BalletX's 2018–19 Season Boasts Seven New Ballets, Four by Women
With over 68 new works in its 13-year history, BalletX is known for being an epicenter of creation. The company will outdo itself in its 2018–19 season, treating Philadelphia to seven new works, four of them by women. "We are interested in growing, not cutting costs," says artistic director Christine Cox. "The unknown adventure of new ballets means there is an unknown process and a different learning curve we get to work on every day."
This month's Fall Series will include premieres from Marguerite Donlon, Cayetano Soto and Wubkje Kuindersma, while the Spring Series will feature new works by Lil Buck, Nicolo Fonte and 2019 choreographic fellow Katarzyna Skarpetowska. Annabelle Lopez Ochoa will return to BalletX to create an evening-length ballet inspired by Antoine de Saint-Exupéry's Le Petit Prince for the Summer Series.
Premieres aren't all that's new this season: A renovated 5,000-square-foot warehouse is now the company's Center for World Premiere Choreography, a dedicated space for BalletX to develop its programming. With 11 dancers now working a minimum of 35 weeks a year, it was no longer feasible to rent different rehearsal spaces around town. As Cox began talks with developers and their Philadelphia community about the possibility of their own building, she found there was a huge amount of support around the idea. "I am most proud of the curious audience we have developed," says Cox. "We have worked hard at building an audience that is invested in supporting new ballets. And they know they don't have to love every work, that it is about the experience."
We knew that Ivo van Hove and Anne Teresa de Keersmaeker's production of West Side Story would challenge our preconceived notions about the show.
But a recent Vogue story gives us a taste of just how nontraditional the Broadway revival will be. Most notably, van Hove is cutting "I Feel Pretty" and the "Somewhere" ballet, condensing the show into one act to better reflect the urgency of the 48-hour plot. (The choice has been approved by the West Side Story estate, including Sondheim, who has "long been uncomfortable" with some of the "I Feel Pretty" lyrics.)
Back in 2011 when Joe Lanteri first approached Katie Langan, chair of Marymount Manhattan College's dance department, about getting involved with New York City Dance Alliance, she was skeptical about the convention/competition world.
"But I was pleasantly surprised by the enormity of talent that was there," she says. "His goal was to start scholarship opportunities, and I said okay, I'm in."
Today, it's fair to say that Lanteri has far surpassed his goal of creating scholarship opportunities. But NYCDA has done so much more, bridging the gap between the convention world and the professional world by forging a wealth of partnerships with dance institutions from Marymount to The Ailey School to Complexions Contemporary Ballet and many more. There's a reason these companies and schools—some of whom otherwise may not see themselves as aligned with the convention/competition world—keep deepening their relationships with NYCDA.
Now, college scholarships are just one of many ways NYCDA has gone beyond the typical weekend-long convention experience and created life-changing opportunities for students. We rounded up some of the most notable ones:
It's a much-repeated part of Francesca Hayward's origin story that she discovered ballet at age 3, when her grandparents bought a video of The Nutcracker to keep her occupied and she immediately started dancing around the room. What's less well-known is that there was another video lined up next to The Nutcracker that Hayward liked to dance along to: Cats. "I really just did the White Cat bit and fast-forwarded the rest," she remembers. "I'd make my friends who came around be the other cats."
Twenty-four years later, she's not only become a Royal Ballet principal, but has been cast as Victoria the White Cat in Tom Hooper's new movie adaptation of the Andrew Lloyd Webber musical, out in theaters on December 20. "I remember the director telling me I'd got the part: 'Just to let you know you're the lead in a Hollywood film,' he said." Hayward laughs. "This is crazy!"
"The show must go on" may be a platitude we use to get through everything from costume malfunctions to stormy moods. But when it came to overcoming a literal hurricane, Houston Ballet was buoyed by this mantra to go from devastated to dancing in a matter of weeks—with the help of Harlequin Floors, Houston Ballet's longstanding partner who sprang into action to build new floors in record time.