Choreographed by Twyla Tharp
Based on a story by George MacDonald
Music by Franz Schubert, arranged and orchestrated by Richard Burke
Original Music by Richard Burke
Live with the Atlanta Ballet Orchestra
Adapted from the 19th century fairy tale by George MacDonald, Twyla Tharp’s The Princess & the Goblin returns after its 2012 world premiere with Atlanta Ballet. Take your family on an incredible adventure into the Kingdom of the Goblin, where a young heroine must call upon friends, family, and her own courage to perform a daring rescue!
“It’s a work of transcendent magic that will take you out of this world.”
– Atlanta INtown
Run time is approximately 1 hour and 24 minutes. This program is performed without an intermission.
*Please note that this production uses intermittent haze and strobe lighting.
The creation of Twyla Tharp's The Princess & the Goblin was made possible through the support of Chris M. Carlos in Memory of Mrs. Thalia N. Carlos | Patti Eloise Wallace | Anonymous | The Asper Family in Memory of Babs Asper | Susan Glass and Arni Thorsteinson | The Rich Foundation | Dr. Robert Ross and Angela B. Ross | With Additional support from Ginny and Charles Brewer and the National Endowment for the Arts
Co-produced by Atllanta Ballet and Canada's Royal Winnipeg Ballet.
"Twyla Tharp's 'The Princess and Goblin' presented by Atlanta Ballet;" Video by Brian Wallenberg.
Pictures: Atlanta Ballet dancers and students from Atlanta Ballet Centre for Dance Education. Featuring Christine Welker. Photos by Kim Kenney and Charlie McCullers.
Cobb Energy Performing Arts Centre
The Cobb Energy Performing Arts Centre is the first major performing arts facility built in metro Atlanta in four decades.
Location and Parking
The Cobb Energy Performing Arts Centre is located in northwest Atlanta near the junction of I-75 and I-285, at the intersection of Cobb Galleria Parkway and Akers Mill Road. Self parking is available on site for a $6 fee, and valet parking is available for select performances for a $10 fee. You can also pay for paking in advance online - click here for more information. Please do not park in the Toys"R"Us lot on Akers Mill Rd. This is not approved parking for the Cobb Energy Performing Arts Centre, so your car may be booted or towed if left there. Click here for dining, hotel, and additional venue information.
Emergency Phone Number
(770) 916-2911 is the 24-hour public safety number for the Cobb Energy Centre. Please leave your seat location with your babysitter or answering service so that the house manager may find you in case of an emergency.
The venue is ADA compliant. Designated seats in various locations are available for guests with disabilities and those needing special assistance. The venue is equipped with wheelchair accessible courtesy phones, elevators, plaza ramps, wheelchair accessible ticket windows, and wheelchair accessible drinking fountains. For more information, please call (770) 916-2800.
Community and Corporate Group Tickets
It only takes 10 people to benefit from Atlanta Ballet's Group Sales program. With our fast, friendly and convenient service, you can secure the best seats in the house in no time at all. Groups save up to 30% off regular prices!
Click here for details and to submit a request to Myredith Gonzales, Group Sales Manager.
John Welker’s King Papa, uppity and cold, provided a nice contrast to Benjamin Stone’s wonderfully naïve Curdie. In one scene, Curdie bravely fought the goblins and broke down from exhaustion — hair and clothes loosened from the effort — as he realized he was outnumbered. His face gathered in tight-lipped frustration, yet his turns and leaps remained precise and energetic. The contrast spoke volumes: here is a boy who refuses to give up. Rogers danced with the same childlike gusto and brashness, as if to laugh in the face of adults who think their problems are bigger.
Tharp, 74, did not return to Atlanta to stage this new edition of The Princess and the Goblin. Instead, Sarah Hillmer — a company ballet mistress who served as Tharp’s assistant in 2011 in Atlanta and 2012 in Winnipeg — has taken on the challenge of staging the piece on Tharp’s behalf. During that time, the two of them forged a close relationship that gave Hillmer a deep respect and love for Tharp.
