The spring performance of “Alice’s Adventures in Wonderland” is approaching, and West Hawaii Dance Theatre and Academy is busily preparing and polishing our performers for the big day. Many of the dancers are experienced performers, while others will be on stage for their first time. For all, however, it is a time of great excitement, perhaps with a bit of nervousness mixed in – everybody is focused on their on-stage performance. However, it what happes backstage which can create either a stress-free or stressful production, and ALL our dancers can contribute to the effort by remembering their backage etiquette:
~ Be Ready, Be Conscientious, Be Kind ~
The week before the performance, students and parents can discuss these backstage etiquette guidelines to ensure the experience is enjoyable and stress-free for everyone.
Be Ready
- Stay in your designated area so the crew always knows where to find you.
- Stay focused and calm, especially right before you go on stage and immediately after you come off stage, when nervous or excited energy is at its peak.
- Know your show order and be ready for your cues and entrances. Everyone must bring their A-game!
- Make sure your body is properly warmed up and that you stay warm as showtime approaches.
- Bring something to do quietly during any downtime before or during the show.
- If you are in charge of your own props or costumes during the show, do a check or two to make sure everything is properly set before “curtain,” when the show begins.
Be Conscientious
- Avoid bumping the curtains and other theater drapery. The audience will see even the tiniest movement.
- Be conscious of audience “sight lines” when you are onstage and off. If you can see members of the audience, they can see you.
- Wait for an appropriate or appointed time to open any doors that lead from the stage to backstage so that light from offstage does not mess up the lighting onstage.
- Speak softly in backstage areas. Sound travels easily to the “house” where audience members are seated.
- Do not touch or move another performer’s props or costumes. If you feel something is out of place, let someone on the crew know.
Be Kind
- Take time to wish fellow performers and crew members a good show. Dancers and performers usually have special phrases or rituals for this but most everyone considers it bad luck to say “good luck.”
- Be respectful of the way others get ready for a show and give fellow performers space or quiet if they need it. Be conscientious of any superstitions others may have as well.
- Keep your dressing area tidy and avoid letting your stuff spill over into your neighbor’s area.
- Always say “please” and “thank you!”
West Hawaii Dance Theatre and Academy is presenting Alice’s Adventures in Wonderland at the Kahilu Theatre on Saturday, May 27, at 4pm. Tickets may be purchased as www.kahilutheatre.org.
Called “one of San Francisco’s leading dance teachers”, Henry Berg has, according to the San Francisco Chronicle, “carved a strong artistic niche as a teacher”. With a career that spans over three decades in dance, film, television, theatre, and academia, Mr. Berg has established himself as one of the foremost dance teachers in the country. His guest teaching engagements now include annual seminars for the Boston Ballet, the Academia Anna Pavlova in Bogata, Columbia, Joffrey Ballet, Dance Educators of America, Oregon Dance Academy, and the Village Dance Arts in Los Angeles. Mr. Berg traveled to Japan where he taught seminars in Tokyo and Nagoya, staging “American Ballet Selections” in 1994 for several companies there. Mr. Berg began his dance career in Hollywood, California, appearing in such films as “State Fair”, “How The West Was Won”, and “Babes In Toyland”. In 1962, he joined the San Francisco Ballet. Subsequently, he danced for over seven years with the Joffrey Ballet and assisted choreographer Twyla Tharp in New York City. In 1975, Mr. Berg created the Pacific Ballet Company with co-founders John Pasqualetti and Sue Loyd. He also joined the faculty of the San Francisco Ballet. The list of directors, dancers, and choreographers Mr. Berg has worked with include: George Balanchine, Robert Joffrey, Gerald Arpino, Lew Christensen, Ann Sokolov, Kurt Joos, Jon Hart, and Margaret Jenkins. Additionally, he has worked with skaters John Curry and Peggy Fleming, cartoonist Charles Schultz, and has appeared on the Ed Sullivan Show.
Leo Ahonen was accepted to the Ballet Academy of the National Opera House in Helsinki Finland at the age of six. He joined the National Ballet of Finland at the age of 14, and at age 17 guest performed with the Kirov Ballet in Leningrad and the Bolshoi Ballet in Moscow. At the famed Vaganova Choreographic Institute in Leningrad, Mr. Ahonen became a private student of Mr. Konstantin Shatilov and received the “Kirov Trained” Certificate at graduation. Mr. Ahonen won a Bronze Medal in the Men’s Senior category at the Second International Ballet Competition in Varna, Bulgaria. He was a principal dancer and company teacher for the National Ballet of Holland, Royal Winnipeg Ballet, and the National Ballet of Finland. With his wife Soili Arvola, he danced as a principal dancer with the San Francisco Ballet and was hailed by critics as The Flying Finn, West Coast Nureyev, and the Fantastic Finn.
Soili Arvola was accepted to the Ballet Academy of the National Opera House in Helsinki Finland at the age of eight. After graduating from the Academy at age 17, she was invited to join the National Ballet of Finland, touring with the company around the world. Among her numerous honors, Ms. Arvola won a Bronze Medal and Diploma for High Artistic Achievement in Women’s Senior (Professional) Category at the prestigious International Ballet Competition in Varna, Bulgaria. She has appeared as a guest ballerina with the Finnish National Ballet, Royal Winnipeg Ballet, Chicago Ballet, Houston Ballet, London’s Royal Ballet Choreographic Group, Indianapolis Ballet Theatre, Ballet international de Ochi of Japan, and with many symphony orchestras, opera companies, and civic ballet companies throughout the U.S. and abroad. Ms. Arvola has performed as Odette/Odile in Swan Lake, Princess Aurora in Sleeping Beauty, the title roles in Giselle and Cinderella, Swanhilda in Coppelia Kitri in Don Quixote and many others.
