Meet the US-Born Dancer Rising the Ranks in Russia
At the age of 11, Julian MacKay gave up his life in rural Montana to move to Moscow and train full-time at the Bolshoi Ballet Academy. It paid off: With Apollonian lines and bravura reserves of technique, the young dancer is now a versatile first soloist with St. Petersburg's Mikhailovsky Ballet, and brings an enterprising American spirit to his Russian life.
Company: Mikhailovsky Ballet
Hometown: Bozeman, Montana
Training: With Christine Austin in Montana, Bolshoi Ballet Academy in Moscow
Accolades: 2015 Prix de Lausanne (Royal Ballet apprenticeship), 2015 Beijing International Ballet and Choreography Competition (bronze), 2014 Yuri Grigorovich Ballet Competition in Sochi (bronze), 2014 Istanbul International Ballet Competition (gold)
Stas Levshin, Courtesy Mikhailovsky Ballet. MacKay in The Flames of Paris
Russian gamble: MacKay was the first American to graduate from both the lower and upper schools of Moscow's Bolshoi Ballet Academy. He was invited to train there after a summer Bolshoi intensive in the U.S., and ended up staying six years. "I thrived on the constant challenge," he says. "I had to fit in both in the ballet sense and in the language sense."
Family affair: MacKay is far from the only dancer in his family: His two older half-sisters, Maria Sascha Khan and Nadia Khan, have danced with European and Russian ballet companies. Their mother moved to Moscow to support Julian, who was later joined at the Bolshoi Academy by his younger brother Nicholas MacKay. "That is definitely my secret to success: I wasn't there by myself," says MacKay.
"Julian has this wonderful Western self-control, mixed with a Russian understanding of musicality." —Mikhail Messerer
St. Petersburg calling: While auditioning for the Hungarian National Ballet, MacKay met Mikhailovsky ballet master in chief Mikhail Messerer, who was giving the class. Messerer later offered him a second soloist position in St. Petersburg, with principal roles on the horizon. "I couldn't turn him down. The more opportunities you have, the more you can grow as a dancer."
Youthful bravura: Messerer threw another challenge his way last winter, with the difficult, high-powered leading role in The Flames of Paris. After rising to the occasion, MacKay was promoted to first soloist. "He is startlingly handsome, and he has the ability to dance not only academic roles but also flashier ones," says Messerer, who will next cast MacKay as the Prince in another Soviet-era revival, Rostislav Zakharov's Cinderella.
Entrepreneurial ambition: Bolshoi Academy students graduate with a bachelor's, and MacKay has opted to pursue a master's degree at Moscow's Russian University of Theatre Arts (GITIS), which prepares dancers for roles as ballet masters and choreographers. He's already putting the choreography component of the course to good use: last year, he staged a family-friendly version of The LittleHumpbacked Horse in St. Petersburg, and took it to Montana this summer.
MacKay with siblings Maria Sascha Khan, Nadia Khan and Nicholas MacKay.
We've been saying for years that dance training has benefits that reach far beyond preparation for a professional dance career: The discipline and attention to detail fostered in technique class, the critical thinking skills acquired in composition, and the awareness and rapid reaction times required for improvisation can all carry over into other fields.
But what if a choreographic tool kit could have a more direct application outside the studio? Say, to city planning?
"What if you could learn from the world's best dance teachers in your living room?" This is the question that Dancio poses on their website. Dancio is a new startup that offers full length videos of ballet classes taught by master teachers. As founder Caitlin Trainor puts it, "these superstar teachers can be available to students everywhere for the cost of a cup of coffee."
For Trainor, a choreographer and the artistic director of Trainor Dance, the idea for Dancio came from a sense of frustration relatable to many dancers; feeling like they need to warm up properly before rehearsals, but not always having the time, energy or funds to get to dance class. One day while searching the internet for a quick online class, Trainor was shocked to not be able to find anything that, as she puts it, "hit the mark in terms of relevance and quality. I thought to myself, how does this not exist?" she says. "We have the Daily Burn for Fitness, YogaGlo for yogis, Netflix for entertainment and nothing for dancers! But then I thought, I can make this!" And thus, Dancio (the name is a combination of dance and video), was born.
