25 to Watch 2018: Angelo Greco
Vibrant, dazzling, a little bit dangerous: Angelo Greco is a firecracker. He pushes his breathtaking jumps and turns to the very edge of control, yet imbues each step with lyrical musicality and sensitive emotion. Those qualities, along with a boyish mop of curls, made Greco an instant audience favorite when he joined San Francisco Ballet from La Scala as a soloist in 2016. A frequent partner for prima ballerina Maria Kochetkova, he was promoted to principal in 2017—and he's just 22.
The Sardinian-born, La Scala–trained Greco has also made a mark on the international scene, winning the 2016 Erik Bruhn Prize in Toronto. "He always dances full-out, with feeling," says his Bruhn partner and co-winner, SFB corps member Natasha Sheehan. "With Angelo, there is no such thing as marking." Whatever the role, from the Swan Lake pas de trois to Alexei Ratmansky's Seven Sonatas to the title role in Balanchine's Prodigal Son, he dances like a star.
Michele Byrd-McPhee's uncle was a DJ for the local black radio station in Philadelphia, where she was born. As a kid she was always dancing to the latest music, including a new form of powerful poetry laid over pulsing beats that was the beginning of what we now call hip hop.
Byrd-McPhee became enamored of the form and went on to a career as a hip-hop dancer and choreographer, eventually founding the Ladies of Hip-Hop Festival and directing the New York City chapter of Everybody Dance Now!. Over the decades, she has experienced hip hop's growth from its roots in the black community into a global phenomenon—a trajectory she views with both pride and caution.
On one hand, the popularity of hip hop has "made a global impact," says Byrd-McPhee. "It's provided a voice for so many people around the world." The downside is "it's used globally in ways that the people who made the culture don't benefit from it."
Just four years ago, the University of Southern California's Glorya Kaufman School of Dance welcomed its first class of BFA students. The program—which boasts world-class faculty and a revolutionary approach to training focused on collaboration and hybridity—immediately established itself as one of the country's most prestigious and most innovative.
Now, the first graduating class is entering the dance field. Here, six of the 33 graduates share what they're doing post-grad, what made their experience at USC Kaufman so meaningful and how it prepared them for their next steps:
Every dancer knows there's as much magic taking place backstage as there is in what the audience sees onstage. Behind the scenes, it takes a village, says American Ballet Theatre's wig and makeup supervisor, Rena Most. With wig and makeup preparations happening in a studio of their own as the dancers rehearse, Most and her team work to make sure not a single detail is lost.
Dance Magazine recently spoke to Most to find out what actually goes into the hair and makeup looks audiences see on the ABT stage.