CHOREOGRAPHIC ESSENTIALS 6-day intensive, FIRST time in New York!
January 21st – 27th, held at Ballet Hispanico. For details please visit: http://www.tfdance.org
Atlanta Ballet, The Exiled, World Premiere, May 16th 18th, 2014
Oregon Ballet Theatre – Petal, April 17th – 26th
Dance Theatre of Harlem – Watch for When Love performances all over the country from January through May 2014!
Scottish Ballet, 2014
Ballet West, 2015
Singapore Dance Theatre, 2015
Boston Ballet, 2016
Atlanta Ballet in China! November 2013 – Atlanta Ballet takes Prayer of Touch
“…Prayer of Touch is one of the most exciting new ballet works I have seen lately, and should appeal to anyone who likes to watch dance. Pickett’s choreography is expertly crafted, clever, smart, whimsical, witty, daring, and humorous. If you come to the Alliance to see anything this year, come for this piece.” Backstage Beat Atlanta “The work was inspired by the physical, emotional and spiritual connections to movement, and how this creative act fosters authentic human connection. The title suggests a quiet reverence, but the actual dance was filled with wit, surprises and comical quirks…” ARTSATL Read more here!
Vienna State Opera – EVENTIDE in Vienna at the Vienna State Opera House, November 2nd, 9th, 14th, 21st, 22nd and December 3rd.
Edinburgh Festival - Scottish Ballet, The Room DANCE TABS, By Bruce Marriott on September 25, 2013 Review, The Room
“US-based Helen Pickett is little known in the UK and won me over with her The Room in the first minute – probably one of the most intriguing dramatic starts to a piece I’ve seen in years and it really drew me in. The walls of the room are defined by light on the stage floor and the only furniture a contemporary sofa. Inspired by Jean-Paul Sartre’s No Exit it starts with a turquoise-suited man and a demon/valet character, there to drive the action forward. After a short while a woman in red walks in, (‘wife or lover’ you think), and the valet disappears for a while, returning with a second woman in green, (‘lover or wife’ you think), perfunctorily carried in as if a rolled-up rug. Four disparate and unhappy characters assembled to the majestic strains of Max Bruch’s Violin Concerto No 1.My goodness – she’s thought about this and how to grab the audience, I thought. Pickett’s pointe-based movement is angular, jerky and theatrical. Nobody ends happy as they shed their clothes, as if trying to find self-truth, and come together in abandoned, spirited duets. It ends after 8 minutes with a climax of movement as if the room is set to explode with unhappiness – and the lights go out. You are desperate to know what happens, to know the proper backstory and for there to be lots more acts. I gather the piece is going to be extended for Atlanta Ballet – lucky them. And I hope lucky us at some point as somebody hires Pickett to do a much longer piece. I love her sense of theatricality and think it would run well with our love of drama and dance.”
Read New York Times article:
A Fresh Era of Wit and Innovation in Ballet, by Roslyn Sulcas
Read Dance Gazette article: What I’ve Learned – Helen Pickett
Issue 2, 2013, The Magazine of the Royal Academy of Dance
Smuin Ballet – West Coast Premiere
Dance Magazine - Read interview of Helen.
HELEN PICKETT named RESIDENT CHOREOGRAPHER for ATLANTA BALLET through 2015 - Read More.
Pointe Magazine – Read Helen’s contribution in the On the Spot article, by Amy Brandt, in August/September issue of Pointe. http://www.pointemagazine.com
Vulnerability and the Human Condition Initiative - Read Helen's contribution on Emory University School of Law website. Martha Fineman, director of the Vulnerability and the Human Condition Initiative.
Masters of Fine Arts in Dance – Hollins University, Hollins/ADF, 2011
Boston Ballet – Part I, II, III, April 2011
“…Ms. Pickett creates her own magic here in an exquisite duet that blends a limpid fluidity with a tactile warmth…” New York Times
“Pickett’s work rewards close attention.” Boston Herald
“That honor (…the highlight of the evening…) is owed to the incredibly touching pas de deux, Tsukiyo… Style Boston “Pärt I, II and III are like three tiny reliquaries, each beautifully ornamented and containing something sacred.” Bachtrack
Read more here
Read about Helen in Boston Ballet’s new book by Christine Temin, Behind the Scenes at Boston Ballet.
Helen is a founding member of The Rufus Corporation, director, Eve Sussman. Art films include: 89 Seconds at Alcazar and Rape of the Sabine Women.