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Performances Onstage this Month
Myles Thatcher in the studio. Photo by Erik Tomasson, Courtesy SFB.
A New Ballet Voice
This season, budding dancemaker Myles Thatcher had the opportunity to be mentored by one of the world’s greatest classical choreographers. Alexei Ratmansky chose the San Francisco Ballet corps member for the Rolex Mentor & Protégé Arts Initiative, taking him under his choreographic wing, so to speak. Now Thatcher will premiere a ballet with six couples set to Bach. It’s his first for SFB’s main season, on a program with works by none other than William Forsythe and Hans van Manen. Select dates Feb. 24–March 7. sfballet.org.
Choreographer Asher Lev. Photo Courtesy Chop Shop.
A popular festival in the Seattle area, Chop Shop: Bodies of Work, offers a refreshing lineup of contemporary dance from the region and beyond. This year includes the Bay Area’s Alex Ketley, Gabrielle Revlock from Philly and Seattle’s Stone Dance Collective, led by Eva Stone, the mastermind behind Chop Shop. International entries include Donald Sales, from Vancouver, and Asher Lev, from Belgium/Israel. Several choreographers will also give master classes, with scholarships available to pre-professionals. Feb. 14–15, Theatre at Meydenbauer. chopshopdance.org.
Ballet Memphis in Gabrielle Lamb’s Manifold. Photo by Andrea Zucker, Courtesy Ballet Memphis.
Four Choreographers, One Work
It’s an ambitious project: Gather four choreographers from different dance worlds, ask each to create something that speaks to their identity, then link them together and make one cohesive performance. Ballet Memphis’ I Am will include the voices of Reggie Wilson, Gabrielle Lamb, Julia Adam and Steven McMahon in I Am A Man, I Am A Woman, I Am A Child and closing with I Am, respectively. Each piece will be inspired by the theme of civil rights struggles in America.
“Part of my quest is building a ballet company that looks like our community,” says artistic director Dorothy Gunther Pugh. “If you look at our culture, women, children and people of color are still not fully valued. I want the work we create to have value in other people’s lives. That we realize that ballet is part of the world—not the world.” Feb. 20–22 at Playhouse on the Square. balletmemphis.org.
Yumiko Takeshima and Raphaël Coumes-Marquet in David Dawson’s Giselle. Photo by Costin Radu, Courtesy Semperoper Ballet.
A Modern Take on an Old Tale
Novels, films and operas have captured the tragic love story Tristan + Isolde. This month, Semperoper Ballet dances a new ballet version by David Dawson, whose work has become a staple of many European repertoires. This isn’t the abstract choreographer’s first narrative, though. Dawson, who credits his years dancing for William Forsythe as his most influential, created an unconventional but well received Giselle for the company in 2008. (And it’s on this year’s rep list, as well, with performances in April). Select dates Feb. 15–26 at the Semperoper in Dresden. semperoper.de.
Eve Schulte and Kelly Vittetoe in Nicolas Lincoln’s Semi-Detached. Photo by V.P. Virtucio, Courtesy James Sewell Ballet.
Two Styles, Fused
James Sewell Ballet, known for exploring the possibilities of what ballet can be, has commissioned a work from New York City postmodern darling Joanna Kotze. Her new work will take its ideas from what’s lost in translation—between conversations, cultures and the ballet-vs.-modern-dance division. Also on the bill: Works by Houston’s Jane Weiner and Minnesota choreographers Lance Hardin and Amy Earnest, as well as a new piece by company dancer Nicolas Lincoln. Feb. 6–15, The Cowles Center. thecowlescenter.org.
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.
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."
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.
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."
A flock of polyamorous princes, a chorus of queer dying swans, a dominatrix witch: These are a few of the characters that populate the works of Katy Pyle, who, with her Brooklyn-based company Ballez, has been uprooting ballet's gender conventions since 2011.
Historically, ballet has not allowed for the expression of lesbian, transgender or gender-nonconforming identities. With Ballez, Pyle is reinventing the classical canon on more inclusive terms. Her work stems from a deep love of ballet and, at the same time, a frustration with its limits on acceptable body types and on the stories it traditionally tells.
The latest fitness fad has us literally buzzing. Vibrating tools—and exercise classes—promise added benefits to your typical workout and recovery routine, and they're only growing more popular.
Warning: These good vibrations don't come cheap.
My life is in complete chaos since my dance company disbanded. I have a day job, so money isn't the issue. It's the loss of my world that stings the most. What can I do?
—Lost Career, Washington, DC
Dance Theatre of Harlem is busy preparing for the company's Vision Gala on April 4. The works on the program, which takes place on the 50th anniversary of the assassination of Dr. Martin Luther King Jr., reflect on the legacy of Dr. King and his impact on company founder Arthur Mitchell. Among them is the much-anticipated revival of legendary choreographer Geoffrey Holder's Dougla, which will include live music and dancers from Collage Dance Collective.
We stepped into the studio with Holder's wife Carmen de Lavallade and son Leo Holder to hear what it feels like to keep Holder's legacy alive and what de Lavallade thinks of the recent rise in kids standing up against the government—as she did not too long ago.
The encounter with man-eating female creatures in Jerome Robbins' The Cage never fails to shock audiences. As this tribe of insects initiates the newly-born Novice into their community and prepares her for the attack of the male Intruders, the ballet draws us into a world of survival and instinct.
This year celebrates the 100th anniversary of Jerome Robbins' birth, and a number of Robbins programs are celebrating his timeless repertoire. But it especially feels like a prime moment to experience The Cage again. Several companies are performing it: San Francisco Ballet begins performances on March 20, followed by the English National Ballet in April and New York City Ballet in May.
Why it matters: In this time of female empowerment—as women are supporting one another in vocalizing injustices, demanding fair treatment and pay, and advocating for future generations—The Cage's nest of dominant women have new significance.