University Press (Beaumont, Tex.), Vol. 72, No. 11, Ed. 1 Wednesday, October 11, 1995 Page: 3 of 6
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University Press • Wednesday, October 11,1995 • Page 3
BMC dips ‘down south of border’
for first season concert Thursday
Tonya Andris
UP entertainment editor
The Beaumont Music Commission 1995-96 Artist
Series begins Thursday at 8 p.m. at the Julie Rogers
Theatre with the Amalia Hernandez production of the
original Ballet Folklorico de Mexico.
With 65 dancers and musicians, the company is
noted for its lavish costumes, breathtaking sets and
some of the most beautiful music and songs in the
world.
The Ballet Folklorico de Mexico is a reflection of
many similar souls and spirits that make up the nation
of Mexico.
Hernandez founded the group in 1952, a product of
her love and passion for Mexican music and tradition.
From these beginnings, with eight young students, to
what is now the largest and most widely respected
Mexican dance company in the world, Hernandez has
proved herself a constant innovator and the leading
cultural ambassador for the arts in Mexico.
Amalia was 8 years old when she decided that dance
was to be her life work, despite her father’s objections.
A prominent military and political figure, as well as a
wealthy rancher, her conventional father would not
permit his daughter to study a profession that meant
public exhibition. But her determination won out.
Sen. Hernandez built a private studio near the
house. Amalia studied under Madame Sybiline, the
principal dancer of Anna Pavlova’s Company, Madame
Dambre of the Paris Opera (both of them brought to
the Hernandez ranch by her father), as well as
Waldeen, the U.S. modern dancer, and La Argentinia,
the Spanish dancer.
Traditions for the Ballet de Folklorico come from
Between the time of the Olmec Indians and the
birth of modern Mexico, more than 30 distinct cultures
flourished in what is now Mexico, each influencing
Mexican life before being supplanted by another cul-
ture.
Among these include the great civilizations of the
Aztecs and the Mayans.
Many cultures added their own “drop of blood” to
the Amerindian civilizations that had dominated the
continents for centuries.
“Folklore all over the world is alive and influenced
by its changing surroundings,” Hernandez said.
Hernandez maintains two companies of about 150
performers each, a traveling company and a resident
company that performs regularly at the Palacio de
Bellas Artes in Mexico.
Since its founding, more than 600 dancers have
passed through the company’s ranks.
Many of Mexico’s most famous dancers began their
careers with the ballet, and 10 have gone on to form
major companies of their own.
The group has been called upon to entertain digni-
taries, such as Indira Ghandi, Gen. Charles De Gaulle,
Golda Meyer and Presidents John F. Kennedy and
Jimmy Carter.
The company has traveled nearly 500,000 miles to 48
different countries, taking their elegant depictions of
Mexican culture from the foot of the Sphinx in Egypt,
to the ruins of the Greek Parthenon, to New York’s
Lincoln Center.
Tickets are $40 for adults and half price for students
and children.
A limited number of tickets are available free in 212
Setzer Student Center. A valid Lamar ID must be pre-
sented.
‘AH I Want’ is
Ginger Sjolander
UP staff writer
Tight jeans and good looks aside, Tim McGraw
has produced a winning follow-up to his mon-
strously successful second album, “Not a Moment
Too Soon.”
Many listeners may not realize that “All I
Want” is McGraw’s third effort. He made a debut
a few years ago with a self-titled album that was
an heroic attempt, but it just lay there.
This new disc opens with a toe-tapper called
“All I Want Is a Life.” This radio-friendly tune, if
released as a single, is sure to be a dance hall
favorite. McGraw brings the tempo down a notch
with “She Never Lets It Go to Her Heart.” This
song has the feel of many of the hits that made
Tracy Lawrence a star.
The next ballad of the year is certainly going
to be “Can’t Be Really Gone.” McGraw sings
from the point of view of a man in denial. His girl
has apparently picked up and left without warn-
ing. He describes all of the things that she has left
behind.
“Her book is lying on the bed, the two of
hearts to mark her page,” McGraw cries. “Now,
who could ever walk away at Chapter 21, so she
can’t be really gone.”
