Season Preview: Your Guide to the Hottest Dance Tickets of 2018–19
We might have gotten a little bit carried away with this year's "Season Preview"—but with the 2018–19 season packing so many buzzy shows, how could we not? Here are over two dozen tours, premieres and revivals that have us drooling.
A Night of Natalia Osipova—With David Hallberg
David Hallberg and Natalia Osipova have a rare, extraordinary partnership. Photo by Rosalie O'Connor, Courtesy ABT
Like chemical elements combusting, something extraordinary happens when David Hallberg and Natalia Osipova are combined. Dancing together, they push each other to new heights—they seem to get lost in one another, forgetting the audience in the best possible way. This fall will see the first duet created on the pair, choreographed by Alexei Ratmansky. With his reputation for mining the hidden idiosyncrasies of his muses, he is likely to shed new light on this rare partnership.
Co-commissioned by Sadler's Wells and New York City Center, the duet is part of a program called Natalia Osipova—Pure Dance. The evening also includes Antony Tudor's The Leaves Are Fading, plus dancers Jonathan Goddard and Jason Kittelberger in works like Roy Assaf's Six Years Later and a premiere by Iván Pérez. In London Sept. 12–16 and New York April 4–7. sadlerswells.com and nycitycenter.org. —Jennifer Stahl
Mad Max Meets Ballet
The rock ballet FURY takes as its subject a post-apocalyptic action movie. Photo by Alex Reneff-Olson, Courtesy Duhamel
Action movies and ballet may not seem like a natural fit, but that's not stopping producer and filmmaker Kate Duhamel from creating FURY, a rock ballet inspired by the 2015 film Mad Max: Fury Road. FURY is an immersive experience, performed in music clubs, with audience members surrounding the stage. To bring this post-apocalyptic tale to life, Duhamel enlisted choreographer Danielle Rowe and eclectic musical group YASSOU. The musicians and some of the Bay Area's most exciting dancers—Alonzo King LINES Ballet's Adji Cissoko and Babatunji, and San Francisco Ballet's Dores André, Ulrik Birkkjaer, Frances Chung, Luke Ingham and Jennifer Stahl—portray characters fighting to survive. Projections of landscapes, explosions and more, designed by Luke Acret and animated by Brandon McFarland, ground audiences in FURY's dangerous, desolate world. In San Francisco Sept. 14 at The Chapel and Sept. 15 at The Midway. furyshow.com. —Chava Lansky
A Ted Shawn Rarity
Weinert's ensemble performs Ted Shawn's Dance of the Ages. Photo by Christopher Duggan, Courtesy Jacob's Pillow
One of Ted Shawn's final works for The Men Dancers, Dance of the Ages (1938) hasn't been seen since the company disbanded in 1940—until now. This fall, Adam H. Weinert and Jacob's Pillow will take audiences back in time with a unique reconstruction in the original Bakalar Studio, incorporating historic production elements, including an authentic tea reception in the garden. But however accurate Weinert's recreation may be, his work is spun with a modern-day thread—the inclusion of black dancers onstage. Sept. 21–23. The piece will also be adapted for a Third Thursday festival in Pittsfield, MA, on Sept. 20. jacobspillow.org. —Jen Peters
Ballet Companies Branch Out
American Ballet Theatre's Erica Lall in Michelle Dorrance's Praedicere. Photo by Marty Sohl, Courtesy ABT
When Michelle Dorrance's pièce d'occasion hit American Ballet Theatre's gala this spring, a bolt of fresh air blew through the Metropolitan Opera House. With rhythm as the main event, the dancers looked like real people of the current millennium rather than rarities from the last one. The company will perform another world premiere by Dorrance Oct. 17.
