Yep, that's ballet legend Alessandra Ferri. And yep, that means the pair of ballerinas are in rehearsals with Blankenbuehler for Only Gold. Excited doesn't even begin to cover it. Here's what we know so far:
Only Gold centers on a maharaja in 1920s Paris, though details are still hazy. (Not to be confused with the plot of Moulin Rouge! in which a writer in 1920s Paris is working on a show featuring a love triangle between a penniless sitar player, a courtesan and a maharaja.)
The dance talent in the rehearsal room is INSANE
Alessandra Ferri in rehearsal at The Royal Ballet. Photo by Andrej Uspenski, Courtesy ROH
We've got Ferri, arguably the greatest dance actress of her generation. We've got Pazcoguin, who was tapped by Blankenbuehler to play the balletic Victoria in the 2016 Broadway revival of CATS. And then there's Justice Moore, AKA "The Bullet" in the original Chicago ensemble of Hamilton. These three are reportedly playing the wives of the maharaja (Seán Martin Hingston).
Photo by Getty Images/Robin Little/Red Ferns, via Google
The English singer-songwriter has been working on this project for about eight years. Nash's catalogue will be used in the musical, as well as material she is composing specifically for the show. Earlier this summer, she told Harper's Bazaar, "It's quite amazing seeing dancers physically interpret my songs because it puts a whole new spin on them."
Blankenbuehler has actors and dancers in the studio, and there was a reading of the first act recently, so the project is definitely coming along. But there's no word yet on when a full staging, much less an out-of-town tryout, might happen. (It's fine, we'll just keep Instagram-stalking the cast until then...)
James Whiteside (Jayme Thornton for Dance Magazine)
Say you're perpetually impeccable designer Thom Browne. Say you're planning your Spring 2020 Paris menswear show along a "Versailles country club" theme. Say you want a world-class danseur to open the show with some kind of appropriately fabulous choreography.
Who do you call? James Whiteside, of course. On Saturday, the American Ballet Theatre principal—wearing pointe shoes and a glorious pinstriped tutu—kicked off Browne's presentation at the École des Beaux-Arts with a 15-minute, show-stealing solo. Whiteside choreographed the piece himself, with the help of detailed notes from the designer.
I'd been a professional dancer for five years when I realized the pain I'd been feeling in my hip and down my sciatic nerve was not going away. I had been treating it for two years as we dancers do—with regular visits to my masseuse, physical therapy, baths, ice and lots of Aleve—but I never stopped dancing. It finally dawned on me that if I kept going at the speed I was going (which was, well, speedy), the pain would only get more severe and unrelenting, and I might never dance again.
I told myself I'd take two months off, and all would be better.
That first morning when I woke up at 10 am, I had no idea what to do with myself. My life until that moment had been dictated by class and rehearsal, every hour accounted for. How should I fill the huge swath of time ahead of me?