Alaine Haubert, a fourth generation Californian, has the unique distinction of having been associated with America’s three major companies. She received her training from age fifteen at the School of American Ballet in New York City where she studied with George Balanchine and his illustrious post-Diaghilev faculty. After graduation from high school, she performed with San Francisco’s Pacific Ballet and then joined the national touring company of Camelot. In 1965, after a year on the road with Camelot, Alaine joined American Ballet Theatre, where she performed corps de ballet, soloist and principal roles. She was coached, during this period by such diverse and exciting choreographers as Tudor, DeMille, Robbins, Feld, Culberg, Lander, and Tetley, and also danced the classics. 
Jamy Woodbury received his formal training with Denver-based Cleo Parker Robinson dance ensemble, where he trained extensively in such forms as Graham Norton and Dunham intermixed with a rigorous schedule of ballet. Seeking to broaden his classical understanding, Jamy did a year stint with the Boston Ballet.
Shaina Leibson has had an over fifteen-year career as a professional ballet dancer. She has been a dancer with several companies including Alberta Ballet, Ballet Austin, and Ballet San Jose where she performed for eight years. Shaina was a soloist dancer with Ballett im Revier in Germany and spent five seasons as a Principal Dancer with Bay Pointe Ballet which was based in the San Francisco area. Shaina received her ballet training from the renowned San Francisco Ballet School.
Fredrick Davis studied at the prestigious Joffrey Ballet School. He attended summer intensives at American Ballet Theatre, Boston Ballet, and North Carolina Dance Theatre. He danced with the Roxey Ballet Company in New Jersey and eventually Dance Theatre of Harlem. While at Dance Theatre of Harlem, Davis danced in many roles including the male lead in New Bach, the Pas de Deux from Act III of Swan Lake, in Robert Garland’s Return, in George Balanchine’s Agon and Alvin Ailey’s The Lark Ascending. He performed Agon and The Lark Ascending with Dance Theatre of Harlem at Jacob’s Pillow Dance. After leaving Dance Theatre of Harlem in 2015, Davis participated in a Dance for America tour, was a featured artist with Dallas Black Dance Theatre, danced at the Kennedy Center Honors in Washington, D.C., danced in the Donald McKayle Tribute in Irvine, California, and danced for the Indiana Ballet Theatre. As a freelance artist, he has also performed with various ballet companies including Roanoke Ballet Theatre, Greensboro Ballet, San Antonio Metropolitan Ballet, and Dissonance Dance Theater. He is a principal guest artist at Ballet Tennessee and at Ballet Tucson. Davis returns to Chattanooga every summer as a guest artist in the Dance Alive program that first inspired his love of dance. He is featured in the film, From the Streets to the Stage: The Journey of Fredrick Davis. The documentary was created by Ann Cater of PBS and was filmed by the Emmy Award-winning crew from WTCI.
A Mauka Lani Graduate, Marina began training with WHDT when she was 5. Ms. Terwilliger went on to become Miss Kona Coffee 2002, attended UH Manoa as a Dance Major for 2 years, and returns to the Big Island of Hawaii after pursuing a commercial print modeling career in New York City.
Miho Morinoue is an acclaimed dancer and a visual artist. As a member of the Complexions Contemporary Ballet Company she performed extensively in the United States and Europe. As a visual artist, she collaborated on numerous projects, designing costumes and setting ballets for Complexions, the Alvin Ailey American Dance Theater, Oakland Ballet, Philadelphia Ballet and many others. She has shown her paintings in Hawaii, New York and Seattle.
Timour began his professional education with the Moldavian Opera House and the Bolshoi Ballet. Upon coming to America he danced with the Pennsylvania Ballet, New Jersey Ballet, and the New York-based Daring Project. In 1998, Mr. Bourtasenkov joined Carolina Ballet as a Principal dancer and founding member of the company. Mr. Bourtasenkov has choreographed works for Carolina Ballet, Infinity Ballet, New Jersey Ballet and most recently, the New York Choreographic Institute, using New York City Ballet members. His ballets include Light and Dark, sections of Messiah, Rag House, Elements, Memories, Visions, Intrigue, Dance of the Spirits, Fallen Dreams and Tango! Tango! Tango! Mr. Bourtasenkov won the Bronze Medal in the VII Massako Ohyo World Ballet Competition of Osaka, Japan and the V International Competition of Paris, France. He was awarded a jury prize at the 2nd Luxembourg International Ballet Competition. Mr. Bourtasenkov has appeared in two USSR movies: The Long Way and The Magic Star. In 1996, he filmed Little Red Ridinghood, directed by Davis Koplan and choreographed by Elena Tchernichova. In 1996, Mr. Bourtasenkov became the Artistic Advisor of Infinity Ballet and in 2005 he was named the Artistic Director of Carolina Performing Arts Center in Pinehurst, North Carolina.