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Young dancer to play CBT’s ‘Mermaid’

By Bethany E. Larson, Special to The Post and Courier

James Peronto (left) partners Melissa Rauton (right) in "The Little Mermaid"

James Peronto (left) partners Melissa Rauton (right) in "The Little Mermaid"

Melissa Rauton was once a shy Charleston Ballet Theatre dance student who idolized the company members and strove for technical perfection. Saturday, she will dance the lead role of Ariel in ‘The Little Mermaid,’ part of this year’s CBT program for the Piccolo Spoleto Festival.

‘I’ve always looked up to the company, and performing with them is just amazing,’ said Rauton, 17, who began tap and jazz classes at the age of 3 and transitioned into ballet when she was 9. Already trained in three different dance styles and thirsty for more, she relished the opportunity to audition for CBT’s Broadway Dance Project when it launched in 2004.

Designed by CBT dancer Stephen Gabriel at the behest of company Artistic Directors Don and Patricia Cantwell, the Broadway Dance Project provides ambitious, local dance students training in Broadway-style dance.

‘Students audition for Broadway Dance Project at the beginning of each September,’ said Gabriel, who is in his 14th season with CBT, ‘and I choose the dancers I think are most suited for the production. We work on the production for nine months, starting in September and performing in May. The last two years we’ve been in Piccolo Spoleto and it’s been really rewarding.’

Rauton has auditioned and danced with Gabriel’s handpicked children’s company every year since it began.

As a testament to her loyalty and dedication, Gabriel created last season’s Broadway Dance Project production of ‘The Little Mermaid’ with Rauton in mind for the lead role of Ariel.

‘I didn’t even like dance until I started classes at CBT,’ admitted Rauton, who recently received a dance scholarship to attend Point Park University’s Conservatory of Performing Arts, where she will major in dance with a focus in ballet. She added, ‘Seeing as it’s my last year here, I’m so honored to play the lead.’

Outside of Rauton, ‘The Little Mermaid’ cast is made up of five CBT company members and the 27 young dancers, ranging in age from 11-17, enrolled in the Broadway Dance Project.

‘Sometimes,’ said Gabriel, ‘the students are so young that they don’t really know the technique, but they have that in other classes. My real job is to try to teach them to perform.’

Performance is a skill Gabriel knows well. Growing up in Kansas City, Mo., he fell in love with Broadway at a young age and found jobs dancing with shows in Branson, Mo.

‘Everyone used to tell me I should dance in Las Vegas or New York,’ said Gabriel, ‘But I always thought that ballet was more of a challenge, and I like being challenged. However, I do like to choreograph in a lot of different genres — modern, Broadway and ballet. Sometimes it just becomes a fusion of them all.’

The love of a challenge, as well as the overarching love of all dance styles, is something that Gabriel and Rauton share, which is perhaps what makes him the perfect mentor for the young dancer.

But for Rauton, the biggest part of the challenge isn’t learning choreography or remembering technique while also performing, it’s emotionally connecting with her character. The role of Ariel requires a vast emotional range, from exuberant to heartbroken. The dancing comes naturally to Rauton. The acting does not.

Knowing she struggled with emoting and acting, Gabriel cast her in roles with over-the-top personality. For example, she danced the role of the Wicked Witch of the West in the Broadway Dance Project’s ‘Off to Oz,’ which debuted in 2009.

‘I’ve always been more of a shy dancer,’ said Rauton, ‘and Stephen has helped me learn to act and dance at the same time. He kept challenging me year after year. I feel so grateful to him, and honored to have the opportunity to dance with CBT. I definitely think they helped me get better in every aspect.’

Bethany Larson is a Goldring Arts Journalism Program writer. Reach her at blarson@syr.edu.

If you go

What: ‘The Little Mermaid.’

When: June 5 at 1 and 3 p.m.

Where: Charleston Ballet Theatre’s Studio, 477 King St.

How much: Adults $26, Children 6-12, $16.

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Written by Sarah Zimmerman

The Post and Courier’s Live Twitter Wall is up! The scrolling wall of text made its debut Friday at the opening night of the Trocks at The Gaillard Auditorium. Onlookers stared at the large-scale video installation of real-time live tweets on the second-floor lobby wall as they entered the auditorium and during both intermissions. Audience members were able to see their own contributions to the festival-wide online discussion, while picking up tips and sneak peaks from tweeters at other locales.

If you missed the first run, don’t fret. The Twitter Wall will be on view at Gaillard an hour before each of the shows listed below. Stop by and keep tweeting using #spoto.

Monday, May 31, Strauss, Ravel, 7:30 p.m.

Wednesday, June 2, Lizz Wright, 8 p.m.

