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What It Takes to Glow
Jurgita Dronina is doing fouetté turns with her back to me. Facing the far wall, she builds momentum with the precise placement of each demi-rond-de-jambe. She apologized ahead of time, explaining with a self-deprecating smile: “I can't spot in the mirror. I'm always telling my partners, 'Don't worry, I'll turn fine onstage.' "
On this particular morning, the National Ballet of Canada principal is working before scheduled rehearsals to prepare for two upcoming galas in Taipei and Singapore. First on the program is Aurora's Act III pas de deux from The Sleeping Beauty, a ballet she's performed numerous times, and I'm struck by how fresh the century-old choreography looks inside her body. Breathing into the retirés that mark the beginning of the solo, Dronina finds brightness and vulnerability. Her upper-body elegance extends into her port de bras and legs. But what she offers, first and foremost, is emotion. When she steps into first arabesque, her gorgeous extension comes with a surge of glee. She's actually blushing—exactly what you'd expect of Princess Aurora on her wedding day.
It comes as no surprise to learn that Dronina considers dance and acting inseparable. While she has earned a reputation for her unremitting work ethic—mornings that often begin at 7 am, with personal training and Pilates before company class—she says this is all in service to the foundation she needs to perform. “I want to go onstage and lose myself," she tells me. “I can't be thinking about anything technical. That's why I work so hard, so that onstage I've transformed."
Dronina was born in Saratov, Russia, in 1986, but she grew up mainly in Vilnius, Lithuania, where her family relocated when she was 4. She started out studying ballroom dancing—following in the footsteps of her older sister—and then moved on to gymnastics, but found it physically grueling to no justifiable ends. “It was useless to me—to break my body for nothing? I didn't see the purpose."
One day a choreographer came to the gym to lead the warm-up. Taking note of the 9-year-old Dronina's musicality and grace, he suggested she try out for the local ballet academy. For the audition, the somewhat bewildered Dronina improvised a hip-hop solo. “The jury didn't know what to think—but they started clapping," she says with a laugh. “Then they accepted me."
Dronina's physique might seem genetically predisposed to ballet, but she claims that this is an illusion created by relentless work. Training six days a week at the academy, she was often told that she probably wouldn't make it as a professional. “They told me, 'You don't have a jump, you don't have the legs, you're not turned out.' "
Soon, however, Dronina began competing at international competitions, winning gold and silver medals and proving her real power as a performer. After she finished her studies at the Munich International Ballet School, she accepted a position in the Royal Swedish Ballet from artistic director Madeleine Onne, who'd seen Dronina in competitions and been persistent in asking her to join. Onne cast her in soloist roles right off the bat, letting her attack the full spectrum of the company's classical repertoire. Three years later, when Dronina was just 22, Onne promoted her to principal dancer.
Yet the Royal Swedish Ballet lacked the variety she was looking for, especially in the way of new commissions. Hankering for more creative breadth, Dronina joined the Dutch National Ballet in 2010. But Amsterdam never felt like home, and within a few years her focus began to shift again, especially after the birth of her son Damian Ulysses in 2012. (Dronina is married to former Dutch National Ballet dancer Serguei Endinian.)
“I started thinking it wasn't the repertoire I wanted to dance until retirement," Dronina says. “Amsterdam wasn't the city I wanted my kid to grow up in. I was 29 and I thought if I stayed past 30, I might stay there forever."
She put her feelers out for a new company, wanting one with a good balance between classical ballets and new works in a big, vibrant city that her whole family would enjoy. Canada was an attractive option from the outset: Her husband grew up in Montreal (and danced originally with Les Grands Ballets Canadiens). They spent 10 days in Toronto and fell in love with both the city and NBoC. “The dancers were so friendly and supportive, everyone sharing ideas and approaches to the work," Dronina says, adding that she cried on the plane home. “I said to my husband, 'My love, I don't want to leave. I feel so good here.' "
Artistic director Karen Kain wasn't in the market for a new female principal dancer. But after Dronina's visit, Kain started to wonder whether she could make it work. “She was very special," Kain says. “She has lovely articulation in her legs and feet. And she's very technically assured—although I'm sure she doesn't feel that way." Kain raises her eyebrows knowingly. “And I really liked her. It seemed like it should happen."
Dronina's first season was full of the dramatic roles she thrives in. Last November, she danced Hermione in Christopher Wheeldon's The Winter's Tale, and loved what it demanded from her as an actress. “I talk in my head with every gesture," Dronina tells me, referring to the climactic trial scene in which Hermione pleads for her life. The next challenge came from La Sylphide, set by Danish choreographer Johan Kobborg. “I'd never danced a Bournonville ballet before and Johan was a great teacher. The style is so simple but so clear. You can't add anything on top of it, like at the beginning I wanted to do something extra"—she demonstrates a little épaulement—“and he said, 'No, no, no! Very plain. Very Bournonville.' It was a totally different approach." Her meticulous attention to detail paid off—reviews were unanimously glowing.
Dronina maintains a position as principal guest artist with the Hong Kong Ballet, now run by Onne, who continues to nurture Dronina's career. Dronina also recently curated, hosted and danced in a gala in Vilnius, celebrating the 90th anniversary of the Lithuanian Ballet.
Meanwhile, her family takes full advantage of Toronto, often attending museums, galleries, concerts and festivals. Family is a huge source of stability in her life. “When I met my husband, my life changed. He didn't judge my approach. He says, 'This is what ballet should be, so much more than performing steps.' Once I found happiness in life, I became happy in ballet."
Yet Dronina maintains that her work is still fraught with a sense of struggle. “You get a new body every day. You see me in tendus and I'm crying. I have sweat dripping into a pool below me."
