Atlanta Ballet Gennadi Nedvigin | Artistic Director

Atlanta Ballet Gennadi Nedvigin | Artistic Director

Tu Tu & More

Tu Tu & More

Jessica He & Alexandre Barros. Photo by Charlie McCullers.

April 13-15, 2018 Tu Tu & More

Supported by TURNER_Logo_RGB_OverLightBG.png?mtime=20170417160759#asset:1381:sponsorLogo

  • Tu Tu Choreography by Stanton Welch
  • Music by Maurice Ravel
  • blink (world premiere) Choreography by Tara Lee
  • Music by Johannes Brahms
  • Featuring Live Piano Accompaniment
  • Minus 16 Choreography by Ohad Naharin
  • Music by Various Artists

Join Atlanta Ballet in April for a spectacular program highlighting the broad spectrum of dance today, including a Company premiere, a world premiere, and an Atlanta Ballet signature work!

Created by Stanton Welch, Artistic Director of Houston Ballet, Tu Tu is not your conventional affair. Moving from buoyant to beguiling, impassioned partnering, Tu Tu is a visually arresting program set off with boldly colored costumes and dramatic lighting. Get ready for a highly stylized classical work with a playful twist. A Company premiere.

After twenty-one seasons as a Company dancer and four main stage commissions, Tara Lee returns with blink, a new and vibrant neoclassical style ballet set to one of Johannes Brahms’ most challenging piano scores. Like capturing lightning in a bottle, the dancers’ energy surges past the confines of the stage and takes you on a voyage through the cosmos. Reflecting the stars of the constellations, they expand and move in and out of configuration, exploring the fleeting, yet sacred, moments that make up a mere blink in the vast history of the universe. A world premiere featuring live piano accompaniment.

Minus 16, one of choreographer Ohad Naharin’s most celebrated works, offers a thrilling exploration of the human experience set to music ranging from Israeli folk songs to Dean Martin standards. Powerful, visceral, and crowd-pleasing, you won't want to miss this one-of-a-kind work. ArtsATL described it as "irreverent, mischievous, cruel, ironic, irrational, soul-searching and a little kooky." Experience it for yourself! An Atlanta Ballet signature work.


This project is supported in part by an award from the National Endowment for the Arts.

nea-lockup-A.jpg?mtime=20170613121303#asset:1703:sponsorLogo


Performance Photos

  • Venue
    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.  Pre-paid parking is available for $12.00 through Parking Panda and AAA Parking for performances. Please note: the pre-paid parking option allows you a parking spot in the parking deck, not necessarily an assigned space. Day of parking will still be available for $6.00 (cash or credit). Valet parking is available for The Atlanta Opera and Atlanta Ballet only for $15.00 (cash or credit card). 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
    The 24-hour public safety number for the Cobb Energy Centre is 770.916.2911. Please leave your seat location with your babysitter or answering service so that the house manager may find you in case of an emergency.

    Special Needs
    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.

  • Group Discounts

    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% on regular prices!

    Click here for details and to submit a request to Myredith Gonzales, Group Sales Manager.

  • Seating Chart

    Cobb Energy Performing Arts Centre

  • Video
  • Special Offers & Events

    With generous support from The Home Depot Foundation and in appreciation of your service, members of the U.S. military and veterans with valid documentation may receive up to 2 complimentary tickets to any of the Tu Tu & More performances, April 13-15, 2018.

    Learn More

    Atlanta Ballet offers elegant pre-show dining at the theatre prior to the Friday, April 13 at 8pm and Saturday, April 14 at 8pm performances. Beat the traffic and enjoy a lovely, unhurried meal with a view of the city on the grand tier level of Cobb Energy Centre. Buffet-style dinners are $60 per person and include two glasses of wine. Must be purchased by Monday, April 9 at 5pm.

    Book Your Pre-Ballet Dining

  • Choreographers

    Tara Lee, Choreographer (blink)

    Tara Lee began her dance training with Donna Bonasera of Connecticut Dance Theatre and Joffrey II, which led to a 21-year dance career with Atlanta Ballet. She made her choreographic debut in 2003 when former Atlanta Ballet artistic director John McFall handpicked her piece Sixteen String from an Atlanta Ballet choreographer’s workshop for the company’s following season. A second invitation to choreograph in 2004 led to the premiere of Poem. After several years of focusing mainly on dancing and joining Ballet British Columbia for a year, Tara made Pavo in 2012 and the authors in 2014 for Atlanta Ballet. She has also created original works for Emory Dance Company, Atlanta Ballet’s Wabi Sabi, Georgia Public Broadcasting, and New Orleans Ballet Theatre. In 2017, Tara co-founded Terminus Modern Ballet Theatre (TMBT) and created its company debut, exstasis. Her next work for TMBT, The Vertical, opens in May, and she will premiere a new duet for Dimensions Dance Theatre of Miami at NYC’s Joyce Theatre in June 2018.

    Ohad Naharin (Choreographer, Minus 16)

    Ohad Naharin has been hailed as one of the world’s preeminent contemporary choreographers. As artistic director of Batsheva Dance Company since 1990, he has guided the company with an adventurous artistic vision and reinvigorated its repertory with his captivating choreography. Naharin is also the originator of an innovative movement language, Gaga, which has enriched his extraordinary movement invention, revolutionized the company’s training, and emerged as a growing force in the larger field of movement practices for both dancers and non-dancers.