ABT is not the only classical company reaching outside the ballet circle for new choreography this season. We're hotly anticipating premieres by MacArthur "genius" Kyle Abraham (Sept. 27) and commercial-dance darling Emma Portner (Jan. 31) for New York City Ballet; Gaga-inspired Andrea Miller at Pennsylvania Ballet (Nov. 8); and Broadway maestro Andy Blankenbuehler at Tulsa Ballet (May 9). abt.org, nycballet.com, paballet.org and tulsaballet.org. —Wendy Perron
Must-See Musical Theater
Photo courtesy The Prom
On Broadway: The Prom
Having deftly maneuvered the Mean Girls of North Shore High from screen to stage, Casey Nicholaw transfers to another school this season with The Prom. Featuring a number called "It's Time to Dance," and a zany plot that sends four Broadway egomaniacs storming into small-town Indiana to save a canceled prom, the show promises some high-powered hoofing and hilarity. A hit at Atlanta's Alliance Theatre in 2016, it begins previews on Broadway Oct. 23 at the Longacre Theatre. theprommusical.com. —Sylviane Gold
Oklahoma! at Bard SummerScape in 2015. Photo by Cory Weaver, Courtesy St. Ann's Warehouse
Seventy-five years after Rodgers and Hammerstein's Oklahoma! first wowed Broadway audiences, director Daniel Fish strips the classic bare in an immersive production reimagined for the modern day. Focused on the darker roots of the plot, Oklahoma! features choreography by John Heginbotham for 10 dancers to a new, pared-down arrangement of the famous score. In a theater designed to look like an old-fashioned community hall, audience members and actors gather during intermission to share pots of chili. Opens Sept. 27 at St. Ann's Warehouse in Brooklyn. stannswarehouse.org. —CL
Michael Bennett's A Chorus Line. Photo by Herbert Migdoll, Courtesy DM Archives
A Chorus Line Takes City Center
Broadway's singular sensation is back. New York City Center presents seven performances of the beloved, poignant production that puts dancers and their stories center stage. From complicated family dynamics to sexual awakenings, the ensemble divulges the moments that define them—and all of us. Original co-choreographer Bob Avian will direct, and Baayork Lee, the first Connie, will choreograph after Michael Bennett's iconic moves. Oh, God, we need this show. Nov. 14–18. nycitycenter.org. —Madeline Schrock
A Graveyard Duet
T. Lang will perform her newest work in a community cemetery. Photo by Malika DeShon, Courtesy T. Lang
T. Lang Dance has a reputation for works that are revolutionary, yet deeply rooted in the historical context of American culture. True to form, choreographer T. Lang, in collaboration with Michelle Hite, is presenting a new site-specific work in response to the highly politicized tone of human rights in America today, drawing inspiration from issues like the closing of Planned Parenthood clinics, the attempted repeal of the Affordable Care Act and the proposed border wall. In the wake of the 50th anniversary of Dr. Martin Luther King, Jr.'s assassination, A Graveyard Duet of the Past Now explores life-affirming questions of compassion, togetherness and humanity against the backdrop of a community cemetery. Westobou Festival, Augusta, GA, Oct. 4. tlangdance.com. —Shate' L. Edwards
New Works From William Forsythe
William Forsythe may no longer have a company of his own, but he remains one of the busiest men in the dance world. Oct. 4–6 will see the premiere of A Quiet Evening of Dance at Sadler's Wells in London. Designed with seven long-time performers of his work, it will then tour internationally. Meanwhile, Boston Ballet, where Forsythe is in the middle of a five-year residency, is set to unveil a world premiere—his first creation for a U.S. company in over 25 years. It will be performed March 7–17 alongside Pas/Parts 2018 and the U.S. premiere of Blake Works I, created for the Paris Opéra Ballet. Boston will also get a taste of Forsythe's installations, a side passion of his, as the Institute of Contemporary Art hosts his Choreographic Objects, a series of environments, sculptures and films designed to stimulate interaction and movement, Oct. 31–Feb. 24. sadlerswells.com, bostonballet.org and icaboston.org. —Laura Cappelle
Peter DiMuro's dancers rehearse at the Gardner. Photo by Hai Dang Nguyen, Courtesy DiMuro
Peter DiMuro at the Isabella Stewart Gardner Museum
More than 100 years after Ruth St. Denis performed at the Isabella Stewart Gardner Museum, dance is still a part of Boston's venerable house of treasures. Peter DiMuro, the inaugural choreographer in residence and his company, Public Displays of Motion, along with community members, will present The House of Accumulated Beauties (soundscore by Beau Kenyon) Oct. 11–25. Dance-infused tours will take place in the galleries, and a different version will be shown in the new wing's Calderwood Hall on Oct. 18. gardnermuseum.org. —Iris Fanger
