Three For Three: Richmond Ballet Studio Three Presents Works by Three Women Choreographers

A Dance Review by Julinda D. Lewis

By: The Richmond Ballet

At: The Richmond Ballet, Canal Street Studios, 407 East Canal Street, RVA 23219

Performances: March 22-27, 2022

Ticket Prices: $26-$46. (Choreographer’s Club: $66-$101)

Info: (804) 344-0906,, or

Updated COVID-19 Protocols, see below.


Choreography by Sarah Ferguson

Music by VOCES8 and Zapp4

Costume Design by Emily Morgan

Lighting Design by Jack Mehler

World Premiere: March 22, 2022, at Richmond Ballet Studio Theatre, Richmond, VA


Choreography by Jennifer Archibald

Music by Jacob Banks, Ray Charles, Frank DeVol. And Leon Russell

Costume Design by Emily Morgan

Lighting Design by Jack Mehler

World Premiere: March 22, 2022, at Richmond Ballet Studio Theatre, Richmond, VA


Choreography by Katarzyna Skarpetowska

Music by Philip Glass

Costume and Scenic Design by Fritz Masten

Lighting Design by Jack Mehler

World Premiere: March 22, 2022, at Richmond Ballet Studio Theatre, Richmond, VA

As soon as I learned that Richmond Ballet’s Spring 2022 Studio Three production would be a program of works by women choreographers I was filled with eager anticipation. The program that was delivered did not disappoint. A combination of the Ballet’s New Works Festival and the Studio Series, the program featured two new works – by Sarah Ferguson (a VCU Dance grad who serves as a Richmond Ballet administrator and photographer) and Jenifer Archibald (a prolific Canadian-born choreographer with an extensive background that includes hip hop and theater) – and a commissioned work by Katarzyna (Kate) Skarpetowska a native of Poland and Juilliard graduate, who lists her residence as Petersburg, Russia and New York City. Skarpetowska premiered her work Polaris for the Richmond Ballet’s New Works Festivalin 2015.

The three works were widely diversified and each was glorious in its own way.

The Richmond Ballet New Works festival has supported the development of and presented 89 new works since its inception in 2008. Each choreographer is offered 25 hours of studio time with selected company members and presents their work at the New Works studio performance. Many of these short works  go on to be developed from five- to ten-minute ensembles to full 20-minute ballets.

Ferguson, familiar to many as a company administrator in a variety of roles and to others as the company’s resident photographer, revived her interest in choreography during the days of the pandemic. She says that she now choreographs like a photographer, and her new work, “Lifeline,” has a juicy, languid quality. The dancers are often directly connected to one another, reaching, pulling, and stretching like an evolving organism. During the opening night post performance discussion, images of starfish and even armadillos were evoked to describe the organic and tidal movement that at times resembled the animated sculptural qualities of MOMIX or Pilobolus. The pod, the entity, the emerging and evolving unit, consisting of nine dancers in inky dresses and pants led by Sarah Joan Smith and Enrico Hipolito, were beautifully lit to create illusion of floating. The first of three works on the evening’s program, “Lifeline” received a standing ovation.

The color and flair of Archibald’s “Guess Who’s Coming to Dinner?” initially gave me a fleeting flashback of the high school dance scene in West Side Story but Archibald drew her inspiration from the film starring Sir Sidney Poitier and her own experience of growing up with interracial parents. Archibald likes to explore storytelling that is not grounded in Eurocentric narration and likes having a diverse cast of dancers to explore a range of human experiences. Her vocabulary seamlessly merges classical ballet with hip hop and jazz. Her women softly leap, are caught horizontally and lay out as if landing on a soft pillow instead of on two arms precariously molded over thin air. Then a swiping motion that could be playfully affectionate – or not – forces the receiving partner to duck. Timing is everything, and Archibald’s timing veers towards the daring and unexpected. For those familiar with modern dance history, her use of the ensemble is reminiscent of the exhilarating way Talley Beatty filled a stage with bodies and energy. If all goes as planned, Archibald is expected to return in November to lengthen “Guess Who’s Coming to Dinner?” into a full-length (i.e., 20-25 minute) ballet.

The second half of the Studio Three evening was given over to Skarpetowska’s beautifully lit and colorfully costumed “Kaleidoscopic Etudes.” Set to five Philip Glass etudes for piano and string quartet. Ferguson stressed that she choreographs like a photographer, but Skarpetowska’s new work is visually stunning with the floor and background representing two different versions of a kaleidoscope and the dancers’ playful attire carrying out the same color scheme of pink, lime green, and blue. Like an optical kaleidoscope, Skarpetowska’s movement and Glass’ music continually adjust and readjust, reflecting complex and constantly changing ephemeral patterns that seem on the brink of evoking a memory or telling a story. Sabrina Holland and Joe Seaton were featured in this work that is fueled by an exciting and slightly dangerous tension that teases with unexpected punctuation and then just as suddenly, it’s gone.

Studio Three Performance Schedule

Tuesday, March 22 @6:30PM (Choreographer’s Club)

Wednesday, March 23 @6:30PM

Thursday, March 24 @6:30PM

Friday, March 25 @6:30PM

Saturday, March 26 @5:00PM

Saturday, March 26@8:00PM

Sunday, March 27@1:30PM

Sunday, March 27@4:00PM (Final Program)

UPDATED COVID-19 Protocols (As of March 2022): Please note that we are seating at 100% capacity this season. Beginning with Studio Three in March, we will no longer require patrons to wear masks or to show proof of vaccination/negative COVID test in order to attend a performance.

MASKS: In light of the latest CDC guidelines and Central Virginia’s current “Low/Medium Community Level” status, masks are optional at these performances.

BALLET BARRE: The Ballet Barre (cashless) will be open for our spring Studio performances. Beer, wine, and soft drinks will be available for purchase pre-show as well as during intermission.

CHOREOGRAPHER’S CLUB: In addition to the exclusive Q&A session with the artists, designers, and dancers, we will host a modified post-show reception. More details will be found in your House Notes email.

WELLNESS CHECK: Patrons who do not feel well leading up to a performance are asked to stay home. If you have tested positive or have symptoms of COVID-19, please call our Box Office at 804.344.0906 x224 so that we may discuss ticket options.

Photo Credits: All photos by Sarah Ferguson.


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Author: jdldances

Julinda D. Lewis is a dancer, teacher, and writer, born and raised in Brooklyn, NY and transplanted to Richmond, VA. A retiree from both the New York City and Richmond City Public School systems, she is currently an Adjunct Instructor for the Department of Dance and Choreography at Virginia Commonwealth University, and holds the degrees of BS and MA in Dance and Dance Education (New York University), MSEd in Early Childhood Education (Brooklyn College, CUNY), and EdD in Educational Leadership (Regent University). Julinda is the Richmond Site Leader for TEN/The Eagles Network and was formerly the East Region Coordinator for the International Dance Commission and has worked in dance ministry all over the US and abroad (Bahamas, Barbados, Haiti, Jamaica, Kenya, Puerto Rico). She is licensed in dance ministry by the Eagles International Training Institute (2012), and was ordained in dance ministry through Calvary Bible Institute and Seminary, Martinez, GA (2009).

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