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Most corps members have one thing in common: little rest. When you're the backbone of the company, you're cast in almost every major ballet, and expected to give just as much to each character and peasant role as you do the rare soloist opportunities thrown your way. Recently, Dance Magazine followed Boston Ballet's Hannah Bettes and Lawrence Rines through a typical rehearsal day as they juggled a nonstop load of dance.
Bettes is an early riser, up by 7 to have a slow breakfast and watch the news. “I like to stay up to date," she says. “It makes me feel more productive." The company is known for its fashion, and most dancers put together separate street and studio outfits each day. Bettes says, “Lawrence has taught me a lot about fashion actually—he's taken me shopping. I think my style is 'hobo chic.' When I arrived, it was just 'hobo.' "
Bettes starts her day in the PT room so she can get occasional advice from the PT team while she warms ups with hip and shoulder stabilization exercises. Then she uses company class to focus on improving her technique. “Recently it's been all about shoulder and arm placement."
Hour-long rehearsal for Swan Lake, which opens later in the season.
Bettes eats her lunch early, since she has a coaching session during the company break. Her typical lunch includes a peanut butter chocolate chip Zing Bar; a beet, kale and chicken dish; and a small lentil salad with cherries and hazelnuts.
Bettes runs downstairs to the costume shop for a hairpiece fitting for Gaîté Parisienne and grabs an extra pair of pointe shoes from her cubby in the shoe room.
Her one-on-one rehearsal is with Peter Stark, with whom she trained at the Patel Conservatory before he moved to Boston last year to head up the men's program and become the associate director of Boston Ballet II. Bettes is preparing for the Helsinki International Ballet Competition. “Competitions give dancers that little extra push," Stark says. As Bettes runs through Aurora's Act I variation, he calls out simple cues that evidence their history together: things like “fingers," “audience, audience" and “chin down."
Bettes uses her five-minute break to switch gears by marking through choreography on her own before a run-through of portions of Onegin, which the company is performing later in the week.
“I probably go out to dinner with friends every other night," says Bettes. “It's where the majority of my salary goes."
Rines wakes up with just enough time to shower, eat and walk the 10 minutes to the studio for pre-class exercises.
Loose in his lower back and hips, Rines warms up for the day by strengthening his rotators and core. “That way, instead of using my bones and ligaments at the barre, my muscles are ready to work," he says. He uses company class to prepare for the day ahead. On tough rehearsal days, he might practice steps from his rep in the back of the room towards the end of class. On lighter ones, he'll push full-force to make sure he gets in a good workout.
Pushing the limits of extension in William Forsythe's The Vertiginous Thrill of Exactitude.
Rehearsals start with a full-out run of the intense The Vertiginous Thrill of Exactitude, which opens in two weeks. Rines is known for excelling in neoclassical rep.
Next is a rehearsal for Balanchine's Kammermusik No. 2. Rines manages the quick transitions between one-hour rehearsal blocks by mentally compartmentalizing each ballet. “I don't think ahead, because that would drive me crazy," he says. “I take it like the chapters of a book—I walk in and say, 'What am I doing now?' "
Rines runs out to grab lunch (which changes daily, but he stays away from anything too heavy).
Rines uses his break for a quick visit to the PT room for maintenance on a prior calf issue. The treatment includes massage and an exercise on the Pilates chair equipment.
Onegin rehearsal. Tomorrow the dancers will switch over to their theater schedule, beginning their day at noon and finishing with a 7:30 pm show.
In Gaîté Parisienne, Rines is learning three different roles and must stay on top of his "live in the moment, don't anticipate" approach to mental multitasking.
Rines believes after-work time is essential to maintaining a balanced life. “I like to keep myself social—I get angry at myself when friends want to do something and I'm like, 'No, I'm tired,' " he says. “You can't let ballet run your whole life."
I love being transgender. It's an important part of the story of why I choreograph. Although I loved dance from a very young age, I grew up never seeing a single person like me in dance. So how could I imagine a future for myself there?
The enormous barriers I had to overcome weren't internal: I didn't struggle with feelings of dysphoria, and I wasn't locked down by shame.
The dance community is heartbroken to learn that 14-year-olds Jaime Guttenberg and Cara Loughran were among the 17 people killed during the February 14 shooting at Marjory Stoneman Douglas High School in Parkland, FL.