Sarah Michelson's Daylight (for Minneapolis) at the Walker. Photo by Gene Pittman, Courtesy Walker Art Center
Sarah Michelson at Walker Art Center
Sarah Michelson returns to the Walker Art Center with October /\ 2018, her fourth Walker commission and the latest in her new international cycle of works, which are inspired by her history with the places in which they're created. As always, she's keeping all intel under wraps, ensuring audiences come to the work—which will be, no doubt, fresh, electric, disruptive and surprising—with the fewest preconceptions possible. Oct. 19–21. walkerart.org. —Camille LeFevre
Silas Farley leads rehearsal at the Met Museum. Photo by Rosalie O'Connor, Courtesy Metropolitan Museum of Art
Silas Farley at the Metropolitan Museum of Art
For his first major choreography commission, New York City Ballet dancer Silas Farley is exploring what it means to be in exile. The score intersperses traditional spirituals with songs composed by San Quentin State Prison inmates. Fellow NYCB dancers and Farley's wife, Cassia Farley, will perform Songs from the Spirit in three different galleries in the Metropolitan Museum of Art. March 8–10. metmuseum.org. —JS
A Brazilian Spectacle From Deborah Colker
Deborah Colker's Cão Sem Plumas (Dog Without Feathers). Photo courtesy Companhia de Dança Deborah Colker
Melding the fearless derring-do of Elizabeth Streb with the primal theatricality of Pina Bausch, Brazilian choreographer Deborah Colker builds imaginative worlds filled with physical challenges and architectural add-ons. Her Cão Sem Plumas (Dog Without Feathers) marks her first entirely Brazil-inspired work, using poetry of João Cabral de Melo Neto. The piece, like the poem, follows the Capibaribe River through dried riverbeds, drought-infested former farms and impoverished favelas. Combining video shot on cracked earth and muddy ponds with live dancers onstage, the work's harsh images reflect the unforgiving toll humans have taken on the once-verdant environment. Companhia de Dança Deborah Colker performs the work's U.S. premiere Oct. 13 in Pittsburgh, and in Washington, DC, Oct. 18–20. ciadeborahcolker.com.br. —Lisa Traiger
Akram Khan Heads Stateside
This season brings a triple sighting of the extraordinary London-based dance artist Akram Khan. Lincoln Center's White Light Festival will import Xenos, Khan's last full-length solo, Oct. 31–Nov. 1. In a devastatingly beautiful ode to those who fought in World War I, Khan conjures the mind of a shell-shocked Indian soldier. With his mesmerizing blend of kathak and postmodern fury, and with his knack for astonishing imagery, it's no surprise that the solo was called "riveting" and "epic" when it appeared at Sadler's Wells last spring. We'll get a second dose of Khan when English National Ballet brings his cinematic Giselle to the Harris Theater in Chicago, Feb. 28–March 2, marking ENB's first trip to the U.S. in more than 30 years. And when Dragon Spring Phoenix Rise comes to The Shed in New York City in 2019, with songs by Sia, the flying and floating will be choreographed by none other than Khan. lincolncenter.org, ballet.org.uk and theshed.org. —WP
8 Companies, 1 Balanchine Festival
Mariinsky Ballet in Balanchine's Apollo. Photo by Natasha Razina, Courtesy State Academic Mariinsky Theatre
After founding New York City Ballet alongside Lincoln Kirstein at New York City Center in 1948, George Balanchine (and NYCB) would call the theater home until their move to Lincoln Center in 1964. As part of its 75th-anniversary season, City Center will celebrate one of its most iconic choreographers with Balanchine: The City Center Years. An international cast of dancers from American Ballet Theatre, The Joffrey Ballet, Mariinsky Ballet, Miami City Ballet, Paris Opéra Ballet, The Royal Ballet and San Francisco Ballet will join NYCB for an event comprising six programs and 13 of the choreographer's most renowned works, like Serenade and Symphony in C. Oct. 31–Nov. 4. nycitycenter.org. —Marissa DeSantis
Embodying Indigenous Stories
Rosy Simas creates work through a Native feminist lens. Photo by Uche Iroegbu, Courtesy Intermedia Arts 2016
For Weave, Rosy Simas wraps the audience in a singular, shared experience of Indigenous sensibility by threading together rigorous movement, mesmerizing film and cascading quadraphonic sound. Simas (Seneca, Heron Clan) and her Native/Indigenous/POC collaborators have created the work from their experiences engaging with the local Native communities at the sites where it will be performed. The multidisciplinary experience, created through Simas' Native feminist lens, reflects the dynamic nature of each performance venue, the place's land and water, and the community. Premieres Jan. 12, Ordway Center for the Performing Arts, St. Paul, MN. Subsequent performances: Allegany Seneca Territory in Salamanca, NY; Birmingham, AL; Washington, DC; Maui; Oahu and Philadelphia. rosysimas.com. —Camille LeFevre
