 12th. 30$-55$. 816-931-3338 or hmckc.org.
You can reach Patrick Neas at patrickneas@kcartsbeat.com and follow his Facebook page, KC Arts Beat, at www.facebook.com/kcartsbeat.
