Dance Auditions Guide
Whether you're a bunhead or a hip-hopper, our guide has just the audition for you.
Avant Chamber Ballet is seeking classically trained men and women for the 2019-2020 season in Dallas TX.
ACB repertoire includes classical to contemporary works with a contract from late Sept to late April. Dancers are paid weekly based on experience. Training in the Balanchine technique is a plus.
Please bring your resume, headshot, and full-body dance photo. Women will need pointe shoes. Cost is $30.
March 9th, 1-3pm. Registration starts at 12:30pm.
Lou Conte Dance Studio
Hubbard Street Dance Chicago
1147 West Jackson Blvd
Chicago, IL 60607
March 17th, 1-3pm. Registration starts at 12:30pm.
Park Cities Studios
7979 Inwood Rd
Dallas, TX 75209
NEW YORK CITY:
March 24th, 1-3pm. Registration starts at 12:30pm.
The Ailey Studios
The Joan Weill Center for Dance
405 West 55th Street at 9th Avenue
New York, New York 10019
For more information, email email@example.com
Ballet San Antonio is a professional ballet company with 23 dancers including apprentices, corps de ballet, soloists, and principal dancers.
HOW TO APPLY
Auditions are by invitation only. If you would like to audition, please submit the requirement to firstname.lastname@example.org. Audition materials cannot be returned.
VIDEO SUBMISSION DEADLINE: February 1, 2019
RESULTS ANNOUNCEMENT: February 8, 2019
Must be 18 or older (18+ for Corps and up/17+ for Apprentices)
Resume or CV
3-5 minute video | Performance footage (one classical and one contemporary) or center work only
Send via email with link to You Tube or Vimeo
If available, send an excerpt of a recent performance filmed within the last 3 months. If this is not a solo work, be sure to clearly indicate which one of the dancers is you. If older performance clips are included, please note the month and year.
Two-three full-body dance photos and a headshot
If selected, please see the audition times below.
AUDITION DATE: March 9 and 10, 2019
REGISTRATION: 10:30 am - 12:30 pm
AUDITION TIME: 12:30 pm - 2:00 pm
LOCATION: Mexican Cultural Institute, 600 Hemisfair Plaza Way, San Antonio, TX 78205
REGISTRATION FEE: $25.00 due at check-in
Indianapolis Ballet 2019/20 Season - Company & Apprentice Auditions
On the heels of its historic debut year of programming and performances, Indianapolis Ballet is seeking experienced dancers for the professional resident company's 2019/20 Season (August 2019 through May 2020). Acceptance to the Indianapolis Ballet professional company is by audition only. Candidates for the professional company must have at least three years of professional dance experience, and training in the Balanchine technique is a plus.The audition will consist of a full ballet class and repertoire. Please prepare a classical variation, contemporary work, and provide music on CD format. (Variation/solo not to exceed 3 minutes each). An audition fee of $25 must be paid online during pre-registration or upon arrival at the audition. Active members of AGMA will have their registration fee waived (must provide proof of membership at on-site registration).See below for audition dates currently on our calendar; video submissions will also be accepted … visit www.indyballet.org/auditions for full details and to pre-register.Chicago, Ill. | Sunday, February 3
- Ballet Chicago | 17 N. State Street, 19th floor in downtown Chicago
- Registration at 1:30 p.m. CT, followed by class from 2:00-4:00 p.m. CT
Indianapolis, Ind. | Sunday, February 24
- Indianapolis Ballet | 502 N. Capitol Ave., Suite B (2nd floor) in downtown Indy
- Registration at 2:30 p.m., followed by class from 3:30-6:30 p.m.
New York City, N.Y. | Sunday, March 3
- The School of American Ballet at Lincoln Center for the Performing Arts | 70 Lincoln Center Plaza in Manhattan
- Registration at 4:00 p.m., followed by class from 4:30-7:00 p.m.
2019-20 AUDITION INFORMATION
Ballet Memphis will hold national auditions on March 16, 2019.
