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What It's Like to Go from Stardom to the Corps de Ballet: Betsy McBride
Some careers come together so organically that the dancer barely has time to take stock of how she got to where she is. That's how it was for Betsy McBride, at least until 2015.
Born in Coppell, a suburb of Dallas, McBride began taking ballet at her local school at age 3. At 14, she attended a summer intensive at the school affiliated with Texas Ballet Theater. Within a few weeks, McBride was offered a year-round place at the school with the tantalizing prospect of being hired by the company. Which is exactly what happened just a few months later. And there she stayed, eventually performing some of the most desirable roles in TBT's repertoire: Juliet, Odette/Odile, Aurora, the glamorous soloist in Balanchine's "Rubies," the title character in Ronald Hynd's The Merry Widow.
PC Ellen Appel, Courtesy TBT
As the 24-year-old brunette explains, "I wasn't even thinking about a career yet. It was all sort of a whirlwind, and I just went with it." She could have stayed where she was for the rest of her career, cycling through the classical roles and having new ones created for her by the company's artistic director, Ben Stevenson. "I grew up there—I was comfortable there," she says. But as time went on, she realized she was hungry for a change: a new company, a bigger city, longer seasons, opportunities to tour. "I was ready to go somewhere new and start over."
So early in 2015, she contacted American Ballet Theatre, hoping to arrange an audition. Though she was informed that there were no openings, she was invited to come to New York City to take class. She took them up on the offer, and made a good impression. By chance, a position opened up, and she was offered a contract. She made her debut with ABT as a nymph in The Sleeping Beauty toward the end of the 2015 Met season. (Encouraged by her success, her boyfriend, Simon Wexler, also auditioned and joined the corps a few months after her.)
McBride (left) in Ratmansky's Sleeping Beauty. PC John Grigaitis
But the decision came at a cost: She had to trade in her life as a leading dancer for a place in the corps. "I've definitely struggled with it at times. It's weird, I'm new here, but I'm not new to being a professional. So I just try to keep doing what I need to do and not focus on that too much."
Her clear-eyed approach has already helped cement her place in the company. She has been given some opportunities: a little swan in Swan Lake, Fairy Fleur de farine in Alexei Ratmansky's historically minded Sleeping Beauty, Columbine in his Nutcracker. And more chances seem to be in store: She's rehearsing the role of the lead gypsy in Don Quixote and recently started learning the choreography for Olga, the younger sister in John Cranko's Onegin.
PC Ellen Appel, Courtesy TBT
She realizes that nothing is automatic in a big company like ABT. She's fifth cast for Olga, which means she may not get to dance it for a while, if ever. As she puts it, "It's definitely a waiting game." Meanwhile, she's finding sustenance dancing in the corps. "It challenged me to go back to working with my peers and feeding off of each other. You feel that camaraderie and the ups and downs."
"Betsy is an extremely versatile dancer with a vibrant personality on the stage, and quick to learn," says Susan Jones, principal ballet mistress at ABT. "When she joined, it was as if she'd always been here."
Her adaptability was on display in a recent rehearsal of Ratmansky's new ballet Whipped Cream, in which she was creating the role of one of four "swirl girls." Even as she learned the complicated steps, she danced them full-out, with confidence.
It's easy to see why critics back in Texas used adjectives like "reckless" and "daring" to describe her dancing. And she's not timid about trying new things: "Sometimes Ratmansky asks us to do something that seems impossible. And then you realize, once you try it, that you can. It's been kind of a light bulb for me." It seems that with this move she's gotten even more than what she bargained for: a choreographer of international repute who can push her to new heights.
Sarah Haarmann stands out without trying to. There is a precision and lack of affectation in her dancing that is very Merce Cunningham. Her movement quality is sharp and clear; her stage presence utterly focused. It's no wonder she caught Mark Morris' eye. Even though she still considers herself "very much the new girl" at Mark Morris Dance Group (she became a full-time member in August 2017), in a recent performance of Layla and Majnun, Haarmann seemed completely in her element.
Company: Mark Morris Dance Group
Hometown: Macungie, Pennsylvania
Training: Lehigh Valley Charter High School for the Performing Arts and Marymount Manhattan College
In 2012, freelance contemporary dancer Adrianne Chu made a major career change: She decided to try out for A Chorus Line. "Even though I didn't get the job, I felt like I was meant to do this," says Chu. So she started going to at least one musical theater audition every weekday, treating each as a learning experience. After several years of building up her resumé, Chu's practice paid off: She booked a starring role as Wendy in the first national tour of Finding Neverland.
