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Four of Our Faves Just Got Promoted at ABT

Sarah Lane, PC Rosalie O'Connor

American Ballet Theatre just announced its much-anticipated promotions, and artistic director Kevin McKenzie couldn't have picked more deserving dancers. Soloists Sarah Lane, Christine Shevchenko and Devon Teuscher have been promoted to principal, and Calvin Royal III has been promoted to soloist.


After 10 years as a soloist, Lane's promotion has been the longest time coming. Her loyal fans have been hoping for this day season after season, and after the phenomenal summer she's had—including her New York debut as Giselle and a surprise Odette/Odile debut—it makes sense that it's finally her time.

Shevchenko and Teuscher had their fair share of debuts this season, too—Shevchenko in Don Quixote and Le Corsaire, and Teuscher in Swan Lake. Both dancers have only been soloists since 2014, a rather short time to spend in the rank by ABT standards. We spotted both women as "On the Rise" back in their early days.

Royal caught our eye back in 2014 when we pegged him as a "25 to Watch," and his captivating lyricism and gravity have only grown since then, especially in the work of artist in residence Alexei Ratmansky.

All four dancers came up through the ABT ranks, a shift from previous years when international stars have dominated. With Russian primas Diana Vishneva and Veronika Part leaving the company after this season, the principal women will be more homegrown than ever.

Congrats, dancers!

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ABT's James Whiteside and Isabella Boylston. Photo via Instagram

Last night, American Ballet Theatre held its annual Fall Gala at the David H. Koch Theater in New York City. To celebrate ABT's artistic director Kevin McKenzie's 25 years of leadership, dancers from ABT's company, apprentices, studio company members and students from the Jaqueline Kennedy Onassis School took to the stage in Jessica Lang's The Gift, Alexei Ratmansky's Songs of Bukovina and Christopher Wheeldon's Thirteen Diversions.

But we also love a good behind-the-scenes glimpse—especially when designer gowns are involved. And the dancers gave us plenty of glam looks to obsess over once the curtains closed. Ahead, see our favorite moments from gala straight from the dancers.

Devon Teuscher in the floral print suit of our dreams (by designer Patricia Bonaldi) practices her dance moves with Christine Shevchenko. Both girls accessorized with sparkling jewels from gala sponsor de Grisogono.

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By Rick Tjia, Dance Talent Scout, Cirque du Soleil Casting

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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Arolyn Williams and Chase O'Connell in Fox on the Doorstep, PC Beau Pearson

Last week Ballet West breezed into New York City's Joyce Theater from Salt Lake City. The dancers are excellent—especially the women (what else is new). The company brought five pieces including works by Gerald Arpino, Val Caniparoli and resident choreographer Nicolo Fonte.

Arpino's last work, made in 2004, is a duet called RUTH, Ricordi per Due ("remembrance for two"). It's about a man haunted by the memory of the woman he loved. Christopher Ruud is strong and sensitive as the man, and Arolyn Williams is riveting as the ghost of his beloved.

Val Caniparoli energizes his dancers with juicy movement, and always sticks to his theme. (He doesn't ramble, and let's face it, long rambling choreography is a problem these days.) In his premiere for Ballet West, Dances for Lou, he takes on the music of Lou Harrison, a composer known for his Eastern sounds and rhythms.

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Sidi Larbi Cherkaoui's Pictures at an Exhibition, performed by The Royal Ballet of Flanders.
Photo by Filip VanRoe, courtesy Marquee

Your Saturday nights are about to go from "Netflix and chill" to "Marquee and chill." (Okay, maybe we'll need to coin a new phrase).

But seriously, the new streaming app Marquee Arts TV lets you curl up with Bolshoi Ballet's Swan Lake, Sylvie Guillem dancing Mats Ek's solo Bye, a dance film by Cullberg Ballet called 40 M Under, or a documentary about Alonzo King and LINES Ballet. Marquee unlocks a world of digital arts: dance, theater, opera, music, documentaries and film shorts that you can stream directly to your TV or mobile device.

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Simone Forti. Photo by Ian Douglas, Courtesy Danspace.

When Simone Forti moved from California to New York City in 1960, she brought with her the improvisational approach of Anna Halprin. As one of the first five students in Robert Dunn's John Cage–inspired composition course (that led to Judson Dance Theater), she was a magnet for two others in that class: Yvonne Rainer and Steve Paxton. This month the three reunite for Tea for Three, an evening of moving and talking at Danspace Project, Oct. 26–28. It's a chance to see how dance mavericks grow and change and mellow. Forti will also give "Body Mind World" workshops Oct. 19–20. danspaceproject.org.

Health & Body
Nathan Sayers

When you're dancing for what feels like eight days a week, it takes more than just stretching to put your body back in order. You need a good rub down. Unfortunately, most of us don't exactly have the money to afford an on-call personal masseuse.

The solution: Self-massage, with foam rollers, lacrosse balls, elbows and anything else that can help loosen up your muscles. We dug into Dance Magazine's archives to find the best pieces of advice we've published on the topic. Follow these rules to get what you, ahem, knead out of self-massage.

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Photo by Morgan Lugo

This week American Ballet Theatre launches its fall season at Lincoln Center with an exciting lineup of performances. One last-minute addition to the program is a new work from Benjamin Millepied, which will be performed by ABT Studio Company and Jacqueline Kennedy Onassis School dancers in the theater's promenade during select intermissions. Although the specifics of the performance are hush hush, we stepped into the studio with Millepied for an inside look.

What has it been like to choreograph on younger dancers and how, if at all, did you change your approach?

To be honest, they're really good. Rhythmically, it's not easy at all and they've done incredibly well. The piece could be longer. It's really one movement but, for the first time, to use that space it felt right. Nothing says I couldn't add two more movements next season to make it longer.

What are your thoughts on bringing classical ballet outside the proscenium setting?

For me, it's great to think of spaces theatrically. We build sets with lighting and props, but there are also all these environments that are beautiful and theatrical, and with a little bit of work you can create something within them and that becomes site-specific. That's really fun because you create something really specific for the environment.

What would you like to see more of from young ballet dancers?

What I would want to see more of in ballet is just more interesting collaborations. These ballet dancers are great and they're ready and what they need is more interesting work. I feel people are playing it safe a lot. If anything, I think it's the choreographers and the directors who need to make an effort for these dancers who have made this art form their passion, and to really be as daring or at least as relevant as some of our peers were when they were commissioning pieces a long time ago.

Dancers & Companies
Jared Matthews and Yuriko Kajiya. Photo by Tetsu Maeda, Courtesy Matthews.

For many victims of recent natural disasters like Hurricane Harvey and Hurricane Maria, the new "normal" involves power outages, food shortages and massive property damage. The dance community has stepped up to help by doing what they do best: This Sunday, October 22, members from major American companies will perform in two separate concerts in New York City, benefitting those affected by the hurricanes in Texas and Puerto Rico.

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