Time: Registration 12:00-1:00, Ballet Class 1:00-2:30, Repertoire 2:30-4:00
Location: Ballet Memphis Studios, 2144 Madison Ave., Fly Studio
Cost: $20.00 (cash or credit)
Dancers should be prepared to work on both flat and pointe. Registration will occur on site the day of the audition, and each dancer should arrive with a resume and a headshot.
Contact: Ballet Master Brian McSween at email@example.com
Khecari Audition, June 17th 5-8pm Chicago, IL Location TBA
Khecari artistic directors Julia Rae Antonick and Jonathan Meyer are looking for dancers with an interest in our work. This audition will be structured as a free workshop; we will not be making cuts during the workshop.
While we are always seeking dancers for future projects, we do not anticipate making any decisions immediately following this audition. Any dancers eventually hired for projects would be paid; we have a philosophy of equal pay for everyone and currently offer $15/hour. If you have been to a previous audition, or you know that we are familiar with your work, or you have danced for us in the past, we still encourage you to come as a way of expressing interest in working with Khecari. Dancers are also welcome to come to the audition simply as a free workshop.
We have a somatically grounded approach to dance, a strong interest in improvisation, a penchant for highly kinetic movement and intricate partnering work and an practice of project based investigation and research. Because of the nature of our work, we want to work with dancers who love to roll up their sleeves – whether that means working hard as a dancer in the studio or being game to mop the floor of a dusty old warehouse as part of rehearsal duties. We ask a wide range from pedestrian or simple movement that may feel easy as a technician but is integral to the work, to execution of dance material that is explosive, athletic, and technically challenging. We are excited to work with artists who are interested in the audience's larger experience, not just the movement phrases. Our ideal collaborators are enthusiastic, selfless, self-aware, and self caring, good communicators and supportive of fellow collaborators. We love to work with people who are continually motivated to fine-tuning, digging deeper, finding solutions, and working independently while simultaneously taking direction eagerly.
Although it is not required, we strongly encourage you to attend our movement intensive at Indian Boundary Cultural Center or one or more of our dance classes at Lou Conte leading up to the audition. These will help us introduce you to some movement themes we will focus on in the audition and give us a chance to interact with you more:
2-Day Movement Intensive at Indian Boundary Cultural Center
June 15th & 16th
More info coming soon
Adv/Pro Modern Dance Class at Lou Conte Dance Studios
with Jonathan Meyer | May 8th & 15th, June 5th & 12th
with Julia Antonick | May 22nd & 29th
12 pm – 1:30 pm
$16 drop in
please email firstname.lastname@example.org to reserve a spot and ask questions
***SPACE IS LIMITED - PLEASE RSVP EARLY***
Portland Ballet (Maine) Artistic Director Nell Shipman is seeking apprentice and company dancers for the 2019/2020 season — Contracts are 35 weeks and run from September until May; PB presents four mainstage productions each season, in addition to outreach and collaboration performances.
AUDITIONS ARE BY INVITATION ONLY. To be considered, please submit an audition video, along with a cover letter, resume, 2/3 dance shots and a headshot via email: email@example.com
Portland Ballet || 207.772.9671 || www.portlandballet.org
John Lehrer Dance Company Audition
February 10, 2019
$10 - Cash Only
No appointment or registration necessary for audition.
Jon Lehrer Dance Company is seeking male and female dancers for contracts starting summer 2019. Bring headshot and resume. Come prepared to dance, no warm-up will be given, audition will consist of company repertoire. Appropriate dance attire required, no baggy clothes or warm-ups to be worn during audition. Do not wear dance shoes or socks of any kind, must audition barefoot.
February 9 &10, 2019
1 - 2:30 pm
$25 per day
$40 for both days (price Includes classes and audition)
Take class with Artistic Director Jon Lehrer and company members leading up to Sunday's audition.
