Nagahisa in La Bayadère. Photo by Natasha Razina, Courtesy State Academic Mariinsky Theatre.
Not many students get the opportunity to perform a variation onstage with the Mariinsky Ballet. But in April 2016, when May Nagahisa was just 15 and training at Monaco's Princess Grace Academy, the Japanese prodigy was invited to perform the Manu dance in La Bayadère with the venerable Russian company—an unprecedented honor for a non-Vaganova student.
Mariinsky director Yuri Fateyev was impressed, and just after her graduation in Monaco last June, the 17-year-old dancer started her career as a trainee in St. Petersburg. During the Mariinsky's summer tour to London, Nagahisa was assigned variations in Paquita's grand pas and La Bayadère. Her outstanding technique and épaulement made an impression, with The Telegraph praising her "ethereally light upper body." Nagahisa may well be the Mariinsky's next standout foreign soloist: Her serene classical articulation is already at home in St. Petersburg.
Devon Teuscher performing the titular role in Jane Eyre. Photo by Gene Schiavone, Courtesy ABT
Story ballets that debut during American Ballet Theatre's spring season at the Metropolitan Opera House are always the subject of much curiosity—and, sometimes, much debate. Cathy Marston's Jane Eyre was no different. The ballet follows the eponymous heroine of Charlotte Brönte's novel as she grows from a willful orphan to a self-possessed governess, charting her romance with the haughty Mr. Rochester and the social forces that threaten to tear them apart.
While the ballet was warmly received in the UK when Northern Ballet premiered it in 2016, its reception from New York City–based critics has been far less welcoming. A group of editors from Dance Magazine and two of our sister publications, Dance Spirit and Pointe, sat down to discuss our own reactions.