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"Ann Marie DeAngelo promises a powerful evening filled with the rare combination of the vision and magic of art, while being fun and entertaining." -- Guy Adams
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Stage Director Ann Marie DeAngelo has been an Artistic Director in the ballet world for fifteen years. She created her own experimental troupe Ballet D’Angelo in the 1980‘s; was the founding Artistic Director of Ballet de Monterrey in the early 1990‘s, and was Associate Director of the Joffrey Ballet until 1999. She has created and directed full-evening shows that include The Last of the Best” - “an off-beat musical comedy...”; “The Variety Show - Jugglin’ Styles” starring Michael Moschen; Eclectic evenings of entertainment for Career Transition for Dancers coined by the New York Times as “...the event of the season...”; and most recently was director of “Thank You Gregory - A Tribute to Legends of Tap, with guest artist Maurice Hines. |
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2009 Thank You, Gregory |
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PRESS: "Every red-blooded American, every race, religion, country of origin, loves tap dance." “...one fabulous evening of dance and tap… this was perhaps the true tribute and thank you to Gregory!" "This is a joyful celebration of that amazingly varied, soul-stirring thing called rhythm.." |
Production Description Thank You, Gregory! a tribute to the legends of tap, will delight all audiences. The production explores and continues the rich and diverse kaleidoscope of tap dance that Gregory Hines adamantly promoted and revered. It features live performances by eight of the most skilled, versatile, and dynamic contemporary hoofers, one pianist accompanied by musical score, and integrated multi-media projections and narrative. The production will be segmented in two acts with an intermission. |
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GETTOMADE: |
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Production Description Ann Marie directed GETTOMADE: A Journey Thru Time for Hip Hop pioneer Mr. Wiggles at Sadler’s Wells Theatre in London as part of the International Hip Hop Dance Theater Festival. The work takes a look at Mr. Wiggles’ groundbreaking career through story, dance, and visuals. |
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| Artistic Director | Forward-thinking Vision and Hands-on Experience I consider myself an artistic producer who uses my “vision” in forward-moving ways, both creatively and organizationally. My first experience as a director came when I founded Ballet D’Angelo in 1984, creating ground-breaking and eclectic full-evening shows. Later I became the founding artistic director of Ballet de Monterrey in Mexico, where I produced programs of the Americas, including classical ballets such as Cynthia Gregory’s SwanLake, and Alicia Alonso’s Giselle. As an artistic leader, I have contributed my expertise to organizations that were in start-up mode, as well as others in transitional situations. I have collaborated with directors and companies to define their artistic expansion, and handled crisis management. As artistic director of Ballet Omaha, I guided the Board to transform the organization into a presenting entity. As Associate Director of the Joffrey Ballet, I played a crucial role in it the company’s reinvention of itself in Chicago. I am also an experienced fundraiser who has created and produced independent dance projects. I have crafted programs for numerous gala benefits, including one that raised $1.2 million in a single evening. As a producer, I call upon the same organizational skills that an artistic director employs: developing concepts, programming, marketing; and selecting and managing dancers and other artists from major dance companies. I have recruited and worked with many celebrities, including Chevy Chase, Liza Minnelli, Bebe Neuwirth, Chita Rivera, and James Earl Jones. The Dance World and Beyond In addition to my work as an artistic consultant to dance companies, I have collaborated with organizations in other fields. One example: In 2002 the Rodgers and Hammerstein Organization invited me to create and direct the dance project for the Richard Rodgers Centennial. I solicited over 50 dance companies and choreographers to participate in the centennial by producing original work to music by Richard Rodgers. Participating companies included New York City Ballet, American Ballet Theatre, Royal Winnipeg Ballet, Ohio Ballet, Nevada Ballet Theater, Jennifer Muller The Works, Lar Lubovitch, Doug Elkins, and Anti-Gravity. As a result of my effort, those companies created many new works involving Rodgers’ music, and continue to do so. As a producer, an artistic director, a teacher, a coach, and a ballet master, I have developed a vast body of knowledge and experience. I have taught for numerous dance companies, universities and summer courses around the world. I give workshop to non-dancers at high-end resort spas such as Rancho La Puerta, and will return there in September of 2007. I developed my program “MOVE! Get Out of Your Own Way” while teaching private classes to Bette Midler as she prepared her show Kiss My Brass. When dance companies falter, their inability to attract audiences increases in direct proportion to their lack of vision. My vision moves beyond what most dance companies are programming today. |
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Vision and Responsibility I can offer safe ways of programming; but more important, I can bring innovative programming to the table. This involves presenting dance to a community in different packages, formats, and collaborations, both artistic and commercial. I understand the value of arts partnerships within a given community, as well as the necessity to reaching outside of our field through creative multi-disciplinary ventures. Both are essential if we are to expand our audiences. Because the arts can only thrive in a community of individuals and institutions that are committed to supporting it, I have tailored my vision differently for each different person, organization, situation or community I have worked in. As an artist I am both creative and fiscally responsible. I have a certificate in Arts Administration from New York University, and a proven track record of management skills. As the director of a ballet company, I might create one work a year, if that. Instead I would focus my energy on artistic growth, education, collaboration, and audience development.