Bumping into an old flame in the airport is the
plot of “I Didn’t Ask and She Didn’t Say.”
McGraw has his very own rock, bad-boy anthem
called “Renegade.” This particular song has a
hint of Travis Tritt’s driving country.
“I Like It, I Love It,” McGraw’s first single,
all you need with new McGraw release
was at the top of the charts before the album
even hit the stores. Songwriters Steve Dukes, Jeb
Stuart Anderson and Mark Hall penned the per-
fect hook that made this a hit in concert and on
the radio.
McGraw expresses the pure heartache of a
once loving couple drifting apart in “The Great
Divide.” In “Don’t Mention Memphis,” he tells
the guy that he hitched a ride from that he did
the hardest thing in the world, which is leaving
his love behind.
“When She Wakes Up (And Finds Me Gone)”
has McGraw realizing that he is a gutless wonder
for leaving a note and not facing the woman that
he is leaving.
“ ’Cause I don’t want to see me leaving in her
eyes, and I can’t stand to watch her watch me
make her cry.”
McGraw closes the disc with a country pride
song titled “That’s Just Me.”
McGraw has that carefully balanced combina-
tion of a sincere, seasoned country crooner and
the upbeat country/rock of the ’90s.
He has the voice and presence that makes the
women get big cow eyes and "melty" hearts, and
makes guys buy a cowboy hat and take guitar
lessons.
There is something extremely special about
someone who has the ability to pick and sing
quality songs that will be classics.
A classic is something that endures the test of
time. After his bumpy, little known first album,
McGraw and his music is achieving that amazing
task with the greatest of ease.
Houston Ballet ‘leaps’ into Julie Rogers Theatre
Saturday as part of Beaumont Civic Ballet 24th season
Beaumont Civic Ballet’s 24th season
takes off in leaps and bounds with the sea-
son opener, the Houston Ballet, Saturday
at 7:30 p.m. in the Julie Rogers Theatre.
In just 40 years, the Houston Ballet has
become an internationally acclaimed com-
pany and is now the nation’s fifth largest.
In 1976, Englishman Ben Stevenson
assumed the leadership of the Houston
Ballet as artistic director.
Since then, he has developed a company
of 55 dancers, including artists who have
won gold, silver and bronze medals at
major international ballet competitions.
He has shaped the repertory of the
Houston Ballet by choreographing original
works, staging classics, commissioning new
works and acquiring the works of the
world’s most respected choreographers.
Through Stevenson’s artistic guidance, the
Houston Ballet is among the country’s
leading companies.
The company has toured extensively to
critical praise in Europe, the United
Kingdom, the Orient, Canada and in cities
throughout the United States.
The troupe has earned respect and
admiration deep in the heart of Texas.
From the joy of Paul Taylor’s
“Company B” to Stevenson’s classical
“Three Preludes,” this ensemble daz-
zles.
The holiday season officially starts
with Beaumont Civic Ballet’s produc-
tion of “The Nutcracker.” This holiday
favorite never fails to delight the
entire family.
“The play is a must for young and
the young at heart. With three perfor-
mances on Dec. 9 and Dec. 10, every-
one’s holiday season will shine,”
Melody Celli, spokesperson for the
ballet, said.
The season finale on Feb. 18 pre-
sents a mixed repertory program fea-
turing the narrated story ballet “Peter
and the Wolf.” Beaumont Civic
Ballet’s senior company dancers and
special guest artists perform in this
Russian equivalent of the Big Bad
Wolf.
Season tickets start as low as $15
for all three performances. Call 860-
3692 to order season tickets or the
Beaumont Civic Center at 838-3435
for Houston Ballet tickets.
&
Lauren Anderson of the Houston Ballet
v
October
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I
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Harbin, Tracy. University Press (Beaumont, Tex.), Vol. 72, No. 11, Ed. 1 Wednesday, October 11, 1995, newspaper, October 11, 1995; Beaumont, Texas. (https://texashistory.unt.edu/ark:/67531/metapth500967/m1/3/?q=%22~1~1%22~1: accessed July 13, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu.; crediting Lamar University.