The Bard's Mysterious Lovers
Nashville Ballet's Kayla Rowser. Photo by Chad Driver, Courtesy Nashville Ballet
The "Dark Lady" and the "Fair Youth" are the subjects of many of Shakespeare's sonnets—but what if, in reality, the two were a black woman and a young male lover? This controversial notion forms the thesis of Nashville poet Caroline Randall Williams' book Lucy Negro, Redux and Nashville Ballet's new contemporary ballet. With an original score written and performed live by Grammy Award winner Rhiannon Giddens, Attitude: Lucy Negro Redux explores Williams' premise in a nonlinear story centering on two present-day and three historical characters. Says choreographer and artistic director Paul Vasterling, "The story ultimately becomes about finding your own beauty and worthiness to be loved." Feb. 8–10. nashvilleballet.com. —Steve Sucato
Crystal Pite's Latest: Revisor
Even well-received productions of contemporary dance-theater can disappear after a handful of performances, never to be seen again. Not so for Betroffenheit, the 2015 collaboration between Crystal Pite's Kidd Pivot and director-playwright Jonathon Young, which toured extensively for three years, collecting awards as it went. They've reunited for Revisor, a new work for eight dancers who embody voiceovers recorded by celebrated actors—a conceit not dissimilar to that of Pite and Young's darkly political The Statement, created for Nederlands Dans Theater in 2016. Farce and wit will leaven the work's timely themes of duplicity and greed; early source material included The Government Inspector, Nikolai Gogol's 1836 play satirizing corruption in Imperial Russia. Premieres in Vancouver, Feb. 20–23, followed by tour engagements in Ottawa, Toronto, Chapel Hill, NC, and Montreal. kiddpivot.org. —Zachary Whittenburg
Cunningham at 100
Merce Cunningham's Quartet (1982). Photo by JoAnn Baker, Courtesy DM Archives
Merce Cunningham changed the way we make and watch dance by introducing chance procedures to choreography and shifting the focus from center stage to wherever the audience wished to look. To mark the centennial of his birth—April 16, 2019—a total of 100 dancers, 25 each in New York City, Los Angeles, London and Paris, will perform some of his seminal solos in Night of 100 Solos: A Centennial Event. It's the high point of more than a year's worth of worldwide events. More than two dozen ballet and modern companies will dance the iconoclastic choreographer's work in their seasons. Film screenings in NYC, L.A. and Barcelona, among others, highlight his penchant for experimenting with film and technology. Can't make it to one of the venues? Night of 100 Solos will be live-streamed. mercecunningham.org. —LT
Mats Ek Returns
Paris Opéra Ballet has drawn Mats Ek out of retirement. Photo by Ann Ray, Courtesy POB
Mats Ek's retirement didn't last long. In 2016, the Swedish choreographer announced that he would stop making new work and gradually withdraw his entire repertoire. Two years on, however, he is back, and not just with revivals: the Paris Opéra Ballet has convinced him to create two new pieces. One, Another Place, will be set to Liszt; the other is a new version of Ravel's Bolero. The double bill is a coup for POB director Aurélie Dupont, and renews Ek's longstanding association with the French company. It looks like the pull of the stage was just too strong, and fans who mourned Ek's departure will likely give him a hero's welcome. June 22–July 14. operadeparis.fr. —LC
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Many choreographers use spoken word to enhance their dance performances. But the Campfire Poetry Movement video series has found success with a reverse scenario: Monticello Park Productions creates short art films that often use dance to illustrate iconic poems.
It's contest time! You could win your choice of Apolla Shocks (up to 100 pairs) for your whole studio! Apolla Performance believes dancers are artists AND athletes—wearing Apolla Shocks helps you be both! Apolla Shocks are footwear for dancers infused with sports science technology while maintaining a dancer's traditions and lines. They provide support, protection and traction that doesn't exist anywhere else for dancers, helping them dance longer and stronger. Apolla wants to get your ENTIRE studio protected and supported in Apolla Shocks! How? Follow these steps:
When I was just a little peanut, my siblings and I used to find scrap paper and use them as tickets to our makeshift dance performances at family gatherings. They were more like circus shows, really, where my brother was the ringmaster, and my sisters and I were animals; we dove through imaginary flaming hoops and showcased our best tightrope acts with the suspense of plummeting into an endless pit of sorrows. This was my first introduction to the beauty of movement as a way of communicating.
