Photo by Hollywood Dance Shoot, Courtesy Krouse

25 to Watch 2018: Kolton Krouse

There's a delicious bit of mischief in everything Kolton Krouse does. He'll toss off some impossibly difficult sequence—a quintuple pirouette into a prolonged développé into an aerial, say—and end with an impish smile that's the stage equivalent of saying, "How good was that? And how much fun did I have doing it?"


The 21-year-old brings that sense of fun to all his dance pursuits. Currently a junior at The Juilliard School, he performed in CATS on Broadway on and off during 2016 and 2017. (For a few months, he was committed to both Juilliard and CATS full-time.) And he regularly posts virtuosic Instagram clips showcasing his contemporary and commercial skills, including Beyoncé-caliber heels work.

Krouse's versatility is unsurprising given his background as a do-it-all competition kid: He earned the National Senior Male Outstanding Dancer title at New York City Dance Alliance in 2014. "I don't ever want to be boxed into one thing—'Oh, you're a theater dancer' or 'Oh, you're a commercial dancer,' " he says. "I want to do a bit of everything, without limitations."


Find out who else made Dance Magazine's "25 to Watch" list this year.

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How Do You Make a Theater Safe Again?

Last summer, months before the word "coronavirus" became part of our daily lexicon, American Repertory Theater artistic director Diane Paulus started working with an unexpected expert: Joseph Allen, an assistant professor of exposure assessment science at Harvard's H.T. Chan School of Public Health and head of the university's Healthy Buildings Program. According to Boston Magazine, Paulus was starting to plan out A.R.T.'s new venue at Harvard, and wanted to design a "healthy" theater.

So when COVID-19 began shutting everything down, the team had already put in months of work considering how to make a performing arts venue safe. To share their ideas with other theaters, A.R.T. published a blueprint online that will be continually updated. Although the "Roadmap for Recovery and Resilience for Theater" is not meant to be comprehensive or prescriptive, it offers several insightful factors to consider:

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