    Born in 1952 on Kibbutz Mizra, Ohad Naharin began his dance training with the Batsheva Dance Company in 1974. During his first year with the company, visiting choreographer Martha Graham singled out Naharin for his talent and invited him to join her own company in New York. While in New York, Naharin studied on scholarship at the School of American Ballet, furthered his training at The Juilliard School, and polished his technique with master teachers Maggie Black and David Howard. He went on to perform internationally with Israel’s Bat-Dor Dance Company and Maurice Béjart’s Ballet du XXe Siècle in Brussels.

    Naharin returned to New York in 1980, making his choreographic debut at the Kazuko Hirabayshi studio. That year, he formed the Ohad Naharin Dance Company with his wife, Mari Kajiwara, who died of cancer in 2001. From 1980 until 1990, Naharin’s company performed in New York and abroad to great critical acclaim. As his choreographic voice developed, he received commissions from world-renowned companies including Batsheva, Kibbutz Contemporary Dance Company, and Nederlands Dans Theater.

    Naharin was appointed Artistic Director of Batsheva Dance Company in 1990 and has served in this role except for the 2003-2004 season, when he held the title of house choreographer. During his tenure with the company, Naharin has choreographed over 20 works for Batsheva and its junior division, Batsheva Ensemble. He has also restaged over 10 of his dances for the company and recombined excerpts from his repertory to create Deca Dance, a constantly evolving evening-length work.

    Naharin trained in music throughout his youth, and he has often used his musical prowess to amplify his choreographic impact. He has collaborated with several notable musical artists to create scores for his dances, including Israeli rock group The Tractor’s Revenge (for Kyr, 1990), Avi Belleli and Dan Makov (for Anaphaza, 1993), and Ivri Lider (for Z/na, 1995). Under the pseudonym Maxim Waratt, Naharin composed music for MAX (2007) and edited and mixed the soundtracks for Mamootot (2003) and Hora (2009). Naharin also combined his talents for music and dance in Playback (2004), a solo evening which he directed and performed.

    In addition to his work for the stage, Naharin has pioneered Gaga, an innovative movement language. Gaga, which emphasizes the exploration of sensation and availability for movement, is now the primary training method for Batsheva’s dancers. Gaga has also attracted a wide following among dancers around the world and appealed to the general public in Israel, where open classes are offered regularly in Tel Aviv and other locations.

    Naharin’s compelling choreographic craft and inventive, supremely textured movement vocabulary have made him a favorite guest artist in dance companies around the world. His works have been performed by prominent companies including Nederlands Dans Theater, Ballet Frankfurt, Lyon Opera Ballet, Compañía Nacional de Danza (Spain), Cullberg Ballet (Sweden), the Finnish National Ballet, the Paris Opera Ballet, Balé da Cidade de São Paulo, Cedar Lake Contemporary Ballet (New York), Hubbard Street Dance Chicago, and Les Grand Ballets Canadiens de Montréal. Naharin’s rehearsal process with Cedar Lake Contemporary Ballet during a restaging of Deca Dance was the subject of Tomer Heymann’s documentary Out of Focus (2007).

    Naharin’s rich contributions to the field of dance have garnered him many awards and honors. In Israel, he has received a Doctor of Philosophy honoris causa by the Weizmann Institute of Science (2004), the prestigious Israel Prize for dance (2005), a Jewish Culture Achievement Award by The Foundation for Jewish Culture (2008), a Doctor of Philosophy honoris causa by the Hebrew University (2008), and the EMET Prize in the category of Arts and Culture (2009). Naharin has also been the recipient of the Chevalier de l'Ordre des Arts et des Lettres from the French government (1998), two New York Dance and Performance (Bessie) Awards (for Naharin's Virus at the Brooklyn Academy of Music in 2002 and for Anaphaza at the Lincoln Center Festival in 2003), the Samuel H. Scripps American Dance Festival Award for Lifetime Achievement (2009), and a Dance Magazine Award (2009). Visit www.batsheva.co.il/en for more information on Mr. Naharin.

    Stanton Welch, Choreographer (Tu Tu)

    In July 2003, Australian choreographer Stanton Welch AM assumed leadership of Houston Ballet. Since then, the company has grown to 60 dancers, making it America’s fifth largest classical ballet company. Mr. Welch has revitalized Houston Ballet by raising the level of the company’s classical technique and commissioning new works from the world’s best dance makers. The company has made numerous appearances in the US and internationally, including London, Germany, Spain, Montreal, Ottawa, Paris, Australia, New York, Los Angeles, Chicago, and Washington, D.C. Mr. Welch has created works for some of the world’s most prestigious companies such as San Francisco Ballet, American Ballet Theatre, The Australian Ballet, Birmingham Royal Ballet, and The Royal Danish Ballet. He has choreographed more than twenty works for Houston Ballet, including the full-length narrative ballet Marie (2009), Romeo and Juliet (2015), Giselle (2016), and The Nutcracker (2016), as well as spectacular stagings of Swan Lake (2006) and La Bayadère (2010). Under his leadership, the Houston Ballet Academy teaches over one thousand students every year, and approximately 50% of the current company was trained by the Academy.

  • Casting

    Friday, April 13 at 8pm & Saturday, April 14 at 8pm

    View casting list


    Saturday, April 14 at 2pm

    View casting list


    Sunday, April 15 at 2pm

    View casting list