Originally from the Outer Banks of North Carolina, Lauren is a graduate of Barnard College with degrees in Dance and English. She has performed works by Annie B Parson, Mark Dendy, Reggie Wilson and Karla Wolfangle, and has danced with with e r a dance collective and TREES. While at Barnard/Columbia she choreographed and collaborated on several original musical theater works, among them the 120th Annual Varsity Show. She now serves as the chair of the Dance/NYC Junior Committee.
Fans of the sublime English National Ballet first artist Precious Adams were probably excited to see her image splashed across the company's website in a promotional image for an upcoming production of Swan Lake.
But those who took a closer look were met with a disappointing reality: Adams, who is the only black woman in the company, is not listed on the principal casting sheet for the production.
Not being able to attend the in-person audition at your top college can feel like the end of the world. But while it's true that going to the live audition is ideal, you can still make the best out of sending a video. Here are some of the perks:
It's become a colloquialism—or, we admit, a cliche—to say that dance can heal.
But with a new initiative launched by British Health Secretary Matt Hancock, doctors in the U.K. will soon be able to prescribe dance classes—along with art, music, sports, gardening and more—for patients suffering from conditions as various as dementia, lung problems and mental health issues.
When finances, geographical distance or timing make attending in-person college auditions impossible, sometimes your only option is to audition via video. We talked to three department heads about the biggest mistakes they see prospective students make in video auditions—and how to avoid them:
What makes big-time music artists and their collaborators think they can directly plagiarize the work of concert dance choreographers?
And, no, this time we're not talking about Beyoncé.
Last Wednesday, country artist Kelsea Ballerini performed her song "Miss Me More" at the Country Music Awards. The choreography by Nick Florez and R.J. Durell—which Taste of Country said "stole the show" and Billboard lauded as "elaborate"—features a group of dancers in white shirts and black pants performing with chairs onstage, often arranged in a semicircle. They move in quick canons, throw their heads back, and fling themselves in and out of their chairs.
Based on the novel by Roland Topor and the 1976 Roman Polanski film, The Tenant follows a man who moves into an apartment that's haunted by its previous occupant (Simone, played by ABT's Cassandra Trenary) who committed suicide. Throughout the show, the man—Trelkovsky, played by Whiteside—slowly transforms into Simone, eventually committing suicide himself.
But some found the show's depiction of a trans-femme character to be troubling. Whether the issues stem from the source material or the production's treatment of it, many thought the end result reinforced transphobic stereotypes about mental illness. We gathered some of the responses from the dance community:
Update: Raffaella Stroik's body was found near a boat ramp in Florida, Missouri on Wednesday morning. No information about what led to the death is currently available. Our thoughts are with her friends and family.
Raffaella Stroik, a 23-year-old dancer with the Saint Louis Ballet, went missing on Monday.
Her car was found with her phone inside in a parking lot near a boat ramp in Mark Twain Lake State Park—130 miles away from St. Louis. On Tuesday, the police began an investigation into her whereabouts.
Stroik was last seen at 10:30 am on Monday at a Whole Foods Market in Town and Country, a suburb of St. Louis. She was wearing an olive green jacket, a pink skirt, navy pants with white zippers and white tennis shoes.
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According to the new documentary DANSEUR, 85% of males who study dance in the United States are bullied or harassed. A quote in the film from Dr. Doug Risner, faculty member at Wayne State University, states, "If this scope of bullying occurred in any activity other than dance, it would be considered a public health crisis by the CDC."
So why is it allowed to persist in ballet? And why aren't we talking about it more? These are the questions that DANSEUR seeks to answer. But primarily consisting of dance footage and interviews with male dancers like ABT's James Whiteside, Houston Ballet's Harper Watters and Boston Ballet's Derek Dunn, the film only addresses these issues superficially, with anecdotes about individual experiences and generalizations about what it's like to be a male dancer.
When you're unable to dance, it's easy to feel like you're falling behind and losing out on opportunities. But this can be a time to reset your body and come back even stronger, says Ilana Goldman, BFA program director at Florida State University's School of Dance. "Some of the greatest leaps I made in my technique happened because of injuries," she says. "Learning how to deal with them is part of being a professional dancer."
In dance, pushing through pain is often glorified. Dancers can be reluctant to take time off when sick or injured for fear of missing out on opportunities. It can feel even harder to justify when the pain isn't physical. Though it's becoming more commonly acknowledged that mental health is just as important as physical health, a dance career doesn't leave much time to address mental or emotional issues.
But dancers need to take care of their mental well-being to be able to perform at their best, says Catherine Drury, a licensed clinical social worker for The Dancers' Resource at The Actors Fund. So what can you do if you need a mental health day?
So you're on layoff—or, let's be real, you just don't feel like going to the studio—and you decide you're going to take class from home. Easy enough, right? All you need is an empty room and some music tracks on your iPhone, right?
Wrong. Anyone who has attempted this feat can tell you that taking class at home—or even just giving yourself class in general—is easier said than done. But with the right tools, it's totally doable—and can be totally rewarding.
