Meet the Editors
Editor In Chief
Jennifer has worked on Dance Magazine since graduating from New York University's Tisch School of the Arts with a BFA in dance and journalism. A former senior editor of Pointe, she has also written for The Atlantic, Runner's World and other publications. As a dancer, she performed with California's Peninsula Ballet Theatre, Israeli choreographer Gali Hod and for Cirque du Soleil's 25th-anniversary celebration.
Raymond discovered his earliest dance inspiration in print in the photographs of Barbara Morgan, specifically her collaborations with Martha Graham. As an art and creative director he has been recognized with numerous awards. Raymond is an interdisciplinary artist, curator and cofounder of the contemporary art gallery Curious Matter.
A native of Floyds Knobs, Indiana, Madeline studied ballet at Southern Indiana School for the Arts and was later introduced to modern dance by Bill Evans. While completing her BFA in Dance Performance and Choreography at Ohio University's Honors Tutorial College, she was cast in a historical reconstruction of Alwin Nikolais' Noumenon celebrating the 100th anniversary of his birth. As an avid dance videographer and editor, she has worked on video projects for Bates Dance Festival and the Regina Klenjoski Dance Company in Southern California. She later served as a marketing and education manager for Lar Lubovitch Dance Company. She is currently the managing editor of Dance Magazine and Pointe.
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 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.
Suzannah grew up in Brookline, MA, where she took ballet and jazz at her neighborhood studio, and developed a love for all things musical theater. At Barnard College, she explored tap and modern, and began to combine her interests in dance and writing. She graduated with a major in English and a minor in dance, writing a senior thesis on the role of dance in Jane Austen's work. She has written about dance for various online and print publications.
A native of the Outer Banks of North Carolina, Lauren is a graduate of Barnard College with degrees in Dance and English. She has performed works by Annie B Parson, Mark Dendy, Reggie Wilson, and Karla Wolfangle, and currently dances with e r a dance collective and TREES. While at Barnard/Columbia she choreographed and collaborated on several original musical theater works, among them the 120th Annual Varsity Show. She continues to pursue musical theater choreography and reviews dance for various online publications.
Editor at Large
Wendy danced with the Trisha Brown Company in the 1970s and has performed with many other NYC choreographers. Her own group, the Wendy Perron Dance Company, appeared at the Lincoln Center Festival, the Joyce, Danspace Project and other venues in the U.S. and abroad from 1983 to 1997. The documentary film Retracing Steps: American Dance Since Postmodernism profiles Perron along with seven other choreographers. She has taught at many colleges including Bennington and Princeton, has given lectures on dance across the country, and was associate director of Jacob's Pillow in the early '90s. In addition to serving as editor in chief of Dance Magazine from 2004 to 2013, she has written for The New York Times, The Village Voice, Ballet Review and Dance Europe. In 2011 she was inducted into the New York Foundation for the Arts' Hall of Fame and was honored by Dancewave in Brooklyn in 2014. She has been artistic adviser to the Fall for Dance Festival and often adjudicates for Youth America Grand Prix and the American College Dance Festival. Currently she teaches a graduate seminar at NYU Tisch School of the Arts and performs occasionally with Vicky Shick. Her book, Through the Eyes of a Dancer, is a selection of her essays, memoirs, and reviews spanning 40 years.
Back in July, the Bolshoi Ballet grabbed international headlines after canceling the scheduled premiere of a new full-length ballet just three days before opening night. The ballet was Nureyev, and, as it was centered on the life of an openly gay male dancer who defected from the Soviet Union, it was widely speculated that the decision was an act of censorship.
Further theories of political motivations arose as Kirill Serebrennikov, the project's already-controversial director, was being questioned in connection with an embezzlement investigation. But according to the Bolshoi, the ballet was pulled due to it simply not being ready, and was not canceled but postponed; a tentative premiere was set for May 2018.
But it looks like Russian audiences will be getting to see the new ballet far sooner than they might have hoped.
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.
By itself, a competition trophy won't really prepare you for professional life. Sometimes it is not even a plus. "Some directors are afraid that a kid who wins a lot of medals will come to their company with too many expectations," says Youth America Grand Prix artistic director Larissa Saveliev. "Directors want to mold young dancers to fit their company."
More valuable than taking home a title from a competition is the exposure you can get and the connections you can make while you're there. But how can you take advantage of the opportunity?
New York Live Arts opens its 2017-18 season with A Love Supreme, a revised work by Anne Teresa De Keersmaeker and collaborator Salva Sanchis. Known as a choreographer of pure form, pattern and musicality, De Keersmaeker can bring a visceral power to the stage without the use of narrative. She has taken this 2005 work to John Coltrane's famous jazz score of the same title and recast it for four young men of her company Rosas, giving it an infusion of new energy.
Photo by Anne Van Aerschot
Before too long, dancers and choreographers will get to create on the luxurious 170-acre property in rural Connecticut that is currently home to legendary visual artist Jasper Johns.
If you think that sounds far more glamorous than your average choreographic retreat, you're right. Though there are some seriously generous opportunities out there, this one seems particularly lavish.
Every dancer has learned—probably the hard way—that healthy feet are the foundation of a productive and happy day in the studio. As dancers, our most important asset has to carry the weight (literally) of everything we do. So it's not surprising that most professional dancers have foot care down to an art.
Three dancers shared their foot-care products they can't live without.
Dancers trying their hand at designing is nothing new. But they do tend to stick with studio or performance-wear (think Miami City Ballet's Ella Titus and her line of knit warm-ups or former NYCB dancer Janie Taylor and her ballet costumes). But several dancers at American Ballet Theatre—corps members Jamie Kopit, Erica Lall, Katie Boren, Katie Williams, Lauren Post, Zhong-Jing Fang and soloist Cassandra Trenary—are about to launch a fashion line that's built around designs that can be worn outside of the studio. Titled Company Cooperative, the luxe line of women's wear is handmade in New York City's garment district and designed by the dancers themselves.
Royal Ballet dancers Yasmine Naghdi and Beatriz Stix-Brunell recently got together for a different kind of performance: no decadent costumes, sets, stage makeup or lighting. Instead, the principal and first soloist danced choreography by principal character artist Kristen McNally in a stark studio.
The movement is crystal clear, and at the beginning, Naghdi and Stix-Brunell duck and weave around each other with near vacant stares. Do they even know they have a partner? And how should they interact? The situation raises a much larger question: How often do we see a female duet in ballet?