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Dance Magazine Award Honoree: Marika Molnar
Since George Balanchine first asked her to care for his dancers in the 1980s, Marika Molnar has helped heal icons as varied as Merce Cunningham, Trisha Brown, Natalia Makarova, Judith Jamison, Twyla Tharp, Chita Rivera and Mikhail Baryshnikov. Some patients call her their guardian angel.
"Marika has always answered all my (sometimes ridiculous) questions with the patience and respect that can only come from a deep love of us patients and what we do," says New York City Ballet principal Ashley Bouder. "Without her help during and after my pregnancy, I would never have been able to come back to the stage at full capacity."
Molnar's extensive expertise, genuine love for the art form and relentless ambition to make life better for dancers, make her one of the most respected professionals in her field. Sometimes known as the mother of dance medicine, she witnessed its birth: When Balanchine first asked her to become the physical therapist for NYCB, it was unheard of for an American ballet company to have a PT on staff. Today, she oversees a whole team of them as the director of physical therapy services to NYCB and its School of American Ballet, as well as the founder and president of Westside Dance Physical Therapy.
Marika Molnar working with Ana Sophia Scheller. Photo by Rachel Papo for Dance Teacher
She's seen the culture mature since the '80s, when injuries were simply accepted as part of the professional terrain like a badge of honor. "Now dancers are taking care of themselves. Longevity is something they like," says Molnar. "Younger dancers strive to be healthy and older ones can finish their career and still move and demonstrate."
Molnar brings a wealth of knowledge to help them accomplish that, with her PT training from Columbia University, a master's degree in dance education from New York University, a certificate in nutrition from the Institute for Integrative Nutrition, training in acupuncture, and experience as a dance student and teacher. For her, it's not enough to be working in the office. "Observation is key," she insists. "I urge my peers to watch rehearsal and class. I learn so much from watching."
For example, when she saw that dancers were always gripping the floor with their toes, she had an aha moment about the frequency of flexor hallucis longus tendon injuries. She realized that standing with weight too forward never allows the tendon to rest. A little retraining to get dancers to put their weight on the center of the foot—with the help of a tool she invented, the Parasetter Mini—has made a remarkable reduction in FHL injuries at NYCB.
Molnar's Parasetter Minis. Photo via physicalmind.myshopify.com
Molnar realizes that her field is still young, but it's growing thanks to the work of the International Association of Dance Medicine & Science, where she has served as president, a board member and committee chair. Molnar is delighted that a number of her former patients have gone on to become physical therapists themselves, perpetuating knowledge in the field.
Molnar is grateful for two people in particular who helped her become a leader in dance medicine: "Orthopedic surgeon Dr. William Hamilton, my mentor all these years, and George Balanchine, who had confidence in my skills, allowing me to make New York City Ballet the first major ballet company in the U.S. to care for the health of its dancers. In a funny way, you could say that we three were the pioneers of the dance medicine of today."
For information about the Dance Magazine Awards ceremony on December 4, click here.
It can be hard to focus when Alice Sheppard dances.
Her recent sold-out run of DESCENT at New York Live Arts, for instance, offered a constellation of stimulation. Onstage was a large architectural ramp with an assortment of peaks and planes. There was an intricate lighting and projection design. There was a musical score that unfolded like an epic poem. There was a live score too: the sounds of Sheppard and fellow dancer Laurel Lawson's bodies interacting with the surfaces beneath them.
And there were wheelchairs. But if you think the wheelchairs are the center of this work, you're missing something vital about what Sheppard creates.
So far, the fervor to create diversity in ballet has primarily focused on dancers. Less attention has been paid to the work that they'll encounter once they arrive.
Yet the cultivation of ballet choreographers of color (specifically black choreographers) through traditional pathways of choreographic training grounds remains virtually impossible. No matter how you slice it, we end up at the basic issues that plague the pipeline to the stage: access and privilege.
"I'm sorry, but I just can't possibly give you the amount of money you're asking for."
My heart sinks at my director's final response to my salary proposal. She insists it's not me or my work, there is just no money in the budget. My disappointment grows when handed the calendar for Grand Rapids Ballet's next season with five fewer weeks of work.
"It just...always looks better in my head."
While that might not be something any of us would want to hear from a choreographer, it's a brilliant introduction to "Off Kilter" and the odd, insecure character at its center, Milton Frank. The ballet mockumentary (think "The Office" or "Parks and Recreation," but with pointe shoes) follows Frank (dancer-turned-filmmaker Alejandro Alvarez Cadilla) as he comes back to the studio to try his hand at choreographing for the first time since a plagiarism scandal derailed his fledgling career back in the '90s.
We've been pretty excited about the series for a while, and now the wait is finally over. The first episode of the show, "The Denial," went live earlier today, and it's every bit as awkward, hilarious and relatable as we hoped.