No stranger to the role, Rogers performed as Princess Irene in Atlanta Ballet’s 2012 production. Originally cast as the understudy, she was put into the part right before a studio performance. “That was my first lead role ever and I will always have a soft spot for it,” says Rogers. “It’s wonderful to revisit it now after 5 years. I recognize the ways in which I’ve grown and changed as a dancer since its premiere. A lot of opportunities sprang from this ballet. It’s been a crazy, surreal ride but The Princess and the Goblin gave me so much. I will always be grateful for the experience and for Twyla for believing I could be a princess.”
The opportunity to see a world premiere by one of the world's most renowned choreographers is rare, but the opportunity to see a world premiere that was created and closely tailored to the strengths of our own ballet company is singular. What's most special about Twyla Tharp's "The Princess and the Goblin," now on stage at the Cobb Energy Performing Arts Center through February 19, is the masterful way Tharp matches dancers to their parts - drawing out and highlighting all the existing strengths of the Atlanta Ballet.
ATLANTA - "The Princess and the Goblin," a fantastical story that George MacDonald published in 1872, is the kind of children's literature that adults can read with pleasure. Enchanting and funny, it's laced with sharp wisdom, moral without being moralistic. The 8-year-old heroine is brave and good and yet not dull.
Tharp has embedded many ideas and layers into her ballet—which entertained a capacity (and family-filled) audience at its final performance. The passing-on of knowledge from the wise, beneficent great-great-grandmother to Irene, and the young girl’s subsequent passing-on of some of her acquired wisdom to the children she has saved, are clearly themes that drew Tharp to the tale. There are always new insights to discover and new directions in which to grow, the ballet suggests.
You don't have to be a dance aficionado to know that Atlanta Ballet and Twyla Tharp are making history with the world premiere of "Twyla Tharp's The Princess and the Goblin," at the Cobb Energy Centre through February 19; you just have to see it. It's a work of transcendent magic that will take you out of this world.
Twyla Tharp is no stranger to Atlanta audiences. She chose to preview her Broadway show "Come Fly Away" at the Alliance Theater in 2009 (then titled "Come Fly With Me") and launched the show's touring company here as well. Now, in a historic undertaking, the celebrated choreographer has created a full-length story ballet with Atlanta Ballet. "The Princess and the Goblin," a fantastical story based on George MacDonald's 19th-century fairy tale, will have its world premiere at the Cobb Energy Performing Arts Centre February 10-19.
It came as a surprise to Atlanta Ballet dancer Alessa Rogers when Twyla Tharp, one of the western world's most prolific and celebrated living choreographers, announced at a morning rehearsal last August that Rogers would dance the lead role, Princess Irene, in a studio performance of Tharp's "The Princess and the Goblin."
Over the past year Ms. Tharp spent 13 weeks in the South where, on Friday, the Atlanta Ballet will unveil her full-length production "The Princess and the Goblin" at the Cobb Energy Performing Arts Center. The new work is based on a fantastical 19th-century tale by George MacDonald and was, for Ms. Tharp, many years in the making. It was commissioned jointly by the Atlanta Ballet and the Royal Winnipeg Ballet.
A really sweet ballet
by Abby on April 23, 2016
This was a really sweet ballet. The music and the dancing were lovely. It's a very child-friendly event, which is one of the things I liked about this particular production; it's nice to have an alternative to the Nutcracker.
Sadly for me, the family right behind me spent a fair amount of time doing things like loudly crinkling cellophane- maybe candy wrappers?- for a few minutes at a stretch. (That same family turned out to be parked next to me in the garage and dented my car door in their rush to leave, so they might have just been rude people.)
by Mary McDaniel on April 20, 2016
I took my 7 year old granddaughter to this ballet. Because this appeals to children, I think it would have been more enjoyable for them with an intermission. Without one, it is just a long time for normal children to sit.
Well below par
by Kevin on April 20, 2016
I thought it was well below the standards set by the Atlanta Ballet. It is not acceptable to have cast in sneakers and not full costume at a production of this level.
Our First Ballet - Very Entertaining
by Jacqueline B on April 19, 2016
I took my 5-year old daughter to see The Princess and the Goblin, and we thoroughly enjoyed the performance.