Approaching auditions as learning opportunities, especially when you're trying to break into a different style or are new to the profession, can sharpen your skills while helping you avoid burnout. It also builds confidence for the auditions that matter most.
For many dancers, a "warmup" consists of sitting on the floor stretching their legs in various positions. But this strategy only reduces your muscles' ability to work properly—it negatively affects your strength, endurance, balance and speed for up to an hour.
Save your flexibility training for the end of the day. Instead, follow a warmup that will actually help prevent injury and improve your body's performance.
According to the International Association of Dance Medicine and Science, a smart warmup has four parts: "a gentle pulse-raising section, a joint mobilization section, a muscle lengthening section and a strength/balance building section."
It's easy to feel whiplashed thinking about everything Emma Portner has achieved in such a short amount of time. Last fall, the 23-year-old was the youngest woman ever to choreograph a West End production (it was based on Meat Loaf's greatest hits). This was, of course, after she already choreographed and starred in Justin Bieber's viral hit "Life is Worth Living," and before she charmed major media outlets when she secretly married actress Ellen Page. Now, she's L.A. Dance Project's first-ever artist in residence, and she's working on a commission for Toronto's Fall for Dance North Festival.
We caught up with her for our "Spotlight" series:
Last month, the International Association of Blacks in Dance's third annual ballet audition for women of color was expanded to include a separate audition for men.
The brainchild of Joan Myers Brown (founder of both Philadanco and IABD), the women's audition was created to specifically address the lack of black females in ballet. However, the success and attention that audition drew made the men feel left out, so IABD decided to give the men equal time this year.
Pina Bausch's unique form of German Tanztheater is known for raising questions. Amid water and soil, barstools and balloons, the late choreographer's work contains a distinct tinge of mystery and confrontation. Today, Tanztheater Wuppertal Pina Bausch's dancers use questions as fuel for creativity. The company's most recent project introduced a new group of performers to the stage: local high school ninth-graders from the Gesamtschule Barmen in Wuppertal, Germany, in an original work-in-progress performance called Veränderung (Change).
Before she became the 20th century's most revered ballet pedagogue, Agrippina Vaganova was a frustrated ballerina. "I was not progressing and that was a terrible thing to realize," she wrote in a rough draft of her memoirs.
She retired from the Imperial Ballet stage in 1916, and for the next 30-plus years, devoted herself to creating a "science of ballet." Her new, dynamic teaching method produced stars like Rudolf Nureyev, Alla Osipenko, and Galina Ulanova and later Natalia Makarova and Mikhail Baryshnikov. And her approach continues to influence how we think about ballet training to this day.
But is the ballet class due for an update? Demands and aesthetics have changed. So should the way dancers train change too?
I love being transgender. It's an important part of the story of why I choreograph. Although I loved dance from a very young age, I grew up never seeing a single person like me in dance. So how could I imagine a future for myself there?
The enormous barriers I had to overcome weren't internal: I didn't struggle with feelings of dysphoria, and I wasn't locked down by shame.
The dance community is heartbroken to learn that 14-year-olds Jaime Guttenberg and Cara Loughran were among the 17 people killed during the February 14 shooting at Marjory Stoneman Douglas High School in Parkland, FL.
Guttenberg was a talented competition dancer at Dance Theatre in Coconut Creek, FL, according to a report from Sun Sentinel. Dance Theatre owner Michelle McGrath Gerlick shared the below message on her Facebook page, encouraging dancers across the country to wear orange ribbons this weekend in honor of Guttenberg, whose favorite color was orange.
A statement released yesterday by New York City Ballet and School of American Ballet reported that an independent investigation was unable to corroborate allegations of harassment and abuse against former ballet master in chief Peter Martins, according to The New York Times. This marks the end of a two-month inquiry jointly launched by the two organizations in December following an anonymous letter detailing instances of harassment and violence.
The statement also included new policies for both the company and school to create safer, more respectful environments for the dancers, including hiring an independent vendor to handle employee complaints anonymously. These changes are being made despite the independent investigation, handled by outside counsel Barbara Hoey, purportedly finding no evidence of abuse.