Cleveland Ballet had its first performances in October. Photo by Mark Horning, courtesy Cleveland Ballet.
When Dennis Nahat's Cleveland San Jose Ballet left Cleveland for Silicon Valley in 2000, northeast Ohio was left without a top-flight ballet company. Now, 15 years later, former Cleveland San Jose Ballet principal and artistic associate Gladisa Guadalupe has relaunched the troupe under the Cleveland Ballet name. “The former Cleveland Ballet was a great institution, and I am not in any way trying to replace or ride on the coattails of it," says Guadalupe. “The city deserves to have a great resident ballet company again."
Guadalupe says the new company will employ six dancers on nine-month contracts for its 2015–16 preview season. In October, Cleveland Ballet made its debut at Playhouse Square, and it will dance Coppélia in May. Going forward, Guadalupe plans to build the troupe to 18 dancers, and perform a mix of downsized story ballets and new contemporary work.
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?