Corrales as Ali in Le Corsaire. Photo by Laurent Liotardo, Courtesy ENB
There are many ways in which to be a great dancer, but there's no denying that precocious virtuosity is often the most eye-catching. For Cesar Corrales, his fail-safe talent for effortlessly explosive jumps, plus pirouettes that could seemingly spin for infinity (but which stop at exactly the moment of his command), have marked out the 21-year-old as one of the most exciting young dancers performing in the UK.
Born in Mexico to Cuban parents—both dancers themselves—and trained in Canada, he played the young Billy Elliot in the musical's Chicago and Toronto productions before winning the Youth America Grand Prix in 2014. Moving to London, Corrales joined English National Ballet and quickly became an audience favorite (winning the company's People's Choice and Emerging Dancer awards in 2016).
Corrales has excelled in roles of energy, buoyancy and cheeky charisma, including Ali in Le Corsaire (for which he won a UK National Dance Award) and Mercutio in Nureyev's Romeo & Juliet. He was promoted to principal in July, becoming the company's youngest top-ranked dancer.
Essential oils sometimes get a bad rap.Between the aggressive social media marketing for the products and the sometimes magical-sounding claims about their healing properties, it's easy to forget what they can actually do.But if you look beyond the pyramid schemes and exaggerations, experts believe they have legit benefits to offer both mind and body.
How can dancers take advantage of their medicinal properties? We asked Amy Galper, certified aromatherapist and co-founder of the New York Institute of Aromatic Studies:
Karen Azenberg, a past president of the Stage Directors and Choreographers Society, stumbled on something peculiar before the union's 2015 move to new offices: a 52-year-old sealed envelope with a handwritten note attached. It was from Agnes de Mille, the groundbreaking choreographer of Oklahoma! and Rodeo. De Mille, a founding member of SDC, had sealed the envelope with gold wax before mailing it to the union and asking, in a separate note, that it not be opened. The reason? "It is the outline for a play, and I have no means of copyrighting…The material is eminently stealable."