Lauren Lovette Isn't Afraid To Send Shock Waves Through The Ballet World
Not all ballet dancers cling to their youth. At 26, Lauren Lovette, the New York City Ballet principal, has surpassed the quarter-century mark. And she's relieved.
"I've never felt young," she says. "I can't wait until I'm 30. Every woman I've ever talked to says that at 30 you just don't care. You're free. Maybe I'll start early?"
She laughs—a frequent sound when spending two minutes or two hours with Lovette. The epitome of sparkling youth, both in person and onstage, she isn't someone that the mind naturally lands on when considering old souls.
But the thoughtful, introspective dancer, who also loves to draw and cook, is banking that with age comes some clarity. At the moment, she's learning how to say no. "I never really had to do that before," she says, "because I didn't have this much on my plate."
Lovette is learning when to say "no." Photo by Erin Baiano, courtesy NYCB
Along with her dancing life, Lovette has briskly forged a choreographic career: In the course of a little more than a year, she has created two works for NYCB—most recently, Not Our Fate—as well as the delightful program closer Le Jeune, for the ABT Studio Company. Part of the group's current tour, it will be shown at the Ailey Citigroup Theater in April.
"She has a quickness, a brightness to her work and a fleetingness to her steps," says Kate Lydon, the Studio Company's artistic director. And if members of the group, as many do, eventually join American Ballet Theatre, where Alexei Ratmansky is artist in residence, they need speed.
"He is fast," she continues. "I thought that her sensibility would match well with the development of the dancers."
But it was Not Our Fate that placed Lovette at the forefront of the recent debate about same-sex duets that was instigated by a Facebook post by Ratmansky. It featured a Photoshopped image of a woman lifting a man; Ratmansky's entry starts with: "sorry, there is no such thing as equality in ballet."
Not Our Fate features a romantic pas de deux for Preston Chamblee and Taylor Stanley, and on opening night the sight of them dancing together sent a shock wave—the good kind—throughout the David H. Koch Theater.
"I was immediately touched by her vision for the piece," Stanley says. "It was how I've grown up and struggled with my sexuality, and how I've come to accept myself in the end. She said I was this person who was constantly in search of love or someone to give me comfort and make me happy, but that there is rejection each time. So there's this push and pull of 'Do I continue to go for this, or do I retreat and not fully be who I want to be?' I was like, 'Oh, just what I was writing in my journal this morning!' " he says.
But this wasn't Lovette's first attempt at same-sex partnering. Last summer at the Vail Dance Festival, she choreographed a romantic pas de deux for Patricia Delgado and herself featuring spoken word by the genderqueer poet Andrea Gibson. "I feel like we fell in love with each other onstage," Lovette says. "I loved that show."
And she's proud to be a part of the gender conversation. "A lot of times, we talk about things but we don't actually do them," Lovette says. "We'll post on social media, but when you actually make art that represents what you're trying to say, you're a part of the action."
And for Lovette, being part of the action doesn't stop offstage. As a Puma ambassador, she is developing a variety of educational outreach programs. "It's not just about having a dancer come in and teach a class and be like, 'I'm inspiring!' and then leave," she says. "It's putting in a new floor, a new barre. Kids don't have good floors."
She's also passionate about the Black Lives Matter movement; Not Our Fate includes a moment with the African-American dancer Christopher Grant that references racial injustice. "It's not our fate," she explains, "to hate all these people that are different than us."
Preston Chamblee and Taylor Stanley in Lovette's Not Our Fate. Photo by Paul Kolnik, courtesy NYCB
Lovette is trying to figure out, as she puts it, "how to weave the basket of my life." In the future, she hopes to collaborate with more artists outside of the ballet world, like Jon Boogz, the movement artist who created the "Color of Reality" short film with visual artist Alexa Meade and jooker Lil Buck, who is one of Lovette's close friends. Jon Batiste, the jazz musician and bandleader of "The Late Show with Stephen Colbert," has also expressed interest in working with her.
"I can't do everything, so I'm trying to figure out what causes mean the most to me," Lovette explains. "What do I really want to say?"
Lovette's nimble choreography, like her dancing, is lushly emotional yet not mannered. Indiana Woodward, the NYCB soloist featured in Lovette's 2016 ballet For Clara, says, "The steps flow out of her like a giant waterfall of choreography."
Lauren Lovette choreographing in the studio. Photo by Erin Baiano, courtesy NYCB
For Lovette, it's a form of expression, which is what drew her to dance in the first place. "It was the way that I could say everything that I wanted to say without really saying it," she explains. "I have a greater platform to do that through choreography. It's kind of like inflection: If you're relating words with dance, dance would be how you say the word, but the choreography is the actual sentence. Now, I get to actually form the sentence."
