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Akram Khan in his Until the Lions. Photo by Jean-Louis Fernandez, Courtesy The Music Center.

Kidnapped and dishonored on the day of her wedding, Princess Amba swears vengeance on the man responsible and is reborn as the gender-shifting Shikhandi, granting her the opportunity to defeat him in battle. This is the legend behind Akram Khan's Until the Lions, his full-length work based on Karthika Naïr's poetic reinterpretation of the Mahabharata which approaches the epic from the perspective of its female characters. Performed in the round, the critically lauded work makes its U.S. debut in Los Angeles at The Music Center on Location, marking the only 2017 stateside performances of Khan. Oct. 18–21. musiccenter.org. The company also brings the piece to Stanford, Oct. 27–28, but Khan will not perform. live.standford.edu.

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The dancers file into an audition room. They are given a number and asked to wait for registration to finish before the audition starts. At the end of the room, behind a table and a computer (and probably a number of mobile devices), there I sit, doing audio tests and updating the audition schedule as the room fills up with candidates. The dancers, more nervous than they need to be, see me, typing, perhaps teasing my colleagues, almost certainly with a coffee cup at my side.

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Photo by Nathan Sayers, modeled by Jane Anthony.

I've noticed that my flexibility, which is pretty good, varies throughout the company's season. Why does this happen, and what can I do about it?

—Jillian, Brooklyn, NY

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PC Lindsay Thomas

Leta Biasucci is one of those dancers whose presence seems to attract the audience's eye with magnetic force. The Pacific Northwest Ballet soloist's seemingly impossible buoyancy and fiery spark have carved her out a place in a wide spectrum of roles, uninhibited by her small stature and natural inclination towards the soubrette.

We caught up with her for our "Spotlight" series:

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Katrina Lenk and Tony Shalhoub in The Band's Visit. Photo by Ahron R. Foster

When Katrina Lenk says her feet never touched the ground in her Broadway debut, as a replacement in Spider-Man: Turn off the Dark, she's not telling you how deliriously happy she was—though she was.

Lenk is being literal: Playing Arachne, the show's magical spider-woman, she was suspended in a gigantic web throughout. Her ability to fly and enjoy it—crucial to landing the role—was honed with a summer job "swimming" over the heads of the audience at Universal Studios. "You just never know where random experiences are gonna take you," she says.

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New York City Ballet principal dancers Maria Kowroski and Sara Mearns in Balanchine's Concerto Barocco. Photo by Paul Kolnik, Courtesy NYCB.

There's something special about seeing New York City Ballet dance at Saratoga Performing Arts Center. Maybe it's the history: George Balanchine helped design the theater, and NYCB has called SPAC, which opened in 1966, its summer home for over 50 years. But over the weekend, SPAC announced that NYCB's 2018 residence will be shortened, according to Albany's Times Union.

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Fall For Dance is always a huge talkabout here in the Dance Media offices. So after all the programs were performed this year, a few of the editors from Dance Magazine, Pointe and Dance Teacher got together on Google Hangouts this morning to share our thoughts. Here are excerpts from our convo:

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Rant & Rave
Will Rawls in The Planet-Eaters: Seconds. Photo by Darial Sneed, Courtesy Rawls

"Do away with it."

"Over it."

"How about just plain old 'artist' or 'choreographer'?"

These are a few of the comments that popped up when, on a recent morning, I posted a query on Facebook fielding thoughts about the term "emerging"—as in "emerging choreographer." I can't remember when I first sensed disgruntlement toward the E-word. But in speaking with dancers and choreographers over the years, I've noticed that more often than not it elicits an eye roll, head shake, groan, sigh or shrug of "whatever that means."

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