12 Childhood Pics and Videos That Prove These Stars Were Born to Dance
But even when they were kids, they had a glimmer of their future star power, giving a glimpse of what was to come. Thankfully for Instagram, we've got the pictures and home videos to prove it.
Robbie and Megan Fairchild
Now: Talk about talent running in the family. Sister Megan is now a principal at New York City Ballet, while her brother Robbie has since departed NYCB, delving in to Broadway and film, including the much-anticipated Cats film.
Then: The sibling duo was putting on their own shows at home, with Megan lending her old costume to her Robbie. Mid-performance, Robbie even gets snot rubbed off his face.
Now: Full-on ballet royalty, at 43, she's still performing with the Mariinsky and runs her contemporary dance festival, CONTEXT.
Then: Back in 1994, 18-year-old Vishneva gave a welcome address to kick off the new school year at the Vaganova Ballet Academy. It was an honor awarded to the program's most promising senior student.
Natalia Arja and Renan Cerdeiro
Now: The longtime friends are colleagues at Miami City Ballet, where Arja is a principal soloist and Cerdeiro is a principal.
Then: Back home in their native Rio de Janeiro, Brazil, the pair was chummy, seizing the opportunity to dance together even outside of class.
Now: Whiteside is his own brand of triple threat: a principal at American Ballet Theatre, pop performer JbDubs and a choreographer.
Then: He was a regular teen who admittedly loved dancing to Britney Spears. We can't say we're surprised.
Now: An international ballet superstar—currently a principal at Staatsballett Berlin and American Ballet Theatre—known for his bounding jumps and sailing turns
Then: A promising young dancer, known for his bounding jumps and sailing turns. Some things never change.
Now: A captivating soloist who's scooping up roles at American Ballet Theatre, Hurlin is also known by her nickname, Hurricane.
Then: At age 3, Hurlin seemed to be channeling Isadorables vibes, posing in a flowing vintage dress.
Now: Morgan leaps back into company life this season as a soloist at Miami City Ballet.
Then: From a young age, she was cheesing it up and already feeling at home in a mess of tulle and sequins.
Now: The busy MacArthur "genius" choreographer is creating work this season for his own company, A.I.M, plus Misty Copeland, Paul Taylor Dance Company and Hubbard Street Dance Chicago.
Then: Abraham was that cool kid in high school who was also deeply intellectual. A longtime music lover, he played cello as a teen.
Now: Though the ballet maverick has struck out on her own, leaving traditional company life behind, Kochetkova continues to perform around the world.
Then: While most ballet students dance in a Nutcracker growing up, very few can say their first was at the Bolshoi Ballet School. Welcome to the life of Kochetkova.
Now: Heffington has molded a career out of making the awkward enticingly cool, whether he's choreographing for Sia or crafting the central "five movements" for Netflix's "The OA."
Then: He was a spiffy dance student who appeared several times on "Star Search."
Now: A longtime principal at Houston Ballet, the audience favorite also became a mother last year.
Then: As a kid in Venezuela, González was literally bending over backwards to dance. After showing up at the wrong address for dance lessons, we're extremely glad she was swiftly redirected to the right school.
Now: Foster is preparing to strike Broadway gold once again for the 2020 revival of The Music Man, in which she'll star opposite Hugh Jackman.
Then: Based on this early tap routine, Sutton was clearly destined for Broadway.
There's a rare moment in Broadway's Hadestown where the audience is able to breathe a sigh of relief. The smash-hit success is not well-known for being light-hearted or easy-going; Hadestown is a show full of workers and walls and, well, the second act largely takes place in a slightly modernized version of hell.
But deep into the second act, the show reaches a brief homeostasis of peace, one of those bright, shining moments that allows the audience to think "maybe it will turn out this time," as the character Hermes keeps suggesting.
After songs and songs of conflict and resentment, Hades, the king of the underground, and his wife, the goddess Persephone, rekindle their love. And, unexpectedly, they dance. It's one of the most compelling moments in the show.
Back in 2011 when Joe Lanteri first approached Katie Langan, chair of Marymount Manhattan College's dance department, about getting involved with New York City Dance Alliance, she was skeptical about the convention/competition world.
"But I was pleasantly surprised by the enormity of talent that was there," she says. "His goal was to start scholarship opportunities, and I said okay, I'm in."
Today, it's fair to say that Lanteri has far surpassed his goal of creating scholarship opportunities. But NYCDA has done so much more, bridging the gap between the convention world and the professional world by forging a wealth of partnerships with dance institutions from Marymount to The Ailey School to Complexions Contemporary Ballet and many more. There's a reason these companies and schools—some of whom otherwise may not see themselves as aligned with the convention/competition world—keep deepening their relationships with NYCDA.
Now, college scholarships are just one of many ways NYCDA has gone beyond the typical weekend-long convention experience and created life-changing opportunities for students. We rounded up some of the most notable ones:
There's always been something larger than life about choreographer Mark Morris. Of course, there are the more than 150 works he's made and that incisive musicality that makes dance critics drool. But there's also his idiosyncratic, no-apologies-offered personality, and his biting, no-holds-barred wit. And, well, his plan to keep debuting new dances even after he's dead.
So it should come as little surprise that his latest distinction is also a bit larger than life: The New York Landmarks Conservancy is adding Morris to its list of "Living Landmarks."
"The show must go on" may be a platitude we use to get through everything from costume malfunctions to stormy moods. But when it came to overcoming a literal hurricane, Houston Ballet was buoyed by this mantra to go from devastated to dancing in a matter of weeks—with the help of Harlequin Floors, Houston Ballet's longstanding partner who sprang into action to build new floors in record time.