Erica Lall credits her tap dancing for the musical sensitivity of her American Ballet Theatre performances. From a wili in Giselle ("I love petit allégro," she says) to a soloist in Marcelo Gomes' contemporary AfterEffect, Lall deftly accents a striking range of choreography. Precise and expressive, she floats on the music, never overstressing the beat. As a Porcelain Princess in Alexei Ratmansky's staging of Aurora's Wedding last spring, she mastered the variation's minute, detailed movements and relentless pointework with a delicate, doll-like charm.
A former competition dancer—Starbound, Showstopper—the 19-year-old fell in love with ballet as a student at Houston Ballet Academy. "Tap was my favorite," she says, "but I loved the challenge of ballet, the refinement of the movement, how nice it felt to finally achieve it." Lall transferred to ABT's Jacqueline Kennedy Onassis School in 2013, joining the main company in 2016. But she still takes tap and contemporary classes at Broadway Dance Center during company breaks "to feel more grounded."
As a dancer of color in the same company as Misty Copeland, Lall knows she can be a model for young dancers. "I was the only dancer of color in my class," she recalls. "I think things are changing; I want to be a great example." Spoken like a ballerina in the making.
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."