Audition & Workshops Location
RIOULT Dance Center
34-01 Steinway Street
Astoria, NY 11101
Register for workshops at www.rioult.org
Big Apple Babes Auditions
Big Apple Babes is an all-lady dance crew here in New York that performs in the Coney Island Mermaid Parade, NYC Pride March, Dance Parade, and other community events around NYC.
Auditions will take place over 2 nights:
**YOU ONLY NEED TO SIGN UP FOR ONE AUDITION**
Monday, January 7th and Tuesday, January 8th
8:00pm - 10:00pm
Mark Morris Dance Center - Independence Community Foundation Studio (1st Floor)
Sign Up Here: https://bit.ly/2EvAAHk
We're looking for bold, positive women of all shapes, sizes, and danceability. Come audition for your spot in the Big Apple Babes for the 2019 season!
For any questions, email firstname.lastname@example.org
The Ballet Company of Comic Opera for Children, Bucharest
Preselection for professional Male and Female ballet-dancers for the 2019/2020 season
The Comic Opera for Children is seeking male and female dancers to join the ballet company as soloists and corps de ballet for the 2019/2020 season.
Strong classical technique.
Ladies: 18-28 years old, height 1.63-1.70 m
Gentlemen: 18-28 years old, height 1.75-1.85 m
This audition is by invitation only.
Please email your resume, photos, as well as video links (ladies on pointe) at email@example.com with Audition in subject line.
Your CV must contain: your age, height, weight, nationality, as well as recent photos such as head shot and full body shot in classical ballet poses.
The audition will comprise a full ballet classand a classical variation
Monday, March 18th , 2019 at 2 p.m. corps de ballet
Monday, March 18th, 2019 at 4 p.m. soloists
Calea Giuleşti, Nr.16, Bucharest, Romania
Deadline for applications: 04.03.2019
All appliers will receive an email response within one week of submission.
We are looking forward to your application.
MCB is holding open auditions in New York City for the 2019-20 season. Artistic Director Lourdes Lopez is seeking classically trained male and female dancers with at least 10 years of training or professional experience to join the Company at all ranks. Training in the Balanchine technique is a plus.
Date: Sunday, January 6, 2019
Men's Check-In/Registration: 11am-12pm
Men's Class: 12:15pm-2:15pm
Women's Check-In/Registration: 1pm-2pm
Women's Class: 2:30pm-4:30pm
Location: Ballet Academy East 1651 3rd Ave, New York, NY (212) 410-9140
2-3 full-body dance photographs
Recent video(s) to a classical work, variation
There will be a $20 pre-registration fee payable by credit card
Bring: Hard copies of resume, headshot and dance photos with you to the audition.
If you cannot make it to the New York audition, please submit the required materials to our video audition page, and you will be notified if you are invited to attend an audition class in Miami.
The Ballet Hispánico Company, under the artistic direction of Eduardo Vilaro, seeks experienced male dancers with strong classical and contemporary training. Auditions will be held on Monday, February 4, 2019 at 167 West 89th Street, NYC. Registration begins at 11:00am. A minimum of 3-5 years of professional dance experience is required. Auditions are for 2019-2020 season contracts with excellent benefits and world travel. Auditioning dancers should bring an 8x10 headshot, resume, and $10 nonrefundable fee (cash only). Questions can be addressed to firstname.lastname@example.org.
GREGORY HANCOCK DANCE THEATRE
Gregory Hancock Dance Theatre, located in Indianapolis, Indiana is seeking male and female dancers for company positions, guest work, and apprenticeships for its 2019-2020 season. GHDT is a contemporary ballet/modern dance company looking for dancers with strong training in ballet, modern and contemporary styles. ALL APPLICANTS WHO LIVE OUTSIDE THE U.S. MUST HAVE A VALID WORK VISA. ALL APPLICANTS MUST BE AVAILABLE TO AUDITION IN PERSON.