Photo by Lindsay Linton
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.
Today, we are thrilled to announce the honorees of the 2018 Dance Magazine Awards. A tradition dating back to 1954, the Dance Magazine Awards celebrate the living legends who have made a lasting impact on dance. This year's honorees include:
Choreographer Ronald K. Brown sees himself as a weaver—of movement, but more importantly, of stories. "When I started my company Evidence 33 years ago, I needed to make a space for what I thought of as evidence—work that tells stories, so that when people saw the work, they would see a reflection or evidence of themselves onstage," says Brown, now 51. "That was my mission, my purpose."
Fast-forward to today: Evidence has become a mainstay in the modern dance world and Brown is now considered a vanguard among choreographers fusing Western contemporary dance with movement from the African diaspora, including popular dance and traditions from West African cultures like Senegalese sabar.
She may not be the first choreographer to claim that movement is her first language, but when Crystal Pite says it, it's no caveat: She's as effective and nuanced a communicator as the writers who often inspire her dances.
Her globally popular Emergence, for instance, was provoked in part by science writer Steven Johnson's hypotheses; The Tempest Replica refracts and reimagines Shakespeare. Recently, her reading list includes essays by fellow Canadian Robert Bringhurst, likewise driven by a ravenous, wide-ranging curiosity.
General director of Spoleto Festival USA since 1995 and, for two decades (1998-2017), the director of the Lincoln Center Festival, Nigel Redden has an internationalist's point of view on the arts—expansive, curious, informed by the cultural wealth that the world has to offer.
He is the son of an American diplomat and grew up moving from place to place—Cyprus, Israel, Canada, Italy—until eventually setting of for Yale to study Art History. After visiting the Spoleto festival in Italy as a young man, and working there while he was still an undergraduate, he very quickly realized what he wanted to: direct festivals. And that's what he has done for most of the last quarter century.
No, she isn't like other artistic directors, and that's not just because she's a woman. Lourdes Lopez, who's led Miami City Ballet since 2012, doesn't want this to be taken the wrong way, but as for her vision? She doesn't really have one.
"I just want good dancers and a good company and good rep and an audience and a theater—let us do what the art form is supposed to be doing," she says. "I don't mean that in a flippant way. It's just how I've always approached it."
Paul Taylor cultivated many brilliant dancers during his 60-plus-year career, but seldom have any commanded such a place of authority and artistry as Michael Trusnovec. He models what it takes to become a great Taylor dancer: weight of movement, thorough grasp of style, deep concentration, steadfast partnering, complete dedication to the choreography and a nuanced response to the music.
Trusnovec can simultaneously make choreography sexy and enlightened, and he can do it within one phrase of movement. Refusing to be pigeonholed, he has excelled in roles as diverse as the tormented and tormenting preacher in Speaking in Tongues; the lyrical central figure—one of Taylor's own sacred roles—in Aureole; the dogged detective in Le Sacre du Printemps (The Rehearsal); and the corporate devil in Banquet of Vultures.
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.
Whether or not you see yourself choreographing in your future, you can gain a lot from studying dance composition. "Many companies ask you to generate your own content. Choreography is more collaborative now," says Autumn Eckman, a faculty member at the University of Arizona.
Look beyond the rehearsal studio, and you'll find even more benefits to having dancemaking skills. "Being a thinker as well as a mover is what creates a sustainable career," says Iyun Ashani Harrison, who teaches at Goucher College. "Viewing dance with a developed eye and being able to speak about what you're seeing is valuable whether you're a dancer, a choreographer, an artistic director or a curator."
Succeeding in composition class often has more to do with attitude than aptitude. Above all, you need "a willingness to play along and explore," says Kevin Predmore, who teaches at the Ailey/Fordham BFA program. "You have to let go of the desire to create something extraordinary, and instead be curious."
Egg Drop Soup's "Partying Alone" video turns a run-of-the-mill dance team audition on its head with a vision of female power from a mature woman. The panel is stunned when a gray-haired, red-lipsticked 80-something tosses aside her cane and lets loose, flipping her hair—and the bird.
