Alicia Alonso's famed ballet company in Cuba has a new leader: the beloved hometown prima ballerina Viengsay Valdés.
Ballet Nacional of Cuba just named Valdés deputy artistic director, which means she will immediately assume the daily responsibilities of running the company. Alonso, 98, will retain the title of general director, but in practice, Valdés will be the one making all the artistic decisions.
For the past few months, the dance world has been holding its collective breath, waiting for New York City Ballet to announce who will take over the helm as artistic director.
Though former ballet master in chief Peter Martins retired over a year ago after accusations of sexual harassment and abuse (an internal investigation did not corroborate the accusations), the search for a new leader didn't begin until last May.
Nine months later, the new director's name could be released any day now. And we have some theories about who it might be:
Birmingham Royal Ballet announced today that international star Carlos Acosta will be taking over as director in January of 2020. Current BRB director David Bintley will be stepping down this summer, at the end of the company's 2019 season, after a 24-year tenure. "It is a tremendous honor and privilege to have been appointed to lead Birmingham Royal Ballet," Acosta said in a statement.
Since retiring from The Royal Ballet in 2015, Acosta has focused much of his attention on his native Cuba, where he's proven his directorial abilities at the helm of Acosta Danza, the contemporary company that he founded in 2016. In 2017 Acosta also opened his first Dance Academy through his foundation, which provides free training to students. We don't yet know how Acosta will balance his time between his projects in Cuba and his new role at BRB.
Something's coming, I don't know when
But it's soon...maybe tonight?
Those iconic lyrics have basically been our #mood ever since we first heard a remake of the West Side Story film, directed by Steven Spielberg and choreographed by Justin Peck, was in the works. THE CASTING. THE CASTING WAS COMING.
Well, last night—after an extensive search process that focused on finding the best actors within the Puerto Rican/Latinx community—the WSS team finally revealed who'll be playing Maria, Anita, Bernardo, and Chino (joining Ansel Elgort, who was cast as Tony last fall). And you guys: It is a truly epic group.
Though Polunin has long had a reputation for behaving inappropriately, in the last month his posts have been somewhat unhinged. In one, Polunin, who is Ukrainian, shows off his new tattoo of Vladimir Putin:
With a style that fuses tap dance, Lindy hop and vernacular jazz, Caleb Teicher has quickly proven himself a choreographic force to be reckoned with. After becoming known as a Bessie Award–winning member of Michelle Dorrance's company (and a DM "25 to Watch" pick in 2012), Teicher started his own troupe in 2015. Since then, he's presented at high-profile venues like The Joyce and Jacob's Pillow's Inside/Out stage, and last year he was commissioned by New York City Center's popular Fall for Dance festival. This month, Caleb Teicher & Company will premiere its first evening-length work, More Forever, commissioned by Works & Process at the Guggenheim.
You know Michaela DePrince's story by now. The Dutch National Ballet soloist was orphaned in war-torn Sierra Leone, adopted by an American family and subsequently became a near-household name in the ballet world, eventually joining Dance Theatre of Harlem and then DNB. Since then, she's written a memoir, acted as an ambassador for War Child Holland, appeared in a Beyoncé music video, become the face of a Jockey campaign and will be the subject of a upcoming biopic directed by none other than Madonna. But all her high-profile achievements haven't changed her exacting work ethic or unwavering commitment to her craft.
We caught up with her for our "Spotlight" series:
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ABT corps dancer Melanie Hamrick will be taking a leave of absence from the company's spring season, but for the best reason possible: She's working on her own ballet. Her piece is set to premiere in March, and will feature music curated by Hamrick's longtime boyfriend, Rolling Stones frontman Mick Jagger (cue the moves like Jagger puns).
What did our readers care about most in 2018? Judging by our top-clicked stories, topics as broad as confronting a bullying teacher, investigating how Instagram has impacted the dance world and advocating for dance as an intellectual pursuit were the biggest stories in dance this year.
But our biggest hit, published just earlier this month, already has us looking to the new year: Our annual "25 to Watch" list for 2019, profiling the artists we think will be taking the dance world by storm sooner than later.
These are our 10 most-read stories of the year, and why we think they struck a chord with readers:
By now, you've probably gotten to know our latest "25 to Watch" picks. We're expecting great things from them in the year to come, but what do they have in mind for 2019? For a little New Year's inspiration, we asked a few of them to share the resolutions they'll be carrying into next year.
