A native of Lafayette, Louisiana, Courtney danced with Lafayette Ballet Theatre before matriculating to New York University. After spending her freshman year in London, she moved to New York to attend NYU Tisch School of the Arts, where she recently graduated with a BFA in Dance. Courtney began contributing to Dance Magazine during her senior year. She has performed in works by Karole Armitage, Netta Yerushalmy, Septime Webre, Vita Osojnik, Cherylyn Lavagnino, Giada Ferrone and Fairul Zahid, among others. She continues to take class, create and perform in the city.
It's our 90th anniversary! To celebrate, we excavated some of our favorite hidden gems from the DM Archives—images that capture a few of the moments in time we've documented over the decades.
Jacob's Pillow kicked off its annual summer dance festival this weekend, and with it, its 85th anniversary season. It's the first to be curated by new director Pamela Tatge, offering a glimpse of the direction in which she plans to lead the historic festival. But as of this morning, we have more than just a glimpse: We have a newly announced strategic plan for the Pillow's future.
It's called Vision '22, a five-year blueprint for taking the Pillow from a summer dance destination to a year-round center for dance creation. In a press release, Tatge said, "Vision '22 will help us strengthen our artistic core, boost our civic leadership and community involvement, and renew essential campus facilities."
So what exactly does that mean?
The breadth of support the New York City dance community receives from The Harkness Foundation for Dance is staggering: over $30 million to more than 560 organizations, from creators and presenters to education and dance medicine programs. The Foundation recently pledged to give $1 million each to Brooklyn Academy of Music, The Joyce Theater, New York City Center, 92nd Street Y and NYU Langone Medical Center's Hospital for Joint Diseases over the next decade.
Best of all: The Foundation focuses exclusively on funding for dance.
More than just a company or a studio space, Gibney Dance provides a hub for New York City's dance artists, offering a wide array of resources:
• choreographic mentorship
• performance series
• space grants and rentals
• open classes and training programs
• financial and digital technology advice
• leadership seminars
• town-hall–style gatherings
That's not to mention the Gibney Dance Company, whose members, in addition to performing, are enabled to start their own social justice–oriented initiatives under the Gibney umbrella.
Judith Jamison was always going to be a tough act to follow. But in the six years since Robert Battle took the helm of Alvin Ailey American Dance Theater, he's launched a new era for the iconic troupe. Take last season: Battle revived Ailey's Masekela Langage, pushed the envelope with Kyle Abraham's new Untitled America and promoted one of the company's own voices with Hope Boykin's r-Evolution Dream—a combination of old, new and homegrown works tackling social issues with beauty and hope. Ailey hasn't lost sight of its storied past, and, under Battle's leadership, it's as relevant today as it ever has been.
"Auditions are weird anyway," says Zach Morris, co-artistic director of Third Rail Projects. "So let's double down on the weirdness." It's mid-October, and Then She Fell, the company's wildly successful immersive theater production riffing on Victorian hospital wards and Lewis Carroll's Alice books, is looking for one male performer to fill a very specific role. (The directors never state exactly which one—"No spoilers!" they joke.) They've whittled down the pile of applications to the 12 men currently warming up in the rooms of the Kingsland Ward, a century-old building at St. John's Church in Brooklyn, New York. "We look for certain experiences that are translatable: That they've been working at this craft professionally, that they're looking for the next thing that they're hungry for," says Julia Kelly, a current cast member and the rehearsal director.
The 2017 Tony Awards were last night, and despite it being a highly competitive Broadway season, things went more or less as predicted. Andy Blankenbuehler took home yet another Tony for Best Choreography after the cast of Bandstand showed everyone exactly why he deserved it (and, of course, the award was announced during a commercial break). Ben Platt broke everyone's hearts with his live performance of "Waving Through a Window" before going on to take Best Actor in a Musical for Dear Evan Hansen. Bette Midler didn't sing but did finally get a Tony Award for acting (and refused to let anyone rush her long-awaited acceptance speech). Josh Groban and the cast of Natasha, Pierre & The Great Comet of 1812 went all in for the final performance of the night. Dear Evan Hansen took home Best New Musical, while Come From Away, which was neck-in-neck for the big prize, got Best Direction of a Musical.
What we really, really weren't expecting: host Kevin Spacey singing and dancing through the first ten minutes of the ceremony.
It's that time of year again. The Tony Awards are this weekend, and frankly, we can't decide on which performance we're most excited to see—Andy Blankenbuehler's swing-infused Bandstand choreography? Whatever the kooky-cool Natasha, Pierre, and The Great Comet of 1812 cast has up their old-fashioned sleeves (and, by default, Josh Groban's golden pipes)? Best Actor in a Musical favorites Ben Platt (Dear Evan Hansen) and Andy Karl (Groundhog Day) duking it out? Can the answer just be yes, all of the above?
In contrast to last year's Hamilton-mania, there's a sea of new musicals vying for the top prizes (with no clear front runners except for in a couple of key categories), and most of them are prepping what are sure to be fantastic performances. (Not to worry, Hamilfans: Lin-Manuel Miranda is set to present, and Leslie Odom Jr. is on the performer list.) In a way, the uncertainty is making for an even more exciting buildup to the Tonys than usual. Here are six of our biggest questions going into this year's ceremony.