Ballet D'Angelo (1984-1989) Click for various Ballet D'Angelo reviews
“Gypsy Band”, an on-going stream of dance acts reminiscent of the ancient Troubadour….story telling and entertainment collide in a pastiche of pure fun!" Dance International, 1988 … “Brilliant technician and fiery spirit…Ann Marie DeAngelo has spirit and spunk…courage even to put her soul on display. “The Last of the Best” is intimate, razor sharp in its street smarts.” Anna Kisselgoff, The New York Times 1986 “In 1984 DeAngelo created the present company at the suggestion of Alicia Alonso – now, two years later, DeAngelo returns to the 10th International Ballet Festival with a company of eight dancers capable of interpreting any role from Classical to the most daring avant garde. As times change it becomes necessary to search for new interpretations and new choreography that express contemporary themes…using Classical, Popular, and Rock Music and dance styles, they create an evening of no boundaries." Culturales, 1986 “Without a doubt the most exciting attraction at the 10th International Ballet Festival of Havana was “The Last of the Best”. Ann Marie DeAngelo’s dynamic choreography, combined with her use of classical and rock music, singing, acting and her own electrifying dancing brought standing cheers from a packed Mella Theater both nights." Trubajodores, 1986 “Zeitgeist…A ‘bulls-eye’ view of our time, depicting poignantly, sensually, and with humor…It moves the soul!" NR2 Dusseldorf, 1985 “DeAngelo’s surprisingly multidimensional ensemble displayed not only a command of Classical, Romantic Ballet and Modern Dance, but also talents as fine singers and actors. The audience sat in awe, spellbound. The harmonious combination transported the viewers deep into the heart of the moment." Munich, 1985 “Her American Dance Theater has surprised and shocked more than one! Their spirit evokes the courageous American Dream, and is presented by a synthesis of entertainment. This production is a vibrant homage to all types of dance." Tribune de Geneve, 1985 “…The nine-headed company puts together the wildest, virtuosic, craziest dance you can imagine!!" Berlin Marguport, 1985
Creating Organizational Structure Ballet de Monterrey (1990-1994)
Using vision to keep dance alive in a community Ballet Omaha (1994-1995) My season with Ballet Omaha included revived works by Lew Christensen and Lynne Taylor-Corbett; a Hollywood Nutcracker; contemporary works by Laura Dean,Charles Moulton, and one of mine; collaborative projects with Emmy Gifford Children’s Theater; and a themed evening with the opera, symphony and ballet. I learned the value in partnering with other organizations for building audiences. Because of a prior deficit the Board decided to suspend the company during my tenure. I suggested that the organization reconfigure itself as a presenting entity. This change enabled Ballet Omaha to continue to fulfill its mission of bringing dance to its community. I successfully negotiated to bring the Joffrey Ballet to Omaha, in their inaugural season of the Nutcracker. Ballet Omaha went on to present many other companies, including the Dayton Ballet. |
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| Artists | List Of Artists, Companies and Choreographers Ann Marie has worked with at the Career Transition for Dancers Galas 2002 - 2009 | ||||||||||||||||
Companies
Choreographers
Presenters
Awardees
Solo Performers
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| Career Transition for Dancers PORTFOLIO | 2009 America Dances! Dress rehearsal & performance photographs November 2, 2009: City Center, New York, NY Photographs: © 2008 Richard Termine
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2008 On Broadway
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2006 One World
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2005 That's Entertainment
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