You could say that Sasha Waltz has had a rough few years. When she was appointed co-artistic director of Staatsballett Berlin in 2016, along with Johannes Öhman, former artistic director at Royal Swedish Ballet, it didn't go so well. She was met with petitions and protests from the dancers, who argued that under the leadership of someone with minimal ballet experience the company would lose its classical heritage and technical excellence.
But she's also had an arguably fruitful few years. She's celebrated the 25th anniversary of her company, Sasha Waltz & Guests, for which she's continued to create critically-acclaimed, highly collaborative work. The drama surrounding Staatsballett has died down significantly. And next year, when she joins Öhman at Staatsballett (his tenure began this year), she'll be at the helm of two of Berlin's greatest dance companies, creating new work for each company every other year on an alternating basis.
This week, Waltz's Kreatur will have its U.S. premiere at the Brooklyn Academy of Music. For Waltz, it's a particularly special tour stop: It's part of BAM's final Next Wave season programmed by outgoing executive producer Joseph V. Melillo, whom Waltz considers an influential collaborator and supporter.
We caught up with her about Kreatur and what she envisions for Staatsballett:
Raise your hand if you've received bad advice from well-meaning friends or family (or strangers, tbh) who don't know anything about what it really takes to be a dancer.
*everyone raises hands*
Sometimes it's even dance insiders whose advice can send you down the wrong path. We've been asking pros about the worst advice they've ever received in our "Spotlight" Q&A series, and rounded up some of the best answers:
College can be hard on the body. Between late-night rehearsals, carrying backpacks around hilly campuses and long, sedentary study sessions, it's tough for dancers to give their bodies the care they need to prevent injury.
Here are the most common reasons college students get injured—and our top tips for prevention.
Scottish Ballet is turning 50 next year, but they'll be the one giving out the gifts.
In 2019, the company will make five wishes from fans come true, as a way of thanking them for their loyalty and support over the years. "It can be anything from the dancers performing at a birthday party or on the banks of Loch Ness, or even the chance to get on stage and be part of a Scottish Ballet show," according to the company.
Some of my favorite experiences as both an audience member and a dancer have involved audience participation. Artists who cleverly use participatory moments can make bold statements about the boundaries between performer and spectator, onstage and off. And the challenge to be more than a passive viewer can redefine an audience's relationship to what they're watching. But all the experiences I've loved have had something in common: They've given audiences a choice.
A few weeks back, I had a starkly different experience—one that has caused me to think deeply about how consent should play into audience-performer relationships.
They say that not all heroes wear capes. It's true: Some, like Meredith Harper Houston, wear leg warmers.
A few years back, Houston, who is black, began thinking about how none of the students at her Los Angeles dance studio looked like her. Her desire to use dance to serve her community eventually led her to found The Swan Within, an outreach organization that teaches ballet to girls in juvenile detention centers, many of whom have been sex trafficked.
"I've been a dancer my whole life," says Houston. "I started at the age of 5; ironically the same age that I was sexually abused. I used dance as my vehicle out of the house." Today, Houston wants to give girls the same opportunity to escape their past, and use dance as a springboard to their future.
We talked to Houston about what it's like to teach students who've experienced trauma, and how ballet is transforming her students' lives:
What do Johann Sebastian Bach and Leonard Bernstein have in common? Not much, save perhaps an enthusiasm for counterpoint and a propensity for pushing the envelope. That, and they've both attracted the interest of Anne Teresa de Keersmaeker, the Belgian choreographer who has always thought of music as her primary partner.
Next week, New York audiences will experience her latest work to Bach, The Six Brandenburg Concertos, at the expansive Park Avenue Armory, featuring a multi-generational cast of 16 dancers plus baroque music ensemble B'Rock.
But next year will bring a far more unexpected project for de Keersmaeker: The Broadway revival of West Side Story, which she will be choreographing alongside Ivo van Hove as director. What sold the contemporary giant on taking on a show so far outside her typical oeuvre? The music, of course.
Dancers are known for going to great lengths to prepare their bodies to perform at their best. But the latest recovery trend that dancers—and star athletes from Kobe Bryant to Floyd Mayweather Jr.—are using is perhaps the most extreme treatment yet.
Whole-body cryotherapy (as opposed to other forms of cryotherapy, such as an ice bath or an ice pack) is said to significantly speed up recovery time by immersing the body in a chamber of very cold air. Once only available in fancy professional sports locker rooms, there are now over 700 whole-body cryotherapy locations across the country.
We admit it. We're picky about dance movies. They don't always represent our beloved art form accurately, or use real dancers to play the main roles.
But we just watched the first trailer for the new Carlos Acosta biopic, Yuli, and we're kinda speechless:
Former School of American Ballet student Alexandra Waterbury, 19, is suing New York City Ballet and her ex-boyfriend, former principal dancer Chase Finlay.
Finlay resigned suddenly last week, and principals Amar Ramasar and Zachary Catazaro were put on unpaid leave for the remainder of 2018 because of "inappropriate communications" of a "personal nature."