Auditions will be held on:
Saturday, January 19, 2019 1:30-3:30pm
Saturday, March 9, 2019 1:30-3:30pm
Saturday, April 13, 2019 1:30-3:30pm
All auditions will be held at:
The Academy of Gregory Hancock Dance Theatre
329 Gradle Dr. Carmel, IN 46032
Registration begins 30 minutes prior to audition time
Audition fee: $20
Audition will include ballet barre, modern exercises, and company repertoire.
GHDT also accepts auditions during company class. These auditions are by invitation only. To apply, please email a resume, headshot, and recent dance reel to email@example.com.
For registration or inquiries about the audition please visit gregoryhancockdancetheatre.org or email firstname.lastname@example.org.
KAMEA DANCE COMPANY, ISRAEL
Artistic Director: Tamir Ginz
Audition for professional Male and Female Dancers for the 2019-21 seasons.Contracts from August 2018.
European Audition in Amsterdam – The Netherlands: Sunday, March 3rd, at 9:30 -16:30, At: Chasse Dance Studios Chasséstraat 64, 1057 JJ Amsterdam
* Kamea Dance Company is a major company in the Israeli dance scene, holding around 80 performances a year in Israel and abroad.
* Contemporary- modern repertoire by resident choreographer Tamir Ginz and renowned guest choreographers.
* Annual 12 month salary, 2 years commitment required.
Requirements:– We are looking for exceptional talents with good physique and strong classical ballet and modern technique.– Age: over 20 to 30 Max (No exceptions).– Creative dancer, highly motivated, serious attitude, commitment to job. Professional experience in a recognized company is an advantage. This is an open audition, No videos are required. No need to prepare any variations.
For more details and registration:https://www.kameadance.com/en/blog/european-auditi...
We are looking forward to your application!
2019/2020 Season Auditions
Oregon Ballet Theatre is seeking professional classical dancers to fill positions at all levels within the company for its exciting 2019/2020 Season. OBT's repertory includes classical full length ballets and repertory productions featuring new and iconic works from Resident Choreographer Nicolo Fonte in addition to well-known artists such as Nacho Duato, William Forsythe, & Jiří Kylián. OBT is a member of AGMA and offers dancers competitive salary plus benefits and a minimum contract of (at least) 32 weeks.
San Francisco, CA: Friday, January 4, 2019
New York City, NY: Monday, January 21, 2019
Auditions are by invitation only.
Head and body shot
Video link to one classical and one contemporary piece
To be considered email Tracey.Sartorio@obt.org
Ajkun Ballet Theatre is looking for professional dancers for its Season 2019-2020 and professional dancers and dance students for its upcoming European Tour 2019-2020.
European Tour (November 2019 - January 2020):
Auditions by Video are currently been accepted.
Rehearsals will take place in New York City.
Repertory performed: Swan Lake, The Nutcracker and The Sleeping Beauty, choreography by Chiara Ajkun.
Salary starts at $1,000.00/week for experienced professionals ages 18-35 years old.
Dance students ages 8-17 years old are offered a performance fee commensurate with experience and EU Child Labor Laws.
In addition to the salary, the cast receives round trip flights from New York City, ground tour transportation by Charter Bus, hotel accommodation (breakfast included), per diem and ballet shoes.