There's a surprising twist to Regina Willoughby's last season with Columbia City Ballet: It's also her 18-year-old daughter Melina's first season with the company. Regina, 40, will retire from the stage in March, just as her daughter starts her own career as a trainee. But for this one season, they're sharing the stage together.
Last night, the New York City Ballet board of directors approved ballet master in chief Peter Martins' request for a temporary leave of absence amidst an ongoing investigation into sexual harassment.
The investigation came to light on Monday, when the New York Times reported that NYCB and the School of American Ballet had hired a law firm to investigate their leader after receiving an anonymous letter detailing instances of harassment.
You dance like a knockout—but can you take a punch? Intense stage combat is a crucial element in many shows, from the sword fighting in Romeo & Juliet to the left hooks of the Broadway musical Rocky. But performing it well requires careful body awareness, trust and a full commitment to safety. Whether you're dancing a pivotal battle in a story ballet or intense partnering in a contemporary piece, these expert tips can help you make your fight scenes convincing, compelling and safe.
1. Master the Basics
When Luke Ingham was cast as Tybalt in San Francisco Ballet's Romeo & Juliet, he spent a full month practicing the basic body positions, footwork and momentum of fencing. "You need to be really grounded, you need to know where your feet are," Ingham says.
Brooklyn-based burlesque troupe Company XIV isn't afraid to take risks. Nutcracker Rouge, their take on the holiday classic, features a cast of jack-of-all-trades dancers who double as greeters, ushers, singers, actors and aerialists, while baring a good amount of skin but even more confidence. (Disclaimer: The show is for mature audiences only.) What's most impressive about these artists is how captivating they are. Regardless of what style of dance you do, if you want to become a better performer, consider taking a page out of their playbook.
You've got to be "on" the moment the audience walks in the front door.
Former New York City Ballet dancer Wilhelmina Frankfurt first spoke out about sexual misconduct at NYCB in Psychology Tomorrow in 2012. Since October, she's been working with The Washington Post reporter Sarah Kaufman for a story about Peter Martins, and when the School of American Ballet began investigating Martins for an anonymous accusation, she was called in to discuss her experiences. But Frankfurt feels there's more to the larger picture, and shares that here with Dance Magazine, as edited by Maggie Levin.
In 1994, I began to write a book of essays about my life in dance—mostly as an exercise. When the #MeToo movement began this year, I knew it was time to brush the dust off and take another look. Although incomplete, these essays addressed the roots that have long run between sexual abuse, alcoholism and ballet. They involve George Balanchine, Peter Martins and numerous stars of the New York City Ballet. It's painfully clear that my story is the same story that has occurred thousands of times, all over the world.
I'm heartbroken that I might have to drop out of the Radio City Christmas Spectacular. My back has been spasming since I did an extra-high kick to the back. My X-ray and MRI are normal, but my doctor thinks I hurt my sacroiliac joint. Physical therapy hasn't helped yet. How can I know for sure that this is the real problem?
—Injured Rockette, New York, NY
Freddie Kimmel's musical theater career was just taking off when he woke up one morning with a pain in his groin. A trip to the doctor assured him it was nothing of concern, even though the sensation returned a few months later. As a dancer, Kimmel was used to pushing through discomfort, so he kept going to dance class to "work it out."
But the pain persisted. During a run of The Full Monty at Westchester Broadway Theatre, Kimmel was diagnosed with advanced metastasized cancer. Ten tumors had infiltrated his body.
Japanese-born, New York–based choreographer Kota Yamazaki returns to his roots as a butoh dancer in Darkness Odyssey Part 2: I or Hallucination. He explores butoh founder Tatsumi Hijikata's idea of the extreme fragility of the body. Yamazaki is joined by contemporary luminaries Julian Barnett, Raja Feather Kelly, Joanna Kotze and Mina Nishimura, each of whom engages in drastically eccentric pathways, making the body appear to disintegrate before your eyes. Music is by Kenta Nagai and visual environment by lighting wizard Thomas Dunn. Dec. 13–15, Baryshnikov Arts Center. bacnyc.org.