Friday, June 4, Lucinda Childs’ Dance, 8 p.m.

Sunday, June 6, Beethoven, Mozart, Wagner, 7:30 p.m.

Tuesday, June 8, Mozart, Brahms, Verdi, 7:30 p.m.

Friday, June 11, Giselle, 7 p.m.

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That’s what is happening at noon. I know what Mayor Joe Riley is going to say because he has said it every year, but it’s still inspiring for the arts.

There is always a surprise at the opening at the corner of Broad and Meeting St. But go now and get a good parking spot. And look for the shade. It’s going to be a warm one.

Our Goldring Arts Journalism members will be hanging there, so look for people wearing the orange press passes. And check out our blogs and videos as we cover the festival as it has never been covered before!

You can contact us at Spoletotoday@postandcourier.com or leave comments for us. We’ll be checking for them early and often.

Here’s a comment from a reader this morning:
“We attended Present Laughter last night and it was fabulous. As good as I have seen in NY, Edinburgh and Vegas!”
Linda and Mike Leatherwood

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Rodney Lee Rogers performs The Gentleman Pirate at the Powder Magazine.

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Bluesman Jeff Norwood playing his Delta Blues and Hill Country Stomp from his latest CD entitled “Awendaw” at the Mad River Bar & Grille.


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Spoleto Today is on the radio starting at 11 a.m. at WSCI-FM 89.3:

Host Marc Overton sits down with Jack Terricloth, star of ‘Addicted to Bad Ideas: Peter Lorre’s 20th Century,’ to talk about Kurt Weill, Berthold Brecht, Peter Lorre and loud music.
Westminster Choir conductor Andrew Megill and host Jennifer Foster discuss Bach, Buxtehude and choral music.
Flutist Tara Helen O’Connor and viola/violinist Daniel Phillips talk about playing great chamber music together — and managing a successful classical-music marriage.

On today’s Carolina Classics:

Listen to the first program of this year’s Spoleto Chamber Music series. You’ll hear Bach’s Trio Sonata in C Major, featuring Daniel Philips, Tara Helen O’Connor, Alisa Weilerstein and Charles Wadsworth.
Saint-Saen’s Le Bonheur et chose legere with Courtenay Budd, Chee-Yun and Wadsworth
Amy Beach’s Chason D’Amour performed by Budd, Weilerstein and Wadsworth and more.

Missed a program? Go online to: http://www.spoletochambermusic.org
for streaming audio.

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ukelele

Jake Shimabukuro

A tip of the cigar to Garden & Gun, a favorite magazine in these parts, for its unbridled enthusiasm for “The Ukelele Unleashed” in an online Talk of the South feature of the same name. G&G mentions Spoleto Jazz Series artist Jake Shimabukuro’s week of gigs, including tonight in Nashville, Thursday night in Chattanooga, Friday night in Atlanta, and Saturday night here among we’uns at Spoleto.

He’s a busy guy.

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“Monkey: Journey to the West,” this year’s Spoleto talker, is a visual feast. It gets the kitchen sink treatment in the numbers and kinds of Chinese performance arts thrown in. I saw Friday night’s performance. A few thoughts …

Supertitle translations show that Monkey is quite funny. The 500-year old folk story of a spiritual quest is full of natural and supernatural people and beasts.

It’s 2 hours with no intermission, the anime is great, costuming outrageous (and sometimes scary … plus, Monkey looked like he’d just played basketball), painted sets interesting, and physical performances … martial arts, sword fighting, gymnastic aerials, high wire flying, plate-spinning, silk panel aerials, bamboo pole acrobatics, body contortion, fire stick twirling, umbrella spinning … amazing. Your eye doesn’t know where to go, and if you drink any alchohol before the show you might get dizzy. For me, it was a preview of some of the things we will see in opening ceremonies for this summer’s Beijing Olympics … on a smaller scale of course. For the Olympics, there will be hundreds of acrobats, scores of plate-spinners, thousands of singers …

The orchestra is amplified and so are the singers, so if you have a sensitive ear, take earplugs. The performance is not that loud but Chinese music’s forms and some of the rock repetition of rhythms, plus the squeals the monkey makes (I wanted to wring his neck) and the whanging of sticks on the stage floor (amplified by the wireless mics) can be jarring to a Western ear. (My ear is so sensitive that those things made me feel like I was losing my mind.) Mandarin itself, in fact, can be jarring to a Western ear.

Sometimes you just have to let art wash over you.

(See Alan Hawes’ photo gallery here.)

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Tomorrow’s Friday 5 Top 5 is about tips for enjoying the festivals… Those will be available Friday morning, but my extended tips are available right now over at my Friday 5 blog.

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