The Best of 2015
This year we gave our readers the power to weigh in on the most memorable dance moments of the year. You nominated performances you loved, voted on the top five and selected a diverse group of artists and productions that span the country. Here’s what you chose as your favorites.
Körbes takes her final bow at Pacific Northwest Ballet. Photo by Angela Sterling, courtesy PNB.
Best Female Performance
In the sea of ballerina retirements this year, Carla Körbes’ farewell stood out to our readers as particularly bittersweet. She was effortlessly regal in Diamonds, and her port de bras exquisite and commanding in Jessica Lang’s The Calling. The end of Serenade, when Körbes was carried offstage by four men, seemed a fitting tribute to her stardom.
Best Male Performance
Fairchild and Leanne Cope in An American in Paris. Photo by Angela Sterling, courtesy AAIP.
“Triple threat” doesn’t do Robert Fairchild’s turn in An American in Paris justice. As the lovesick and exuberant Jerry Mulligan, Fairchild charmed our readers with wit reminiscent of Gene Kelly (the originator of the role in the 1951 film) and the crisp technique that makes him a New York City Ballet star.
Alonzo King’s Concerto for Two Violins. Photo by Quinn B. Wharton, courtesy LINES.
Alonzo King LINES Ballet revived King’s Concerto for Two Violins on tour this year, so readers all over the world could experience his reimagining of Bach’s classic score (used by Balanchine for Concerto Barocco), and the explosive physicality we’ve come to expect and love from LINES.
Best New Production
Fairchild and the cast of An American in Paris. Photo by Matthew Murphy, courtesy AAIP.
Christopher Wheeldon’s An American in Paris opened on Broadway in April, marking the choreographer’s directorial debut and becoming the most talked about dance musical of the season. Based on the classic film and set to the dreamy songs of the Gershwins, the show stars New York City Ballet’s Robert Fairchild and The Royal Ballet’s Leanne Cope. Our readers love the sheer volume of dance in this show—even the set changes are intricately choreographed. And you can’t go wrong with a 16-minute dream ballet and a cast of dancers pulled from top companies around the country.
Cedar Lake dancers in Nelko’s Awakening. Photo by Matthew Murphy, courtesy Nelko.
Best Emerging Choreographer
It was the year of the viral dance music video, and Lindsay Nelko’s, set to Ellie Goulding’s cover of Active Child’s “Hanging On,” landed her on our readers’ map of choreographers to watch. Easily transitioning between concert and commercial, she has choreographed for several television shows, international ballet companies and her own full-length show last summer—her prize for achieving 2nd runner-up at the 2013 Capezio A.C.E. Awards.
DM Editor Favorites
Photo by Paul Kolnik
Editor in Chief
Justin Peck’s Rodeo: Four Dance Episodes
“He gave himself an almost impossible task to reimagine such an iconic piece of music—but he did it brilliantly. It felt completely fresh, without ignoring the historical associations we all have with the score.”
Vice President, Editorial
Cedar Lake Contemporary Ballet’s final performance
“Artistic director Alexandra Damiani came onstage to announce there would be a final surprise. The curtain rose on the full company in Ohad Naharin’s Minus 16—the segment where the dancers create a ripple effect of synchronized movements to traditional Israeli music, discarding their suits, shirts and fedoras. It was a memorable way to go out.”
Rosalie O'Connor, courtesy ABT
Julie Kent’s last performance of Manon
“She was breathtakingly spectacular in the bedroom scene. It was one of those rare moments when you’re overwhelmed with emotions, holding back tears but beaming a smile at the same time.”
“I love how it demonstrates an admiration for musical theater’s history and a vision for its future. It’s a smart, beautiful show, and it will make history.”
Ohad Naharin’s Sadeh21
“The best part was when the credits scrolled and the Batsheva dancers were happily diving off into the unknown.”
Photo by Christopher Duggan, courtesy In the Lights
Camille A. Brown’s BLACK GIRL: Linguistic Play
“It was so personal, yet she tapped into something deeply universal in her exploration of black girlhood. I love that the talkback was mandatory—she insisted on having the last word.”
Have you ever seen a performance and thought, "Wow, this was so good. Dance Magazine should really be writing about this!"? You're in luck.
We're collecting nominations for our annual Readers' Choice feature, and we need your help! We'll compile our favorite nominations, and then you'll vote on what should make it into our December issue. But for now, we want to hear about the most memorable dance you've seen so far in 2017.
Hubbard Street Dance Chicago enters its fifth decade with a new training program designed to propel young professionals toward careers in dance. The Hubbard Street Professional Program (nicknamed "HS Pro") provides a two-year postsecondary alternative to university dance programs.
We've known for a while now that New York City Ballet principal Tiler Peck can do anything. She tackles everything in the NYCB rep—from "Emeralds" to Aurora to Justin Peck—with precision and pizzazz. And, we recently found out that she's kinda an amazing tap dancer:
In the '90s, low-fat diets were as popular as boy bands. But by the early 2000s, the high-fat, high-protein Atkins and South Beach diets had people stocking up on steak and eggs. Now, avocado toast is arguably trendier than *NSYNC ever was, and fat is no longer thought of as a naughty f-word.
But there's still some skepticism around how necessary fats are in a well-rounded diet, particularly among dancers. Before you reach for that grass-fed double bacon cheeseburger, make sure you know the difference between rumors and reality.
Throughout the summer, we've been noticing beachside views and scenic waterfalls sprinkled in with all of the usual rehearsal and performance posts we see from ballet's biggest stars. But even while enjoying some sun and relaxation, dancers like Sara Mearns and Michaela DePrince prove that they never really take a break from ballet. Ahead, check out some of the cutest vacay pictures and videos our favorite dancers have been sharing this summer. Not only will they give you some future vacation inspo, they'll also have you itching to get back in the studio.
This fall, the University of Utah's School of Dance welcomes the first class of candidates to its newly reinstated Master of Fine Arts in Ballet program, currently the only ballet-specific MFA in the country. Geared toward those with professional ballet experience, it requires courses in pedagogy, choreography and scholarly inquiry. Melonie Murray, the director of graduate studies, says, "We want to support students in understanding ballet in a deeper way."
The 2017–18 Broadway season is just getting underway! But before we look ahead to new productions, let's recall what came before. Here are a few of the sparkliest shows that opened on the Great White Way in previous Augusts.
42nd Street (1980)
The cast of the 2001 revival of 42nd Street performing at the Tony Awards
If you need an example of traditional Broadway-style tap, this couldn't be any closer. The original production of 42nd Street ran for over eight years. That's a lot of time steps.
When I saw Kele Roberson dancing at New York City Dance Alliance Foundation's college scholarship audition, I only had to watch a deep plié before writing down a 10 out of 10 on his score sheet and scribbling a giant star next to his name. Before he even had a chance to show off his incredible lines, I was mesmerized by his nuanced grace in even the simplest of movements.
He walked away from that audition with NYCDA Foundation's Dance Magazine College Scholarship worth $25,000 to the college of his choice, which happened to be Juilliard, where he was planning to attend this fall.
But shortly after winning, it turns out, his plans changed. I caught up with him earlier today to find out what happened.