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Does NYCB Have A Gambling Problem?
New York City Ballet's fall season opened last week with Peter Martins' production of Swan Lake. The company is looking ahead to their gala tomorrow, followed by a month of works new and old. The marketing department seems particularly excited about its premieres, many of them created by new choreographers (perhaps part of their admirable attempt to lure in young audiences). But, when photos of these choreographers are stitched together (as they were on Facebook last week), the homogeneity of the faces featured is striking. They are all white men, and their pieces start off a season of revivals by more white men.
To be fair, most major companies aren't doing much better. Boston Ballet and Joffrey Ballet are making an effort at inclusivity, each featuring one woman in their fall programming. Pacific Northwest Ballet will dance the work of two women this fall. The only woman on the roster for both Miami City Ballet and American Ballet Theatre's fall seasons is Twyla Tharp. While I love that they are including classic Tharp works, this doesn't demonstrate a commitment to fostering new voices or shifting their repertory long-term.
But City Ballet prides itself on commissioning new works every season and developing the talent of young choreographers. Last week, The New York Times published a piece by Roslyn Sulcas entitled "New York City Ballet Gambles on Unknown Choreographers." Unknown, and young. Robert Binet is only 24. Myles Thatcher is 25. By comparison, Justin Peck and Troy Schumacher, 28 and 29, seem like old pros. The article tracks the trajectory of these boys, highlighting their mentor relationships with men such as Alexei Ratmansky, Wayne McGregor and NYCB ballet master in chief Peter Martins. The pattern of white men supporting younger white men points to a problem that starts early on but eventually determines whose work will be seen. Martins says on hiring young choreographers: "What can I say, I’m gutsy. I liked the idea of having all these people in their 20s, making new work. It shows the art form is really alive." But how can an art form be alive when it excludes so many?
There are countless women whose work I would love to see on the Koch stage. Annabelle Lopez Ochoa might have more experience than all of NYCB's boys combined, and makes inventive and charming works. Amy Seiwert, Helen Pickett, Gabrielle Lamb and Aszure Barton have been making bold pieces for mid-sized companies for years. Gemma Bond finds time to choreograph smart and subtle works when she isn't shining in ABT's corps. Emery LeCrone is a promising voice, who participated in NYCB's Choreographic Institute and often makes works on NYCB dancers on smaller stages. Why wasn't her career nurtured like these male choreographers? This is not to mention choreographers of color, who face an entirely different set of barriers because they are also excluded from ballet as performers. That's a blog for another day.
The fault is not solely NYCB's. The problem is far-reaching, especially among companies of NYCB's scale. And yet, I want to believe that I work in a field that cares about the voices of women and people of color. I want to believe that an art form that fancies itself as progressive, and a company situated in one of the most forward-thinking cities in the world, isn't complacent about racism and sexism. Unfortunately, I don't believe any of this yet.
Bales of hay, black umbrellas, bicycles—this Midsummer Night's Dream would be unrecognizable to the Bard. Alexander Ekman's full-length, inspired by Scandinavian solstice traditions and set to music by Mikael Karlsson, is a madcap celebration of the longest day of the year, when the veil between our world and that of the supernatural is said to be at its thinnest. The Joffrey Ballet's performances mark the seductively surreal work's North American premiere. April 25–May 6. joffrey.org.
"There's an ancient energy in Fana's movement, a deep and trusted knowing," says Jeff, director of the Chicago-based Deeply Rooted Dance Theater. "Because I witnessed the raw humanity of his dancer's souls, I wanted my dancers to have that experience."
When I wrote about my struggle with depression, and eventual departure from dance because of it, I expected criticism. I was prepared to be challenged. But much to my relief, and horror, dancers from all over the world responded with support and stories of solidarity. The most critical response I saw was this one:
"Dance isn't for everyone."
This may as well be a mantra in the dance world. We have become entrenched in the Darwinian notion that the emotionally weak will be weeded out. There is no room for them anyway.
In his final bow at New York City Ballet, during what should have been a heroic conclusion to a celebrated ballet career, Robert Fairchild slipped and fell. His reaction? To lie down flat on his back like he meant to do it. Then start cracking up at himself.
"He's such a ham," says his sister Megan Fairchild, with a laugh. "He's really good at selling whatever his body is doing that day. He'll turn a moment that I would totally go home and cry about into something where the audience is like, 'That's the most amazing thing ever!' "
Growing up in a family-owned dance studio in Missouri had its perks for tap dancer Anthony Russo. But it also earned him constant taunting, especially in high school.
"There was a junior in my sophomore year health class who was absolutely relentless," he says. "I'd get tripped on my way to the front of the classroom and he'd say, 'Watch out, twinkle toes.' If I raised my hand and answered a question incorrectly, I'd hear a patronizing 'Nice one, Bojangles.' "
Choreographer Sergio Trujillo asked the women auditioning for ensemble roles in his newest musical to arrive in guys' clothing—"men's suits, or blazers and ties," he says. He wasn't being kinky or whimsical. The entire ensemble of Summer: The Donna Summer Musical is female, playing men and women interchangeably as they unfold the history of the chart-busting, Grammy-winning, indisputable Queen of Disco.
Have a scroll through Agnes Muljadi's Instagram feed (@artsyagnes), and you'll notice that in between her ballet shots is a curated mix of lifestyle pics. So what exactly sets her apart from the other influencers you follow? Muljadi has made a conscious effort to only feature natural beauty products, sustainable fashion and vegan foods. With over 500k followers, her social strategy (and commitment to making ethical choices) is clearly a hit. Ahead, learn why Muljadi switched to a vegan lifestyle, and the surprising way it's helped her dance career.
He may not be a household name, but you probably know Brandon Stirling Baker's work. The 30-year-old has designed the lighting for most of Justin Peck's ballets—including Heatscape for Miami City Ballet, and the edgy The Times Are Racing for New York City Ballet—but also Jamar Roberts' new Members Don't Get Weary at Alvin Ailey American Dance Theater and a trio of Martha Graham duets for L.A. Dance Project.
He's been fascinated by lighting ever since he attended a public performing arts middle school in Sherman Oaks, California, where he had his first experiences lighting shows. He also has a background in music (he plays guitar and bass) and in drawing. Both, he says, are central to the way he approaches lighting dance.
Update: Due to an overwhelming response, the in-person audition has been moved to a larger location to accommodate more dancers. See details below.
For the first time in more than 10 years, Janet Jackson is holding an open audition for dancers.
Even better? You could land a spot in her #JTribe simply by posting a video on social media.
What does it take to become an international superstar? Carlos Acosta might have a few ideas.
At the Oxford Literary Festival earlier this month, the BBC sat down with Acosta to ask for his life lessons. His answers—which he says he will pass on to his kids one day—give incredible insight into how he's become such a beloved worldwide success.