Guttenberg was a talented competition dancer at Dance Theatre in Coconut Creek, FL, according to a report from Sun Sentinel. Dance Theatre owner Michelle McGrath Gerlick shared the below message on her Facebook page, encouraging dancers across the country to wear orange ribbons this weekend in honor of Guttenberg, whose favorite color was orange.
In today's dance world, it seems to go without saying: The more varied the training, the better. But is that always the case? Rhonda Malkin, a New York City–based dance coach who performed with the Radio City Rockettes, thinks trendy contemporary techniques that emphasize improvisation and organic movement quality are detrimental to the precision and strength needed to be a Rockette, in a traditional Broadway show or on a professional dance team. Her view is controversial: "If you really want to work, making $40,000 in three months for the Rockettes or $25,000 in one day filming a commercial, you need ballet, Broadway jazz, tap, hip hop—not contemporary," she says.
On the flip side, techniques that allow dancers more freedom may help them connect more deeply with their body and artistry, while providing release for overused muscles. We broke down the argument for both sides:
For many dancers, a "warmup" consists of sitting on the floor stretching their legs in various positions. But this strategy only reduces your muscles' ability to work properly—it negatively affects your strength, endurance, balance and speed for up to an hour.
Save your flexibility training for the end of the day. Instead, follow a warmup that will actually help prevent injury and improve your body's performance.
According to the International Association of Dance Medicine and Science, a smart warmup has four parts: "a gentle pulse-raising section, a joint mobilization section, a muscle lengthening section and a strength/balance building section."
A statement released yesterday by New York City Ballet and School of American Ballet reported that an independent investigation was unable to corroborate allegations of harassment and abuse against former ballet master in chief Peter Martins, according to The New York Times. This marks the end of a two-month inquiry jointly launched by the two organizations in December following an anonymous letter detailing instances of harassment and violence.
The statement also included new policies for both the company and school to create safer, more respectful environments for the dancers, including hiring an independent vendor to handle employee complaints anonymously. These changes are being made despite the independent investigation, handled by outside counsel Barbara Hoey, purportedly finding no evidence of abuse.
Not all ballet dancers cling to their youth. At 26, Lauren Lovette, the New York City Ballet principal, has surpassed the quarter-century mark. And she's relieved.
"I've never felt young," she says. "I can't wait until I'm 30. Every woman I've ever talked to says that at 30 you just don't care. You're free. Maybe I'll start early?"
When Beatlemania swept through the U.S. in the 1960s, Mark Morris was one of millions of young Americans who fell head over heels for the revolutionary group. "I was not immune," the choreographer says. "My sisters were mad about The Beatles and so was I. At age 12 I had a crush on Paul, of course."
Flash forward 50 years and he is still rocking to the British band, but this time with a new Beatles-inspired dance work his company is touring across North America, starting this month with scheduled stops in Seattle, Toronto, Portland, Oregon, and another 25 cities before the end of 2019.
You could call it island-hopping, but it's not exactly a vacation. After choreographing last season's Come From Away, and winning a Tony nomination, Kelly Devine zipped from frosty Newfoundland to the Caribbean beach resort that is the setting for Escape to Margaritaville.
In the fall, she was shuttling between them, before they start this month: flying to Toronto to prepare a new Canadian production of Come From Away, then jetting back to Chicago for the final stop of Margaritaville's four-city pre-Broadway tryout.
"These two shows could not be more different from each other," Devine says with a dash of understatement. Come From Away is about the small Newfoundland town where airliners grounded by the 9/11 attacks dumped thousands of unexpected visitors; Escape to Margaritaville, at the Marquis Theatre, is a comic island romance concocted from the beachcomber songbook of Jimmy Buffett.
How does someone go from being a New York City Ballet corps member to training Hollywood A-listers like Natalie Portman, Rooney Mara and Jennifer Lawrence? By getting injured, says Kurt Froman.
When an ankle sprain left him sidelined a few years back, Froman was "sitting at home, depressed" when he sent his friend Benjamin Millepied an email asking what he was up to. It turned out that Millepied had just been hired to choreograph some scenes for a movie, but had to be in Paris during pre-production. "He needed someone to teach two actors choreography and get them in shape," says Froman. With nothing else on his plate, he said yes, and started prepping Natalie Portman and Mila Kunis for Black Swan.