Reno Gazette Journal ❚ FRIDAY, AUGUST 10, 2018 ❚ 1D

Join us in CELEBRATion
of OUR 63rD ANNIVERSARY and
OUR co-founder Margaret Isely
RD

Savings
Spectacular
F
33% - 60% OF
select Items
LOCATIONS
*No purchase necessary. A purchase will not increase your chances of winning. Open only

ALL DAY · ALL

to legal residents of the 50 United States and the District of Columbia, 18 years or older.
Void where prohibited by law. Sweepstakes starts and ends on August 16, 2018.
For Official Rules and complete details, visit: www.naturalgrocers.com/sweepstakes.
Sponsor: Vitamin Cottage Natural Food Markets, Inc.

Living
Kids &
CARS!
How to have fun with your
family at Hot August Nights
Maggie O’Neill Special to Reno Gazette Journal | USA TODAY NETWORK

Hot August Nights is here, with plenty of antique and classic

cars dating to 1976 and prior. Show-n-Shines and classic car
cruises are a must for families wanting to take part in the event
and are scheduled at casino resorts such as the Atlantis, Grand
Sierra, Nugget and Peppermill. As Heather Libretti, mar-
keting and public relations manager for Hot August
Nights, puts it: “The cruises are a lot of fun. It’s
something unique for everyone, including kids, and
they say things like ‘Look at that one!’”

See CARS, Page 2D

Ashley Britt of Carson City sits in a

1953 Corvette replica pedal car at the
Reno Hot August Nights.
LIZ MARGERUM/RENO GAZETTE-JOURNAL

Selecting music for a ballet can be confusing

Nevada arts
Steve Trounday
The process of selecting the music for
a ballet can be quite complex, and to a
ballet-challenged person like me, con-
fusing. Many times the music to a ballet
wasn’t written for that particular ballet.
A choreographer finds a score he or she
likes and creates a ballet to go with it.
Last fall, when A.V.A. Ballet Theatre
artistic director Alexander Van Alstyne
decided that he wanted to present
“Beauty and the Beast” for the spring
2018 ballet, he started investigating the
music he needed. He knew that the San
Francisco Ballet had done the ballet in
the early 1960s and it had been very
popular.
Van Alstyne went on the internet and
searched “Lew Christensen’s Beauty
and the Beast.” Christensen was the bal-
let director for the San Francisco Ballet
when “Beauty and the Beast” was per-
formed. Old film clips of the ballet came
up in the search and Van Alstyne liked
some of the choreography so he wanted
to track down the music by Tchaikov-
sky. He reached out to the San Francisco
Ballet but they no longer did “Beauty
and the Beast” and didn’t have the mu-
sic. They told him that the Pittsburgh
Ballet had recently done “Beauty and
the Beast” and they would have the mu-
sic.
One thing I have noticed as a casual
observer of the ballet world is the easy
collaboration between the ballet com-
panies around the country. When Van
Alstyne contacted the Pittsburgh Ballet
and asked about the music for “Beauty
and the Beast,” they sent him the music
arrangement but said there was no re-
cording. Basically it was an excerpt list
of Tchaikovsky’s music that had been
arranged for “Beauty and the Beast.”
With no recording, it was going to be dif-
ficult (if not impossible) for Van Alstyne
to do the ballet.
He again took to the internet in
search of a score that could be used for
“Beauty and the Beast.” He found a ver- AVA Ballet Theatre’s 2018 production
of “Beauty and the Beast.”
See TROUNDAY, Page 3D PROVIDED BY AVA BALLET THEATRE