Juliet Doherty looking out from the Radio City Music Hall stage
A list of Clara alumnae from Radio City's Christmas Spectacular reads like a star-studded, international gala program: Tiler Peck and Brittany Pollack of New York City Ballet (and Broadway), Meaghan Grace Hinkis of The Royal Ballet, Whitney Jensen of Norwegian National Ballet and more. Madison Square Garden's casting requirements for the role are simple: The dancer should be 4' 10" and under, appear to be 14 years old or younger and have strong ballet technique and pointework.
The unspoken requisite? They need abundant tenacity at a very young age.
Marcelo Gomes is creating a new work for United Ballet Theatre's debut. Photo by Michelle Revels, Courtesy Gatti
Without reference to a place or founder, the name United Ballet Theatre evokes a utopian vision for a ballet troupe. In his new Orlando-based company—which has a light launch and a debut performance this month—artistic director Joseph Gatti hopes to create a healthy work environment and offer prestigious programming. But can a brand-new company predicated on its "preserving the artist" tagline grow and thrive past a single summer?
Jordan Fry launcher her own business, Ballerina Baker, last year
Contrary to what her last name might suggest, Ballet West corps member Jordan Fry prefers baking as a cooking method. Her specialty? Picture-perfect cakes with flavors like banana-bourbon-butterscotch with caramel filling and toasted marshmallow frosting.
The self-professed sweets lover began her early culinary education through high school classes and YouTube videos. After a brief stint interning at a wedding cake shop in Salt Lake City, Fry started her own business, Ballerina Baker, in 2017.
From left: Bailey Anne Vincent and Michele Wiles. Photo by Albert Ayzenberg, Courtesy Overdrive PR.
"I'm going to end up in Timbuktu," jokes Bailey Anne Vincent about navigating New York City's bus system. The Washington-DC–based dancer, choreographer and director (of her multi-genre, body-positive Company360) instead opted for an Uber to meet her collaborator, BalletNext artistic director Michele Wiles, and me at a diner in midtown Manhattan.
In lamenting the buses' challenges, Vincent's complaint isn't with their routes. Though you might never know it from conversing with her or watching her dance, she's mostly deaf. She began losing her hearing in her teens due to a medical condition called atypical cystic fibrosis—a complicated diagnosis that impacts a number of her organs. But this hasn't stopped Vincent from dancing. She trained at Rockbridge Ballet in Virginia before college and later danced with a small company in the DC-metro area. Now 31, Vincent has hardly slowed down.
Muriel Maffre. Photo by Steven Gregory, courtesy LINES
Muriel Maffre is no less elegant up close in pedestrian clothing than she was onstage in glittering tutus. Since retiring from San Francisco Ballet, where she danced as a principal from 1990 to 2007, Maffre has been deeply involved in the Bay Area arts community. She has taught and worked at Alonzo King LINES Ballet, Stanford University, Richmond Arts Center and, most recently, the Museum of Performance + Design, where she served as executive director.
Earlier this month, Maffre returned to LINES as its CEO. A week after starting her new position, we caught up with her to talk about life after ballet, her foray into the museum world and her excitement to helm an organization she loves.