And that, for anyone in ballet, but particularly for a woman, is empowering. Yet as one of the few female choreographers working in ballet, she feels some pressure. "How can you not?" she asks. However, she can't wait until it's not a question. "I can't wait until it's normal."
She recognizes that being a woman was what helped her get the opportunity to choreograph in the first place. "I'm going to take it as a positive thing," she says. "Maybe I got my first chance because they needed a female choreographer. Who cares? I'm really happy that it happened."
Lovette wasn't randomly chosen, however; she had already shown promise at the School of American Ballet when she took part in its Student Choreography Workshop. Then, as now, she was able to draw out her dancers' best qualities. Woodward, a close friend, believes that Lovette's sensitive nature is what allows her to read different energies in the room.
"I feel strongly about uncovering how people want to dance," Lovette says. "They show you all the time—you just have to be observant. Taylor Stanley can do anything, but just because somebody can do everything doesn't mean that's what they want to do."
In the coming year, Lovette knows what she wants to do: address personal issues in her choreography. She has struggled with growing up in a poor and sheltered religious environment where she had daily Bible study sessions (she is no longer religious); with anxiety as a dancer; and, last year, with an assault outside of NYCB.
"I want to let out a lot of things that have happened in my life that aren't necessarily sparkly," she says. "I don't want to hide the struggle."
She hopes to pour those emotions into choreography by creating a work about the assault featuring Barton Cowperthwaite, her dancer-actor boyfriend. They met at an audition for Christopher Wheeldon's musical An American in Paris; she was offered the role of Lise, but turned it down to focus on choreography.
As she becomes more established in that realm, do company members treat her differently? "People are a lot nicer to me now, but maybe it's because I'm also being more open," she says. "I've always been very introverted—I'm not usually the one who goes to parties. I think maybe they're getting to know me more because I'm speaking out."
She wavers for a moment and looks up with a wry expression. "But, yeah. People laugh at my jokes when they're not funny."
Photo by Jayme Thornton
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."
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.
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.
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:
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:
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.
Former chair of New York University's Tisch School of the Arts dance department Linda Tarnay died on Tuesday, November 6. Her wish was to have her ashes interred in the columbarium at St. Mark's Church-in-the-Bowery—the site of Danspace Project and just a few blocks away from the Tisch dance building.
Before her 35 years of teaching at NYU, Tarnay was a founding member of Dance Theater Workshop. She performed with choreographers like Anna Sokolow, Phyllis Lamhut and Jamie Cunningham. She also started her own company, Linda Tarnay and Dancers, and was an artist-in-residence at The Yard.
Margaret Selby never dreamed that her passion for dance would lead her everywhere from working on live TV specials like the Macy's Thanksgiving Day Parade to producing hip-hop musical Jam on the Groove, from Columbia Artists Management, Inc., to public TV's "Great Performances: Dance in America."
Now, through her company Selby/Artists MGMT, she helps clients like Dorrance Dance, MOMIX and Pacific Northwest Ballet navigate the behind-the-scenes elements that get their work onstage, like booking tours, marketing and planning upcoming seasons.
According to the new documentary DANSEUR, 85% of males who study dance in the United States are bullied or harassed. A quote in the film from Dr. Doug Risner, faculty member at Wayne State University, states, "If this scope of bullying occurred in any activity other than dance, it would be considered a public health crisis by the CDC."
So why is it allowed to persist in ballet? And why aren't we talking about it more? These are the questions that DANSEUR seeks to answer. But primarily consisting of dance footage and interviews with male dancers like ABT's James Whiteside, Houston Ballet's Harper Watters and Boston Ballet's Derek Dunn, the film only addresses these issues superficially, with anecdotes about individual experiences and generalizations about what it's like to be a male dancer.
When you're unable to dance, it's easy to feel like you're falling behind and losing out on opportunities. But this can be a time to reset your body and come back even stronger, says Ilana Goldman, BFA program director at Florida State University's School of Dance. "Some of the greatest leaps I made in my technique happened because of injuries," she says. "Learning how to deal with them is part of being a professional dancer."