Christopher Wheeldon is going to be giving Michael Jackson some new moves: The Royal Ballet artistic associate is bringing the King of Pop to Broadway.
The unlikely pairing was announced today by Jackson's estate. Wheeldon will serve as both director and choreographer for the new musical inspired by Michael Jackson's life, which is aiming for a 2020 Broadway opening. This will be Wheeldon's second time directing and choreographing, following 2015's Tony Award-winning An American in Paris.
Wheeldon is a surprising choice, to say the least. There are many top choreographers who worked with Jackson directly, like Wade Robson and Brian Friedman, who could have been tapped for the project. Or the production could have even hired someone who actually choreographed on Jackson when he was alive, like Buddha Stretch.
What is the right flooring system for us?
So many choices, companies, claims, endorsements, and recommendations to consider. The more you look, the more confusing it gets. Here is what you need to do. Here is what you need to know to get the flooring system suited to your needs.
Broadway musicals have been on my mind for more than half a century. I discovered them in grade school, not in a theater but electronically. On the radio, every weeknight an otherwise boring local station would play a cast album in its entirety; on television, periodically Ed Sullivan's Sunday night variety show would feature an excerpt from the latest hit—numbers from Bye Bye Birdie, West Side Story, Camelot, Flower Drum Song.
But theater lives in the here and now, and I was in middle school when I attended my first Broadway musical, Gypsy—based, of all things, on the early life of the famed burlesque queen Gypsy Rose Lee. I didn't know who Jerome Robbins was, but I recognized genius when I saw it—kids morphing into adults as a dance number progresses, hilarious stripping routines, a pas de deux giving concrete shape to the romantic yearnings of an ugly duckling. It proved the birth of a lifelong habit, indulged for the last 18 years in the pages of this magazine. But all long runs eventually end, and it's time to say good-bye to the "On Broadway" column. It's not the last of our Broadway coverage—there's too much great work being created and performed, and you can count on hearing from me in print and online.
Let's start with the obvious: Over the weekend, Beyoncé and Jay-Z released a joint album, Everything Is Love. Bey and Jay also dropped a video for the album's lead track, which they filmed inside the actual Louvre museum in Paris (as one does, when one is a member of the Carter family). And the vid features not only thought-provoking commentary on the Western art tradition, but also some really incredible dancing.
So, who choreographed this epic? And who are the dancers bringing it to life in those already-iconic bodystockings?
Travis Wall draws inspiration from dancers Tate McCrae, Timmy Blankenship and more.
One often-overlooked relationship that exists in dance is the relationship between choreographer and muse. Recently two-time Emmy Award Winner Travis Wall opened up about his experience working with dancers he considers to be his muses.
"My muses in choreography have evolved over the years," says Wall. "When I'm creating on Shaping Sound, our company members, my friends, are my muses. But at this current stage of my career, I'm definitely inspired by new, fresh talent."
Wall adds, "I'm so inspired by this new generation of dancers. Their teachers have done such incredible jobs, and I've seen these kids grown up. For many of them, I've had a hand in their exposure to choreography."
This week, New York City's Joyce Theater presents two companies addressing LGBTQ+ issues.
When most people think of dance students, they imagine lithe children and teenagers waltzing around classrooms with their legs lifted to their ears. It doesn't often cross our minds that dance training can involve an older woman trying to build strength in her body to ward off balance issues, or a middle-aged man who didn't have the confidence to take a dance class as a boy for fear of bullying.
Anybody can begin to learn dance at any age. But it takes a particular type of teacher to share our art form with dancers who have few prospects beyond fun and fitness a few nights a week.
New York City–based dancers know Gibney. It's a performance venue, a dance company, a rehearsal space, an internship possibility—a Rubik's Cube of resources bundled into two sites at 280 and 890 Broadway. And in March of this year, Gibney (having officially dropped "Dance" from its name) announced a major expansion of its space and programming; it now operates a total of 52,000 square feet, 23 studios and five performance spaces across the two locations.
Six of those studios and one performance space are brand-new at the 280 Broadway location, along with several programs. EMERGE will commission new works by emerging choreographic voices for the resident Gibney Dance Company each year; Making Space+ is an extension of Gibney's Making Space commissioning and presenting program, focused on early-career artists. For the next three years, the Joyce Theater Foundation's artist residency programs will be run out of one of the new Gibney studios, helping to fill the gap left by the closing of the Joyce's DANY Studios in 2016.
Dancers crossing over into the fitness realm may be increasingly popular, but it was never part of French-born Julie Granger's plan. Though Granger grew up a serious ballet student, taking yoga classes on the side eventually led to a whole new career. Creating her own rules along the way, Granger shares how combining the skills she learned in ballet with certifications in yoga, barre and personal training allowed her to become her own boss (and a rising fitness influencer).