AjkunBT NYC Open Audition
Saturday, February 9, 2019
3:30-4:30 pm registration, 4:30 -6:30 pm audition class
at the Alvin Ailey Studios,
405 West 55th Street, New York, NY 10019
AjkunBT ROME Open Audition
Saturday, February 2, 2019
2:00-2:30 pm registration, 2:30 -4:30 pm audition class
at ATELIER DELLA DANZA DI RAFFAELE PAGANINI
Circonvallazione Appia 107, 00179 Roma ITALY
AjkunBT CHICAGO Open Audition
Saturday, February 16, 2019
4:00-5:00 pm registration, 5:00 -7:00 pm audition class
at HUBBARD STREET DANCE
1147 W. Jackson Blvd., CHICAGO, IL 60607
AjkunBT MIAMI Open Audition
Sunday, February 24, 2019
3:30-4:30 pm registration, 4:30 -6:30 pm audition class
at MIAMI YOUTH BALLET STUDIOS
9210 SW 158 LN, Miami, FL 33157
AjkunBT LONDON Open Audition
Saturday, February 23, 2019
4:00-5:00 pm registration, 5:00 -7:00 pm audition class
at PINEAPPLE DANCE STUDIO
7 Langley St, London WC2H 9JA UK
For information: ajkun@ aol.com | (864) 420-6150 | https://www.ajkunbt.org/auditions-in-person.html
2019/20 AUDITIONS AND NEW DANCE COMMISSIONS
Booking for open auditions opens Friday 16 November
Seeking the world's best young dancers for the 2019/20 cohort of Rambert2
UK tour includes new commissions for Jermaine Spivey and Andrea Miller
Open auditions for the 2019/20 cohort will be held at Rambert's studios in London from Sunday 3 - Wednesday 6 February 2019
The 2019/20 cohort will start at the end of July 2019
Britain's leading contemporary dance company is inviting the world's finest early-career dancers to join Rambert2, Rambert's second ensemble designed to develop and showcase the next generation of highly skilled, thinking dancers.
The inaugural Rambert2 cohort attracted over 800 applicants, who attended open auditions at Rambert's London studios in February this year. 13 dancers were chosen from all over the world, with training from centres in Asia, America and Europe. A second cohort will form Rambert2 for 12 months from the end of July 2019. During their year, dancers will complete a postgraduate qualification, MA in Professional Dance Performance, awarded by Rambert School, one of the country's leading dance conservatoires.
Rambert2 is delivered in partnership between Rambert and Rambert School as part of an MA in Professional Dance Performance. Rambert2 is supported by the Linbury Trust.
For full details about auditions, see www.rambert.org.uk/rambert2
Ballet des Amériques seeks Male and Female Classical Dancers
Ballet des Amériques is looking for classically and modern trained dancers – 1 man and 1 woman to start immediately– for its professional dance company. Candidates should also be comfortable with neoclassical, contemporary and modern techniques and works. Knowledge of African and Afro-Caribbean dance styles would be advantageous.
Ballet des Amériques engages dancers who grasp and appreciate the pedagogical, aesthetic and ethical principles of its organization as whole and who are willing to commit to their realization in the dance company.
Ballet des Amériques is looking for individuals with artistic sensitivity and a high level of commitment to the arts as a whole.
To be considered for a company class audition:
Please send your cover letter, resume, photograph, and video material to email@example.com. Please include "Seeking classically trained dancers" in the subject line.
All applicants must have the proper documentation to work in the U.S. (i.e: work permit, Green card, U.S. Citizen, etc.)
If hired, candidate will be asked to fill out a W-4 and sign a contract. Dancers receive rehearsal and performance pay.
Location: 16 King St. Port Chester, NY 10573
Note: Studios are 1 minute from Port Chester's MNR commuter train station
D&D ART PRODUCTIONS will be holding its GRAND AUDITION for professional dancers and graduate students between 17 – 26 years of age, on Tuesday the 5th , and Wednesday the 6th of February 2019, at the Teatre-Auditori Sant Cugat, Barcelona, Spain.
GRAND AUDITION provides a unique opportunity for dancers to audition for several ballet companies at one time and in one place. Since its first edition in 2016, a total of 473 dancers took part in Grand Audition with over 160 job offers from companies such as: ABT, Ballet de l'Opera National de Bordeaux, Ekaterinburg State Academic Ballet Theater, Polish National Ballet, Lithuanian National Ballet, Atlanta Ballet, Mariinsky Ballet, Norwegian National Ballet, Finnish National Ballet, Royal Swedish Ballet, Dutch National Ballet, Ballet Nacional de Panama, Novosibirsk State Ballet Theater, Mikailovsky Ballet Theater.
