These So-Called "Dancer Fails" Make Us Love Them Even More
If you're anything like us, your Instagram feed is chock-full of gorgeous dance photos and videos. But you know what makes us fall in love with an artist even more? When they take a break from curating perfect posts and get real about their missteps. These performers' ability to move past mistakes, and even laugh them off, is one reason why they're so successful.
Every time you fall out of a pirouette, just remember: The stars—and literally every. single. dancer.—have been there, too. (Even Misty Copeland.)
American Ballet Theatre's James Whiteside
For every ballet competition winner, there are always many more dancers that walk away empty-handed. Whiteside didn't let this early setback deter him—and look how he turned out.
New York City Ballet's Sara Mearns
Cross-training is meant to be hard, and Mearns isn't afraid to admit it. Though she often posts videos of herself once she masters an exercise, we love how this glimpse praises process over perfection. She wrote, "I always show the final product but the amount of fails it takes to get there is EPIC!!"
Broadway dancer Samantha Sturm
Sturm got candid about what really happens at dance photo shoots. In order to achieve the flawless leaping photo below, she estimates that she did "7 millionty jumps that day," including this in-between moment above. But even this outtake is effervescent.
Houston Ballet's Luzemberg Santana and Mónica Gómez
Don't even get us started on rehearsal bloopers. If dancers had a dollar for every time we slipped, tripped or wiped out, we might be wealthy. When Santana and Gómez attempted this tricky leap-throw-catch maneuver, things went south. Don't worry: No dancers were harmed in the making of this video.
Jennifer Kahn knew the theater industry could do better. As a professional stage manager for 17 years she worked on regional, off-Broadway and Broadway shows. Nearly each time a show closed, something unsettling happened: "I would watch them throw away our shows. All of the beautiful artwork by my friends in the paint shop would go in the trash." The elaborate backdrops? Gone.
But she had an idea: What if the material used in the backdrops and legs could be upcycled into something new? And what if theater lovers could literally keep a piece of a beloved show?
"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.
For decades the name Alicia Alonso has been virtually synonymous with Ballet Nacional de Cuba, the company she co-founded in Havana in 1948. Alonso died on October 17, just shy of what would have been her 99th birthday. In recent years, she had stepped back from day-to-day decision-making in the company. As if preparing for the future, in January, the company's leading ballerina, 42-year-old Viengsay Valdés, was named deputy director, a job that seems to encompass most of the responsibilities of a traditional director. Now, presumably, she will step into her new role as director of the company. Her debut as curator of the repertory comes in November, when the troupe will perform three mixed bills selected by her at the Gran Teatro de la Habana Alicia Alonso. The following has been translated from a conversation conducted in Spanish, Valdés' native tongue.
New York City Ballet principal Sara Mearns wasn't sure she was strong enough. A ballerina who has danced many demanding full-length and contemporary roles, she was about to push herself physically more than she thought was possible.
"I said, 'I can't. My body won't,' " she says. "He told me, 'Yes, it will.' "
She wasn't working with a ballet coach, but with personal trainer Joel Prouty, who was asking her to do squats with a heavier barbell than she'd ever used.