The princess &I the goblin
by Pamela Luczon-Peterman on April 19, 2016
Very entertaining!! Especially the young dancers and the great music.
A Delightful Evening
by Rebekah Shafer on April 19, 2016
I have never before had the opportunity to enjoy a piece choreographed by Twyla Tharp, and I am very grateful to Atlanta Ballet for hosting and presenting such an enjoyable event.
The story telling was superb, the dancers impressive, and the simple yet masterful sets and costumes lent a unique flavor. Definitely worth the price of admission. And the live orchestra was an excellent touch.
Princess n goblin
by Karyn on April 19, 2016
I thought the dancing n music was wonderful. A bit long w/o an intermission. But a great performance.
Twyla Tharp's The Princess and the Goblin Teaser 2015 (Atlanta Ballet)
Audiences are talking...TWYLA THARP's 'The Princess and the Goblin'
New York Times footage from Twyla Tharp's The Princess and the Goblin
From Studio to Stage: King & Queen of the Goblin Kingdom
In The Studio with TWYLA THARP: Princess Irene & Curdie
QUICK CLIP: Jesse Tyler & Christian Clark - Goblin duet
Twyla Tharp's THE PRINCESS & THE GOBLIN: A Moment in Time (Photo Montage)
Twyla Tharp's THE PRINCESS & THE GOBLIN: THE KIDS
About Twyla Tharp
Twyla Tharp is one of the most recognized names in dance today. With a career spanning over four decades, Tharp creates works that transcend boundaries and disciplines, making her one of the most prolific choreographers alive. With over 135 dances to her name, some of her credits include: Emmy Award Winner Baryshnikov by Tharp (1984), In the Upper Room (1986), Hair (1978), Amadeus (1984), Tony Award Winner Movin' Out (2002), and Come Fly Away (2010).
Arguably America's most celebrated choreographer, Twyla Tharp now sets her sights on a full-length, world premiere that chronicles the adventures of a young princess on a quest to save her kingdom. Based on a story by George MacDonald, Tharp's ballet follows a young girl's heroic journey of bravery and independence.
The 411 on Twyla Tharp
Dances Deuce Coupe (1973) Push Comes to Shove (1976) Once More Frank (1976) The Golden Section (1983) Baryshnikov by Tharp (1984) In the Upper Room (1986) Sweet Fields (1996)
Hollywood Films Hair (1978) Ragtime (1980) Amadeus (1984) White Nights (1985)
Broadway Movin' Out (2002) Come Fly With Me (2010)
1985 Emmy Award for Baryshnikov by Tharp (Choreography & Co-direction)
2003 Tony Award for Movin' Out (Outstanding Choreography)
2004 National Medal of Honor
2008 Kennedy Center Honor
Author Of … Push Comes to Shove, an autobiography (1992) The Creative Habit: Learn It and Use It for Life (2003) The Collaborative Habit: Life Lessons for Working Together (2009)
David LaMarche has been working as a conductor in the dance field for over twenty years. He served as music director for the Dance Theatre of Harlem from 1993 to 1998 and conducted many of the company’s premieres. In addition, he composed and arranged several scores for the repertory. As a guest, he has conducted for New York City Ballet, San Francisco Ballet, National Ballet of Canada, Houston Ballet, Joffrey Ballet, The Paul Taylor Dance Company, L’Opera di Roma, Het National Ballet, Les Grand Ballets Canadiens, Ballet British Columbia and Ballet West. The orchestras he has directed include the Houston Symphony, the Lyric Opera Orchestra of Chicago, the Pacific Symphony, St. Luke’s Orchestra, the National Arts Center Orchestra of Canada, the Tokyo Philharmonic, the Hong Kong Philharmonic, the Moscow Radio Orchestra, the Tivoli Festival Orchestra, and the Orchestre Lamoreux of Paris.
He is currently in his fifteenth year on the staff of American Ballet Theatre and is music director of the José Limón Company. As a writer, he is a regular contributor to New York Concert Review and Ballet News. He is a graduate of Boston University and resides in New York City.