We are pleased to announce the 2019 Grand Audition participating ballet company artistic directors:
• Dutch National Ballet (Junior Company)
• Lithuanian National Ballet
• Mariinsky Ballet Theater
• Novosibirsk State Opera
• Polish National Ballet
• Zurich Ballet
• National Ballet of Panama
Applications can be submitted online: www.grandaudition.net
Application Deadline: JANUARY 3, 2019
Due to the limited space availability we reserve the right to close the application process once the number of the accepted applicants reaches its limit.
New Ballet Ensemble is hiring Teaching and Performing Artists
New Ballet Ensemble and School located in Memphis,TN is auditioning in New York City for full-time teaching and performing artists for the 2018-2019 season.
-New Ballet Ensemble offers their teaching and performing artists 36-40 week contracts with benefits and part-time seasonal opportunities.
-The season includes 3-4 full-evening productions, school shows, company performance collaborations in locations all over the Memphis area. Teaching in our studio, schools, and community locations.
-Repertory performed is a diverse, mulitcultural blend of classical ballet to contemporary, modern, hiphop, West African and flamenco. Previous guest choreographers include Francesca Harper, Elizabeth Corbett ( Frankfurt Ballet, Willam Forsythe), General Hambrick (Minnesota Dance Theatre) , Uri Sands (Alvin Aliey, NC Dance Theatre) and many more.
Dancers applying should have an equal love for performing and teaching. A high technical level of ballet and/or modern dance. Versatillity in other styles a plus! The ability to teach varying levels of dance (Ballet, Horton, Graham, Tap, Jazz, etc) Professional company credentials or BFA in dance is not required but is strongly desired. Please send CV, headshot, and dance reels to the attention of Noelia Carmona at firstname.lastname@example.org for consideration and audition details.
Visit our website www.newballet.org for more information about the company, school, and mission.
Roanoke Ballet Theatre
Roanoke Ballet Theatre, located in Roanoke, Virginia is seeking male and female dancers for company positions, apprenticeships, and traineeships for its 2018-2019 season. RBT is a classical and contemporary ballet company looking for dancers with strong training in ballet, pointe and contemporary styles. All applicants who live outside the US must have a valid work visa. Applicants are preferred to audition in person.
Auditions will be held during regularly scheduled company classes, Monday-Friday 10:00-11:30am and Saturdays 11:30-1:00pm
All auditions will be held at:
Roanoke Ballet Theatre
Audition fee: $25
To register for an audition please email resume, headshot, photo in first arabesque, and video of classwork and/or performance footage to email@example.com
Four years of lectures, exams and classes can feel like a lifetime for college dancers who have their sights set on performing. So when a professional opportunity comes knocking, it can be tempting to step away from your academics. But there are a few things to consider before putting your education on hold.
The way we create and consume dance is changing every day. Now more than ever, the field demands that dancers not only be able to perform at the highest level, but also collaborate with choreographers to bring their artistic visions to life. Dancers who miss out on choreographic training may very well find themselves at a disadvantage as they try to launch their careers.
We've all been there: You see the craziest/most beautiful/oddest/wildest clip of a dance on Facebook and you simply have to see more.
But do you actually get yourself to the theater and sit through a 90-minute performance? The consensus, at this point, typically seems to be: No.
There is no clear correlation between a company's social media campaigns and how many seats they fill in the theater. That doesn't mean social media isn't, of course, vital. It simply means that "social media campaigns operating without other marketing campaigns don't cut it," says Rob Bailis, associate director of Cal Performances at UC Berkeley. "But campaigns without social media are far worse off."
Since the project was first announced toward the end of 2017, we've been extremely curious about Yuli. The film, based on Carlos Acosta's memoir No Way Home, promised as much dancing as biography, with Acosta appearing as himself and dance sequences featuring his eponymous Cuba-based company Acosta Danza. Add in filmmaking power couple Icíar Bollaín (director) and Paul Laverty (screenwriter), and you have a recipe for a dance film unlike anything else we've seen recently.
It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.
Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
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One of the country's top arbitrators has decided to reinstate Amar Ramasar and Zachary Catazaro to New York City Ballet. The former principals were fired last fall for "inappropriate communications," namely graphic text messages.
The dancers' union, American Guild of Musical Artists, fought the termination, arguing that the firings were unjust since they related entirely to non-work activity. After a careful review of the facts, an independent arbitrator determined that while the company was justified in disciplining the two men, suspension was the appropriate action and termination took it too far.
A woman passes three men in the street. The men pursue her. They thrust their pelvises at her. They continue to pursue her after she slaps one's hand and walks away. They surround her. She glances around at them in alarm. One snatches her purse (to review the Freudian significance of purses, click here) and saunters off with it, mocking her. She tries to take the purse back, and the three men toss it over her head among each other. They make her dance with them. Each time she indicates "No," the men try harder to force her submission to their advances.
This is all within the first 10 minutes of Jerome Robbins's Fancy Free, a 1944 ballet about three sailors frolicking on shore leave during World War II, beloved by many and still regularly performed (especially during the last year, since 2018 was the centennial celebration of Robbins's birth). Critic Edwin Denby, after the premiere with Ballet Theatre, called it "a remarkable comedy piece" and "a direct, manly piece."
When you're bouncing between hotel rooms without access to a kitchen, eating a pescatarian diet can be challenging. Stephanie Mincone, who most recently traveled the globe with Taylor Swift's Reputation Stadium Tour, told Dance Magazine how she does it—while fueling herself with enough energy to perform for thousands of Taylor fans.
Choosing music for your first-ever choreography commission can feel daunting enough. But when you're asked to create a ballet using the vast discography of the Rolling Stones—and you happen to be dating Stones frontman Mick Jagger—the stakes are even higher.
So it's understandable that as of Monday, American Ballet Theatre corps de ballet dancer Melanie Hamrick, whose Port Rouge will have its U.S. premiere tonight at the Youth America Grand Prix gala, was still torn about which songs to include.
What is an acceptable request from a choreographer in terms of nudity? On the first day of shooting All That Jazz in the 1970s, Bob Fosse asked us men to remove everything but our jock straps and the women to remove their tops. His rationale was to shock us in order to build character, and it felt disloyal to refuse. Would this behavior be considered okay today?
As much as audiences might flock to Swan Lake or The Nutcracker, ballet can't only rely on old war horses if it wants to remain relevant. But building new full-lengths from scratch isn't exactly cheap.
So where can companies find the money?
Today—April 16, 2019—marks what would have been Merce Cunningham's 100th birthday. As dancers from Los Angeles to New York City to London gear up for Night of 100 Solos (the marathon performance event being livestreamed today), and as companies and presenters worldwide continue to celebrate the Cunningham Centennial through their programming, we searched through the Dance Magazine Archives to unearth our favorite images of the groundbreaking dancemaker.
A bright disposition with a dab of astringent charm is how I remember Brock Hayhoe, a National Ballet School of Canada schoolmate. Because we were a couple years apart, we barely brushed shoulders, except at the odd Toronto dance party where we could dance all night with mutual friends letting our inhibitions subside through the music. Dancing always allows a deeper look.
But, as my late great ballet teacher Pyotr Pestov told me when I interviewed him for Dance Magazine in 2009, "You never know what a flower is going to look like until it opens up."
The entrancing power of Instagram can't be denied. I've lost hours of my life scrolling the platform looking at other people documenting theirs. What starts as a "quick" fill-the-moment check-in can easily lead to a good 10-15 minute session, especially if I enter the nebulous realm of "suggested videos."
My algorithm usually shows me professional ballet dancers in performances, rehearsals, class, backstage and on tour, which I quite enjoy. But there are the other dance feeds that I find myself simultaneously intrigued and horrified by: the hyper-elastic, hyper-extended, gumby-footed girls always at the barre doing developpés to six o'clock. There are the multiple turners, the avid stretchers and we can't forget the endless balancers.
This parade of tricksters always makes me wonder, What else can they do? Can they actually dance?