Dancers are human, which means they're bound to make mistakes from time to time, both on and off the stage. But what happens when those mistakes burn bridges? In an industry so small, is it possible for choreographers and performers to recover?In a moment of vulnerability, three-time Emmy Award winning choreographer Mia Michaels opened up to Dance Magazine about some of the bridges she herself has burned, the lengths she's gone to in order to rebuild and the peace she's made with the new direction her career has taken because of them. —Haley Hilton
Are auditions rigged? Sometimes I see mediocre dancers make it into a company, and I just don't get it. The audition process is unnerving for me without feedback or any understanding of the rules.
—Madison, Santa Monica, CA
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:
Where in the world is Miko Fogarty? Just three years ago, she seemed unstoppable. After being featured in the 2011 ballet documentary First Position, she became a teenage social-media star, winning top prizes at competitions in Moscow and Varna and at Youth American Grand Prix, and dancing in galas around the world. Last most of us heard, it was 2015 and she had just joined the corps of Birmingham Royal Ballet. A year later, she dropped off the ballet radar.
Turns out Fogarty, now 21, was taking time off to reevaluate her life, including the role she wanted ballet to play in it. She is now starting her junior year as a biology major at University of California—Berkeley and is considering going to medical school. (Her brother and fellow First Position subject, 19-year-old Jules, is a junior in the Berkeley economics department.) On the side she teaches private ballet lessons and gives master classes, and is the part-time conservatory director at San Jose Dance International, a new school in the San Francisco Bay Area led by artistic director Yu Xin. We caught up with her by phone.
New York City Ballet fired principal dancers Amar Ramasar and Zachary Catazaro on Saturday. Both had initially been suspended until 2019 for engaging in "inappropriate communications," while principal Chase Finlay, who was the instigator of those communications, resigned. (Although, in a statement on Saturday, NYCB made it clear they had decided to terminate Finlay prior to his resignation.)
The New York Times reports that NYCB says the change from suspension to termination resulted from hearing the concerns of dancers, staff members and others in the NYCB community. Yet it's hard to ignore the fact that a lawsuit against NYCB had been filed in the meantime. A statement from NYCB executive director Katherine Brown and interim artistic team leader Jonathan Stafford stated:
"We have no higher obligation than to ensure that our dancers and staff have a workplace where they feel respected and valued, and we are committed to providing that environment for all employees of New York City Ballet."
Since the news was announced, both Catazaro and Ramasar have spoken out publicly about being fired.
In dance, pushing through pain is often glorified. Dancers can be reluctant to take time off when sick or injured for fear of missing out on opportunities. It can feel even harder to justify when the pain isn't physical. Though it's becoming more commonly acknowledged that mental health is just as important as physical health, a dance career doesn't leave much time to address mental or emotional issues.
But dancers need to take care of their mental well-being to be able to perform at their best, says Catherine Drury, a licensed clinical social worker for The Dancers' Resource at The Actors Fund. So what can you do if you need a mental health day?
The fall performance season continues at breakneck speed with everything from an international ballet company making its U.S. debut to a retrospective on one of New York City's most iconic dancemakers—not to mention more than a few intriguing new works. Here's what we've got pencilled in.
Yabin Wang converts movement into liquid that spills across the stage. A celebrity in her home country of China, this choreographer, dancer and actress has helped to pioneer modern dance there by blending Chinese classical and contemporary dance. Wang's international career was kick-started in 2010 at American Dance Festival, where she returned this summer to perform on a shared program with Michelle Dorrance, Aparna Ramaswamy, Rhapsody James and Camille A. Brown. She has also worked with Sidi Larbi Cherkaoui on Genesis and was commissioned by English National Ballet to create a piece for its Olivier Award–winning She Said program. This month, she is back stateside for the U.S. premiere of her Moon Opera, Nov. 3 in Pittsburgh.
It's the casting news we didn't know we needed until we heard it. Ever since it was announced that Wayne McGregor would be choreographing the new film adaptation of CATS, we've been anxiously waiting to hear whether any recognizable names from the dance world would be joining the A-list cast (which, in case you missed it, already includes Jennifer Hudson, Sir Ian McKellan, Taylor Swift and James Corden). But never in our wildest dreams did we think that a Royal Ballet principal would be the first dancer to sign on.
The wait for Disney's reimagining of The Nutcracker is over. Although The Nutcracker and The Four Realms is not a full-length ballet, woven into the plot is a five-minute performance by megastars Misty Copeland and Sergei Polunin alongside 18 supporting dancers, with a CGI Mouse King moved by jookin sensation Lil Buck (aka Charles Riley). Royal Ballet artist in residence Liam Scarlett led the film's choreography in his first major motion picture experience. "It was a call I didn't expect to get," says Scarlett. "I really am the biggest Disney fan, so I couldn't believe it!"