On the Rise: Alexandra Karigan Farrior
With her ability to make people laugh and cry, often at the same time, Alexandra Karigan Farrior takes dance theater to a new level. As muse and most frequent partner of Joshua L. Peugh, artistic director of up-and-coming Dallas troupe Dark Circles Contemporary Dance, she navigates his world of whimsy and internal turmoil with a confident finesse. Though she only joined the company in 2014, she fully inhabits Peugh’s offbeat characters, while managing to make his bizarre partnering look easy.
Farrior is one half of Dark Circles’ most dynamic duo. Here, in Peugh’s Slump. Photo by Chadi El-Khoury, courtesy Farrior.
Company: Dark Circles Contemporary Dance
Hometown: Dallas, Texas (Born in Toronto, Ontario)
Training: Chamberlain School of Ballet, Texas Ballet Theater School, BFA in dance performance from Southern Methodist University
Breakout career moment: Right out of college, Farrior landed a job with Amy Marshall Dance Company in New York City. It was a huge validation for her. In a strange coincidence, her landlord knew Marshall. “I cold-called her and she invited me to an intensive,” Farrior says. “We clicked immediately.” With Marshall, she performed at Jacob’s Pillow and toured Europe and Asia.
Dallas/New York/Dallas: Farrior’s husband transferred to a Texas law school in 2012 so she could enroll in Texas Christian University’s MFA program in classical and contemporary dance. In Dallas, she reunited with fellow SMU alum Peugh at Bruce Wood Dance Project. He then asked her to join his new company, Dark Circles, where they are well on their way to becoming Dallas’ most prominent partnership.
What she’s working on: Onstage, Farrior continues to plumb the tricky nuances in Peugh’s work. “Joshua encourages me to pursue precision and virtuosity, but also keep my curiosity alive,” she says.
What Peugh is saying: “In performance, Alex is so absorbed in the work. She has great instincts and sensitivity; she reacts to what’s happening around her onstage and also what’s happening beyond the proscenium.”
On the horizon: Because Peugh is traveling more often to create for other companies, Farrior has taken a leadership role at Dark Circles, teaching company class and running rehearsals. She will be featured in Peugh’s The Rite of Spring, premiering in March, and in Italian choreographer Fabio Liberti’s new work for the company in April.
What if there was a way to get your dancing in front of the likes of Desmond Richardson, d. Sabela grimes and Vincent Paterson all at once? Just in case you needed another excuse to break out your best moves this week, the Dare to Dance in Public Film Festival is back, and Richardson, grimes and Paterson are among this year's judges.
Dancers and non-dancers alike are invited to submit short dance films to the international online festival, with one caveat: The dancing has to take place in a public space.
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.
When we're talking about the history of black dancers in ballet, three names typically pop up: Raven Wilkinson at Ballet Russe de Monte Carlo, Janet Collins at New York's Metropolitan Opera and Arthur Mitchell at New York City Ballet.
But in the 1930s through 50s, there was a largely overlooked hot spot for black ballet dancers: Philadelphia. What was going on in that city that made it such an incubator? To answer that question, we caught up with Memoirs of Blacks in Ballet founder (and frequent Dance Magazine contributor) Theresa Ruth Howard, who yesterday released her latest project, a video series called And Still They Rose: The Legacy of Black Philadelphians in Ballet.
Janie Taylor didn't know if she'd ever return to the stage. But that's exactly where the former New York City Ballet principal has found herself: Nearly three years after retiring, she is performing again, as a member of L.A. Dance Project.
Taylor officially debuted with the company at its December 2016 gala in Los Angeles, then performed in Boston, via live stream from Marfa, Texas, and at New York's Joyce Theater before heading off on tour dates in France, Singapore, Dubai and beyond.
"She is wildly interesting to watch—and not conventional," says LADP artistic director Benjamin Millepied. "There are films of Suzanne Farrell dancing, where you feel like the music is coming out of her body," he says. "I think Janie has that same kind of quality."
Last night was not your average Thursday at Bay Ridge Ballet in Brooklyn, New York. Studio owner and teacher Patty Foster Grado—a former Parsons Dance Company dancer—was teaching a boys class, when with only five minutes left, she heard commotion in the waiting area and someone yelled, "There's a lady giving birth in the bathroom!"
Where can you watch Giselle, Romeo and Juliet, The Nutcracker, Coppélia and Le Corsaire all in one place? Hint: It also has extra-buttery popcorn.
Yep, it's your local movie theater. Starting this weekend, theaters across the country will be showing Bolshoi Ballet productions of classical and contemporary story ballets.
When commercial dancer Danielle Peazer took on an ambassadorial role with Reebok in early 2016, she didn't realize the gig would also lead to a career shift. But while traveling with and teaching workshops for the brand, the idea for DDM (Danielle's Dance Method) Collective started to take shape.