The pleasure of watching prodigies perform technical feats on Instagram can be tinged with a sense of trepidation. Impressive tricks, you think, but do they have what it takes for an actual career?
Just look at 18-year-old Maria Khoreva, who has more followers than most seasoned principals; in videos, her lines and attention to detail suggested a precocious talent, and led to a Nike ambassador contract before she even graduated from the Vaganova Ballet Academy. Still, when she joined the Mariinsky Ballet last summer, there was no guarantee any of it would translate to stage prowess.
As more states legalize cannabis, it seems the sales pitch for cannabidiol—or CBD—gets broader and broader. A quick internet search turns up claims that CBD helps with pain, depression, acne, arthritis, anxiety, insomnia, heart disease, post-traumatic stress, epilepsy and cancer. But the marketplace is unregulated, which makes it tricky to find out what CBD actually does.
One night. Three cities. Seventy-five dancers. And three unique sets of 100 solos, all choreographed by Merce Cunningham.
This incredible evening of dance will honor Cunningham's 100th birthday on April 16. The Merce Cunningham Trust has teamed up with The Barbican in London, the Brooklyn Academy of Music in New York City and the Center for the Art of Performance in Los Angeles for a tri-city celebration.
The best part? You don't have to be in those cities to watch—Night of 100 Solos is being live-streamed in its entirety for free.
When George Balanchine's full-length Don Quixote premiered in 1965, critics and audiences alike viewed the ballet as a failure. Elaborate scenery and costumes framed mawkish mime passages, like one in which the ballerina washed the Don's feet and dried them with her hair. Its revival in 2005 by Suzanne Farrell, the ballerina on whom it was made and to whom Balanchine left the work, did little to alter its reputation.
Yet at New York City Center's Balanchine festival last fall, some regretted its absence.
"I'd want to see Balanchine's Don Quixote," says Apollinaire Scherr, dance critic for the Financial Times. "It was a labor of love on his part, and a love letter as well. And you want to know what that looks like in his work."
Even great choreographers make mistakes. Sometimes they fail on a grand scale, like Don Quixote; other times it may be a minor misstep. Experiment and risk help choreographers grow, but what happens when a choreographer of stature misfires? Should the work remain in the repertory? And what about a work that fails on some levels but not others?
After the horrific March 15 terrorist attacks at two New Zealand mosques, the music and arts community sprang into action to plan a way to help victims and their families. A series of resulting concerts, titled "You Are Us/Aroha Nui," will take place in New Zealand (April 13 and 17), Jersey City, New Jersey (April 17) and Los Angeles (April 18). Proceeds from ticket sales will be donated to the Our People, Our City Fund, which was established by the Christchurch Foundation to aid those affected by the attacks.
Throughout 2019, the Merce Cunningham Trust continues a global celebration that will be one of the largest tributes to a dance artist ever. Under the umbrella of the Merce Cunningham Centennial are classes and workshops, film screenings and festivals, art exhibitions and symposia, and revivals and premieres of original works inspired by the dancemaker's ideas. The fever peaks on April 16, which would have been the pioneering choreographer's 100th birthday, with Night of 100 Solos: A Centennial Event, featuring a total of 75 dancers in three performances live-streamed from London, Los Angeles and New York City.
Cloud & Victory gets dancers. The dancewear brand's social media drools over Roberto Bolle's abs, sets classical variations to Beyoncé and moans over Mondays and long adagios. And it all comes from the mind of founder Tan Li Min, the boss lady who takes on everything from designs to inventory to shipping orders.
Known simply (and affectionately) to the brand's 41K Instagram followers as Min, she's used her wry, winking sense of humor to give the Singapore-based C&V international cachet.
She recently spoke with Dance Magazine about building the brand, overcoming insecurity and using pizza as inspiration.
The Ballet Memphis New American Dance Residency, which welcomes selected choreographers for its inaugural iteration next week, goes a step beyond granting space, time and dancers for the development of new work.