Nancy Wozny

Sep 10, 2024 | artsandculturetx.com | Nancy Wozny

Dance artists are shaped by the work they dance, and the relationship between the dancer and the dance-maker is extremely potent when it comes to what we see on stage. More and more, the dance field is acknowledging the creative agency of the dancing body, the body as an archive of all that a person has danced, and how that knowledge contributes to the richness of a dancer’s artistry.

Jun 4, 2024 | pointemagazine.com | Nancy Wozny

Watching Amy Fote navigate the sweeping contours of Stanton Welch’s The Four Seasons, one would never guess it’s been a decade since she donned a pair of pointe shoes. The former Houston Ballet principal, now a company ballet master, returns to the stage this month at age 51 to dance the “Winter” section of Welch’s 2007 work. The ballet honors the seasons of a woman’s life from young love to marriage, midlife, and widowhood.

Apr 18, 2024 | dancespirit.com | Nancy Wozny

Watching Eric Best navigate the sensuous curves of Stanton Welch’s Tapestry, during Houston Ballet’s Jubilee of Dance [in December 2023], the dancer’s flow and exactitude merged into a seamless whole. His generous port de bras caressed the space, drawing out Welch’s nuanced choreographic lines. With his crisp technique, subtle swagger, and beguiling fluidity, Best catapulted from the corps de ballet to soloist at the opening of the season, and audiences cannot get enough of him.

Apr 14, 2024 | artsandculturetx.com | Nancy Wozny

Austin-based choreographer Brett Ishida boasts a whirlwind June with performances of her company ISHIDA Dance in “Mutability” on June 7-9 at Asia Society Texas Center in Houston and June 12-14, 2024 at The Long Center in Austin. Ishida will premiere two of her own ballets, Mutability and Green Apples, along with works by two guest choreographers.

Mar 8, 2024 | dancemagazine.com | Nancy Wozny

Watching Eric Best navigate the sensuous curves of Stanton Welch’s Tapestry, during Houston Ballet’s Jubilee of Dance this December, the dancer’s flow and exactitude merged into a seamless whole. His generous port de bras caressed the space, drawing out Welch’s nuanced choreographic lines. With his crisp technique, subtle swagger, and beguiling fluidity, Best catapulted from the corps de ballet to soloist at the opening of the season, and audiences cannot get enough of him.