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10 Minutes with Carla Körbes
It's been a year and a half since Carla Körbes retired from Pacific Northwest Ballet. In that time, Körbes has marked several life passages: a move to Los Angeles, a sumptuous wedding to photographer Patrick Fraser and the birth of their son, Rafael. She also became the associate artistic director of Los Angeles Dance Project at the invitation of Benjamin Millepied, who tasked her with helping to execute his artistic vision at LADP while he was also director of dance at the Paris Opéra Ballet. She returned to dancing last year as a guest artist in Vail, Washington, DC, and New York City, and marked her first appearance onstage with LADP in December, performing Christopher Wheeldon's After the Rain with company member Morgan Lugo.
How has your experience of leaving the super-structured life of a PNB principal treated you? Have you enjoyed that uncertainty, or do you find yourself gravitating toward more-structured projects?
The certainty at PNB was attractive: You have very specific schedules, you know what you're getting paid. But I needed a change from the regularity of so many different programs in a performing season. I was stuck in a schedule that was hard on my body. Now, I teach, coach and perform. I am making my own structure, and the flexibility allows me to juggle much better being a working mom.
What attracted you to LADP?
The year I was retiring, I saw longtime friend and dance partner James Fayette after a performance in Los Angeles. I told him that I was trying to figure out what to do, and I soon got a call from Ben. It felt like a perfect opportunity. My husband lives in L.A.—and now it's my home.
Your role as associate artistic director has involved teaching at LADP and its affiliated school, The Colburn Dance Academy, coaching and dancing. What do you enjoy most about your work?
Most appealing to me is the group of dancers. They are young, and have a vocabulary different than what I am used to. Dancing for me is about awareness and involvement, and it's what I work on with the dancers. They're responsive—and hungry to grow as artists. Plus, I like being in an environment that's small enough so as not to be overwhelming. Directing a large company would be a huge commitment! I'm fortunate that I can still dance. I do some guesting, but I also am excited about dancing here in L.A.—my situation feels like a little piece of heaven.
What are some of the memorable guest performances you've done recently?
At the Kennedy Center in DC, I shared the stage with so many different artists, like Damian Woetzel and Heather Watts—it was thrilling. For Vail Dance Festival's New York City performances, I got another chance to take two masterpieces, Martha Graham's Lamentation and Balanchine's Élégie, and develop new interpretations.
What's next for you?
We shall see. I love being a mama, and since the baby was born, I have chosen to stay home rather than go on tour with the dancers. Still, being onstage for me is magical. I've traveled to Vail and NYC to perform, but those are shorter trips than going on a three-month tour of France! I thought I couldn't retire from a big company if I didn't know what the next thing would be, but I'm okay with the uncertainty. The dances I do now are really like a meditation for me.
Bales of hay, black umbrellas, bicycles—this Midsummer Night's Dream would be unrecognizable to the Bard. Alexander Ekman's full-length, inspired by Scandinavian solstice traditions and set to music by Mikael Karlsson, is a madcap celebration of the longest day of the year, when the veil between our world and that of the supernatural is said to be at its thinnest. The Joffrey Ballet's performances mark the seductively surreal work's North American premiere. April 25–May 6. joffrey.org.
"There's an ancient energy in Fana's movement, a deep and trusted knowing," says Jeff, director of the Chicago-based Deeply Rooted Dance Theater. "Because I witnessed the raw humanity of his dancer's souls, I wanted my dancers to have that experience."
When I wrote about my struggle with depression, and eventual departure from dance because of it, I expected criticism. I was prepared to be challenged. But much to my relief, and horror, dancers from all over the world responded with support and stories of solidarity. The most critical response I saw was this one:
"Dance isn't for everyone."
This may as well be a mantra in the dance world. We have become entrenched in the Darwinian notion that the emotionally weak will be weeded out. There is no room for them anyway.
In his final bow at New York City Ballet, during what should have been a heroic conclusion to a celebrated ballet career, Robert Fairchild slipped and fell. His reaction? To lie down flat on his back like he meant to do it. Then start cracking up at himself.
"He's such a ham," says his sister Megan Fairchild, with a laugh. "He's really good at selling whatever his body is doing that day. He'll turn a moment that I would totally go home and cry about into something where the audience is like, 'That's the most amazing thing ever!' "
Growing up in a family-owned dance studio in Missouri had its perks for tap dancer Anthony Russo. But it also earned him constant taunting, especially in high school.
"There was a junior in my sophomore year health class who was absolutely relentless," he says. "I'd get tripped on my way to the front of the classroom and he'd say, 'Watch out, twinkle toes.' If I raised my hand and answered a question incorrectly, I'd hear a patronizing 'Nice one, Bojangles.' "
Choreographer Sergio Trujillo asked the women auditioning for ensemble roles in his newest musical to arrive in guys' clothing—"men's suits, or blazers and ties," he says. He wasn't being kinky or whimsical. The entire ensemble of Summer: The Donna Summer Musical is female, playing men and women interchangeably as they unfold the history of the chart-busting, Grammy-winning, indisputable Queen of Disco.
Have a scroll through Agnes Muljadi's Instagram feed (@artsyagnes), and you'll notice that in between her ballet shots is a curated mix of lifestyle pics. So what exactly sets her apart from the other influencers you follow? Muljadi has made a conscious effort to only feature natural beauty products, sustainable fashion and vegan foods. With over 500k followers, her social strategy (and commitment to making ethical choices) is clearly a hit. Ahead, learn why Muljadi switched to a vegan lifestyle, and the surprising way it's helped her dance career.
He may not be a household name, but you probably know Brandon Stirling Baker's work. The 30-year-old has designed the lighting for most of Justin Peck's ballets—including Heatscape for Miami City Ballet, and the edgy The Times Are Racing for New York City Ballet—but also Jamar Roberts' new Members Don't Get Weary at Alvin Ailey American Dance Theater and a trio of Martha Graham duets for L.A. Dance Project.
He's been fascinated by lighting ever since he attended a public performing arts middle school in Sherman Oaks, California, where he had his first experiences lighting shows. He also has a background in music (he plays guitar and bass) and in drawing. Both, he says, are central to the way he approaches lighting dance.
Update: Due to an overwhelming response, the in-person audition has been moved to a larger location to accommodate more dancers. See details below.
For the first time in more than 10 years, Janet Jackson is holding an open audition for dancers.
Even better? You could land a spot in her #JTribe simply by posting a video on social media.
What does it take to become an international superstar? Carlos Acosta might have a few ideas.
At the Oxford Literary Festival earlier this month, the BBC sat down with Acosta to ask for his life lessons. His answers—which he says he will pass on to his kids one day—give incredible insight into how he's become such a beloved worldwide success.