And yet it's these challenges that make her dancing most meaningful. Once company class is over, she puts the grueling technical work aside and dives headlong into character, setting and emotion. “At 11:30 am, I'm done. I can rehearse Giselle." She meets my eye and her smile becomes radiant. “You achieve something and you think: Oh, it was worth it. Now I understand."
The fate of the National Endowment for the Arts has had us on tenterhooks (and off...and on again) since the election of Donald Trump. (Actually, we've been on and off tenterhooks about it more or less since it was founded.)
You don't need to convince us that dance can be a powerful vehicle for change. But in case you had any doubts, Dance Theatre of Harlem's new promotional video is all the proof you need. As part of their 2018 New York season, DTH will be hosting a gala on April 4 to commemorate the 50th anniversary of the assassination of Dr. Martin Luther King Jr. (this inspired the founding of the company by Arthur Mitchell and Karel Shook less than a year after his death).
Raise your hand if you've ever walked out of the studio with just one thought on your mind: a big, juicy cheeseburger. But raise your other hand if instead of getting that burger, you opted for a hearty salad or stir-fry.
While dancers need to fuel their bodies with nutrient-dense meals and snacks, plenty of foods get an unfair bad rap. "The diet culture in this country vilifies various food groups as being bad while championing others as good," says Kelly Hogan, MS, RD, CDN, clinical nutrition and wellness manager at the Dubin Breast Center at Mount Sinai Hospital in New York City. "But black-and-white thinking like that has no place when it comes to food."
Some foods have less nutrition than others, admits Hogan, but if you're eating what you crave and honoring your hunger and fullness cues, she says you'll probably get the variety of nutrients your body needs. Here are seven foods that can have a place on your plate—guilt-free.
When you spend as much time on the road as The Royal Ballet's Steven McRae, getting access to a proper gym can be a hassle. To stay fit, the Australian-born principal turns to calisthenics—the old-school art of developing aerobic ability and strength with little to no equipment.
"It's basically just using your own body weight," McRae explains. "In terms of partnering, I'm not going to dance with a ballerina who is bigger than me, so if I can sustain my own body weight, then in my head I should be fine."
There must be something in the water: Last week, we announced that Madonna is directing Michaela DePrince's upcoming biopic. And yesterday, we got wind of another major dance film: According to The Hollywood Reporter, Fox Searchlight has sealed the deal to make Ailey Ailey's life and work into a movie. Yes, please.
While some movies falter along their way to the big screen, we think this one's got legs (and hopefully a whole lot of lateral T's and hinges and coccyx balances, too). Why?
Back in 2012, after 14 years dancing with Mark Morris Dance Group, choreographer John Heginbotham ventured out on his own. Don't think of it as going solo, though.
Almost from the outset, Heginbotham has embarked on a series of fruitful collaborations with other artists, via his namesake company, Dance Heginbotham, and through a stream of independent projects. His creative partners have covered a range of talents and genres: illustrator Maira Kalman (in 2017's The Principles of Uncertainty), opera director Peter Sellars (for Girls of the Golden West, which debuted at San Francisco Opera in November), and contemporary-music luminaries such as Tyondai Braxton and Alarm Will Sound.
Here's What He Has To Say: About starting his company, his rehearsal process and why he's drawn to creative mash-ups.
Ten years is a long time for a dance production to run, but Sidi Larbi Cherkaoui's Sutra, an athletic, meditative spectacle featuring 19 Shaolin monks and a malleable set of 21 wooden boxes (designed by Antony Gormley) is still striking a chord with audiences worldwide. To celebrate the milestone, Sutra is returning to Sadler's Wells, where it all began. March 26–28. sadlerswells.com.
Whether playing a saucy soubrette or an imperious swan, Irina Dvorovenko was always a formidable presence on the American Ballet Theatre stage. Since her 2013 retirement at 39, after 16 seasons, she's been bringing that intensity to an acting career in roles ranging from, well, Russian ballerinas to the Soviet-era newcomer she plays in the FX spy series "The Americans."
We caught up with her after tech rehearsal for the Encores! presentation of the musical Grand Hotel, directed and choreographed by Josh Rhodes and running March 21–25 at New York City Center. It's another tempestuous ballerina role for Dvorovenko—Elizaveta Grushinskaya, on her seventh farewell tour, resentfully checks into the Berlin hostelry of the title with her entourage, only to fall for a handsome young baron and sing "Bonjour, Amour."
When Andrew Montgomery first saw the Las Vegas hit Le Rêve - The Dream 10 years ago, he knew he had to be a part of the show one day. Eight years later, he auditioned, and made it to the last round of cuts. On his way home, still waiting to hear whether he'd been cast, he was in a motorcycle accident that ended up costing him half his leg.
But Montgomery's story doesn't end the way you might think. Today, he's a cast member of Le Rêve, where he does acrobatics and aerial work, swims (yes, the show takes places in and around a large pool) and dances, all with his prosthetic leg.
Camille A. Brown is on an impressive streak: In October, the Ford Foundation named her an Art of Change fellow. In November, she won an AUDELCO ("Viv") Award for her choreography in the musical Bella: An American Tall Tale. On December 1, her Camille A. Brown & Dancers made its debut at the Kennedy Center, and two days later she was back in New York City to see her choreography in the opening of Broadway's Once on This Island. Weeks later, it was announced that she was choreographing NBC's live television musical Jesus Christ Superstar Live in Concert, to air on April 1.
An extraordinarily private person, few knew that during this time Brown was in the midst of a health crisis. It started with an upset stomach while performing with her company on tour last summer.
"I was drinking ginger ale, thinking that I would feel better," she says. Finally, the pain became so acute that she went to the emergency room in Mississippi. Her appendix had burst. "Until then, I didn't know it was serious," she says. "I'm a dancer—aches and pains don't keep you from work."