- The Latest
- Breaking Stereotypes
- Rant & Rave
- Dance As Activism
- Dancers Trending
- Viral Videos
- The Dancer's Toolkit
- Health & Body
- Dance Training
- Career Advice
- Style & Beauty
- Dance Auditions
- Guides & Resources
- Performance Calendar
- College Guide
- Dance Magazine Awards
- Meet The Editors
- Contact Us
- Advertise/Media Kit
- Buy A Single Issue
- Give A Gift Subscription
For 17 years, James Samson has been the model Paul Taylor dancer. There is something fundamentally decent about his stage persona. He's a tall dancer—six feet—but never imposes himself. He's muscular, but gentle. And when he moves, it is his humanity that shines through, even more than his technique.
But all dancing careers come to an end, and James Samson's is no exception; now 43, he'll be retiring in August, after a final performance at the Teatro Romano in Verona, where he'll be dancing in Cloven Kingdom, Piazzolla Caldera and Promethean Fire.
What does a superstar like Carlos Acosta do after bidding farewell to his career in classical ballet? In Acosta's case, he returns to his native country, Cuba, to funnel his fame, connections and prodigious energies back into the dance scene that formed him. Because of its top-notch, state-supported training programs and popular embrace of the art of dance, Cuba is brimming with talented dancers. What it has been short on, until recently, are opportunities outside of the mainstream companies, as well as access to a more international repertoire. That is changing now, and, with the creation of Acosta Danza, launched in 2016, Acosta is determined to open the doors even wider to new ideas and audiences.
He may not be a household name, but you probably know Brandon Stirling Baker's work. The 30-year-old has designed the lighting for most of Justin Peck's ballets—including Heatscape for Miami City Ballet, and the edgy The Times Are Racing for New York City Ballet—but also Jamar Roberts' new Members Don't Get Weary at Alvin Ailey American Dance Theater and a trio of Martha Graham duets for L.A. Dance Project.
He's been fascinated by lighting ever since he attended a public performing arts middle school in Sherman Oaks, California, where he had his first experiences lighting shows. He also has a background in music (he plays guitar and bass) and in drawing. Both, he says, are central to the way he approaches lighting dance.
It came as a big surprise last fall to learn that Lincoln Center Festival would cease to exist, effectively immediately. The announcement came on the heels of a summer featuring one of the festival's biggest triumphs: four days of performances in which Paris Opéra Ballet, Bolshoi Ballet and New York City Ballet danced Balanchine's Jewels side by side. What other New York institution could pull off such a thing?
Big Hollywood movies featuring dance are few and far between, so curiosity about the thriller Red Sparrow, opening Friday and starring Jennifer Lawrence as a Russian ballerina-turned-spy, is understandably at a high pitch. The production, which also stars Jeremy Irons, includes not one but four familiar dance names: Sergei Polunin, the enfant terrible of the ballet world, plays Lawrence's ballet partner; Justin Peck choreographed all the dance sequences; Kurt Froman, former New York City Ballet dancer, trained Lawrence; and American Ballet Theatre's Isabella Boylston performs as Lawrence's dance double.
How'd you get involved in Red Sparrow?
Justin Peck, who choreographed the movie, reached out to me. I've never done anything like that. And any chance to work with Justin...
Sarah Haarmann stands out without trying to. There is a precision and lack of affectation in her dancing that is very Merce Cunningham. Her movement quality is sharp and clear; her stage presence utterly focused. It's no wonder she caught Mark Morris' eye. Even though she still considers herself "very much the new girl" at Mark Morris Dance Group (she became a full-time member in August 2017), in a recent performance of Layla and Majnun, Haarmann seemed completely in her element.
Company: Mark Morris Dance Group
Hometown: Macungie, Pennsylvania
Training: Lehigh Valley Charter High School for the Performing Arts and Marymount Manhattan College
When it was announced last fall that 2017 would be The Suzanne Farrell Ballet's final season, the news rippled through the American ballet community. Farrell, who for many represents the embodiment of George Balanchine's '60s and '70s style, had been producing lucid, emotionally connected performances of his works annually at The Kennedy Center since 2001. In that time, dozens of dancers took time away from their home companies to perform with her troupe and benefit from Farrell's coaching. "The dancers tell me they feel different" after working with her, Farrell says, because "I worked with Mr. Balanchine so closely that I know things other people don't."
Troy Schumacher is on a roll. The 31-year-old was recently promoted to soloist after almost 12 years with New York City Ballet, but that's nothing compared to what he has going on this month. Over the course of a few weeks he will premiere two ballets of his own creation: his third work for NYCB (Sept. 28) and another for the ensemble he founded back in 2010, BalletCollective (Oct. 25), using colleagues from NYCB, including his wife, Ashley Laracey. We spoke with him just as he was gearing up for this choreographic marathon.
What is it like working on commissions while planning for your own company's season?
I'm loving being so busy, working on multiple projects, all extremely different from each other. It's like when you're dancing a lot of ballets at once, and you're warm, both physically and mentally. You can get back into rehearsals and performances much more easily.