Earlier this year, Ari Groover faced the ultimate Broadway champagne problem: She was offered a contract for both Summer: The Donna Summer Musical and Head Over Heels. She ultimately chose Head Over Heels, and watching her in the show, it's easy to see why she's in such demand: Groover is a consummate storyteller, imbuing Spencer Liff's jaw-droppingly complicated choreography with seemingly endless energy and sly wit.
The first time I performed a solo, I was 6. It was at a competition, and after I danced, I remember hearing the judges and friends of mine say that I made them cry. Sidenote: I had been mouthing the lyrics from The Hunchback of Notre Dame's "God Help the Outcasts" while dancing, and those lyrics could make anyone cry. But I do think I touched those people because I sincerely felt what I was trying to express.
Jensen and Matthew Golding in "Swan Lake." Photo courtesy of Jensen.
Some of the most vibrant dancing on Broadway this season can be seen in a dark, heart-wrenching drama about a farm family in Northern Ireland during the Troubles, when violent clashes between Protestants and Catholics turned cities into war zones and jails into political arenas. But Scarlett Mackmin says that when she signed on as choreographer for the original 2017 London production of Jez Butterworth's The Ferryman, it didn't seem there would be very much for her to do.
When Marinda Davis was named second runner-up at the 2015 Capezio A.C.E. Awards, she dove headfirst into choreographing and producing a full-length show for her company, marInspired; the storytellers. But as her career was booming, Davis' body was breaking down. Behind the scenes, she was dealing with eight very serious illnesses, one of which led to a months-long hospital stay. Now, as she prepares a piece for Giordano Dance Chicago (debuting in March), Davis reflects on how she's powered through it all.
Congratulations are in order for American Ballet Theatre star Gillian Murphy and her husband, former ABT dancer Ethan Stiefel, who are expecting their first child next June!
Murphy announced her pregnancy today on Instagram:
She will not be dancing in the company's upcoming tour or the 2019 Metropolitan Opera House season, but plans to return to the stage next fall.
We have no doubt that Murphy will be the ultimate cool mom. Here's why:
Even if you haven't heard her name, you've almost certainly seen the work of commercial choreographer James Alsop. Though she's made award-winning dances for Beyoncé ("Run the World," anyone?) and worked with stars like Lady GaGa and Janelle Monae, Alsop's most recent project may be her most powerful: A moving music video for Everytown for Gun Safety, directed by Ezra Hurwitz and featuring students from the National Dance Institute.
We caught up with Alsop for our "Spotlight" series:
We asked you for nominations, compiled your suggestions and had you vote on your favorites. Here's what you chose:
As conversations in the ballet world about race and representation have opened up in the past few years, its most beloved holiday tradition, The Nutcracker, has come under scrutiny as well. Last year New York City Ballet made changes to its second act Chinese Tea variation, removing elements of racial caricature from both the costume and makeup and the choreography.
NYCB soloist Georgina Pazcoguin, who is part Filipino, was one of the voices fighting for that change. This year, as companies and schools worldwide are gearing up for Nutcracker season, Pazcoguin, along with former dancer and arts administrator Phil Chan, is back with a new campaign. Final Bow For Yellowface is an online platform dedicated to educating companies and schools on how to veer away from offensive Asian stereotypes (yellowface) and providing resources on how to make those changes. The site also lets readers join dance world luminaries including Virginia Johnson, Julie Kent, Adam Sklute, Troy Schumacher and Christopher Wheeldon in signing a pledge to end the practice of yellowface onstage. We touched base with Pazcoguin to hear about how this initiative came to be, and what she and Chan have in the works for the future.
Jamar Roberts has long been one of Alvin Ailey American Dance Theater's most thrilling performers, bringing his sinuous power to whatever the company's wide-ranging repertory throws at him. Last season, Roberts' own movement became a part of that repertory: His blues-inspired Members Don't Get Weary, set to the music of John Coltrane, received rave reviews, and returns this week as part of the company's 60th Anniversary season at New York City Center.
We caught up with Roberts for our "Spotlight" series:
Ilaria Guerra only joined Alonzo King LINES Ballet in January, but she's already a towering presence in the San Francisco company—and not just because she's 6' tall. Guerra employs her seemingly infinite limbs with luscious fluidity and propulsive power, instinctive musicality and a self-assured presence. And as exquisitely as she embodies King's choreography, she also makes it entirely her own.