Egg Drop Soup - Partying Alone (Official music video)
Take a second look at that head-banging grandma—she is none other than renowned dance researcher and anthropologist Judith Lynne Hanna. An affiliate research professor in anthropology at the University of Maryland, College Park, the author of numerous scholarly books and an expert witness in trials for exotic dancers, she has spent her career getting us to think about dance's relationship to society. Hanna, 82, said she hadn't performed since college when she got a call from a music video producer, who caught a video of her dancing with her 13-year-old grandson. The rockers of Egg Drop Soup loved her energy and flew her out to Los Angeles for a day-long video shoot. We spoke to Hanna about the experience.
Since its founding in 1999, more than 80,000 ballet dancers have participated in Youth America Grand Prix events. While more than 450 alumni are currently dancing in companies across the world, the vast majority—tens of thousands—never turn that professional corner. And these are just the statistics from one competition.
"You may have the best teacher in the world and the best work ethic and be so committed, and still not make it," says YAGP founder Larissa Saveliev. "I have seen so many extremely talented dancers end up not having enough motivation and mental strength, not having the right body type, not getting into the right company at the right time or getting injured at the wrong moment. You need so many factors, and some of these are out of your hands."
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:
Tired of the typical turkey and stuffing? For Thanksgiving this year, try something different with these personal recipes that dancers have shared with Dance Magazine. The ingredients are packed with dancer-friendly nutrients to help you recover from rehearsals and fuel up for the holiday performances ahead.
If anyone raises an eyebrow at your unconventional choices, just remind them that dancers are allowed to take some artistic license!
A dancer once contacted me because he was devastated after walking in on his girlfriend with another man. While he was distressed about ending the relationship, he was most concerned about a major performance coming up. They had to dance a romantic pas de deux. When I met with them together, she was afraid he would drop her and he didn't want to look lovingly in her eyes. My role was to help them find ways to make magic onstage and keep their personal difficulties offstage. They ended up dancing to rave reviews.
Adji Cissoko has the alchemical blend of willowy limbs and earthy musicality you expect from a dancer in Alonzo King LINES Ballet. But she also has something more—a joy in dancing that makes every step feel immediate.
"She has this soulful quality of an ancient spirit coming through her body," says LINES chief executive officer Muriel Maffre, a former prima ballerina with San Francisco Ballet. "She's fearless, which is fun to work with," says artistic director Alonzo King. "I don't know how to put it into words— she's herself."
When Jan Fabre's troupe Troubleyn presents his Mount Olympus: To glorify the cult of tragedy (a 24 hour performance) at NYU Skirball tomorrow it does so under a heavy cloud of controversy.
Fabre is a celebrated Belgian multidisciplinary artist who has been honored as Grand Officer in the Order of the Crown, one of the country's highest honors. His visual art has been displayed at the Louvre and at the Hermitage in St. Petersburg. According to The New York Times, his dance company, Troubleyn, receives about $1 million a year from the Belgian government.
But in an open letter posted to Belgian magazine Rekto Verso just a few months ago, 20 of his company's current and former dancers outline a horrific culture of sexual harassment, bullying and coercion. This comes on the heels of similar accusations at New York City Ballet and Paris Opèra Ballet.
Earlier this week, New York City Ballet principal Tiler Peck gave us some major onstage makeup inspiration while attending an offstage event. While walking the red carpet at the CFDA/Vogue Fashion Fund gala, Peck's beauty look was still perfectly suited for the ballet with her top knot hairstyle and stage-worthy red lip. Peck's makeup artist for the night, Daniel Duran, shared his exact breakdown on the look, working exclusively with beauty brand Chantecaille. So, whether you're in need of a waterproof brow pencil, volumizing mascara or long-lasting red lip this Nutcracker season, we've got you covered.
There's a new tool that lets amputee ballet dancers perform on pointe. As reported in Dezeen, an architecture and design magazine, industrial designer Jae-Hyun An has created a prosthesis he calls the "Marie . T" (after Marie Taglioni, of course) that allows dancers with below-the-knee amputations to do pointe work.
A carbon fiber calf absorbs shock while a stainless steel toe and rubber platform allow a dancer to both turn and grip the floor to maintain balance. What it doesn't allow the dancer to do? Roll down to demi-pointe or flat.