Hydock with Ryan Smith; Photo by Sarah Ferguson, Courtesy Richmond Ballet
Growing up a bunhead in Virginia Beach, Quincie Hydock’s main dream was to join a classical ballet company. She trained seriously at Virginia Ballet Theatre and continued there while attending high school at the Virginia’s Governor’s School for the Arts; as graduation neared, she knew she was on track for a college dance program. With its strong ballet program, Butler University in Indiana ranked high on Hydock’s list of schools.
Flash forward five years later, and Hydock is in somewhat of a different place than she expected. After graduating in 2013 with a BFA in dance and choreography from Virginia Commonwealth University, she’s a freelance dancer in New York City, where’s she’s also presented her own work. And while she still hopes to join a concert dance company (like Hubbard Street Dance Chicago), she’s sporting bare feet more than pointe shoes these days and has her sights set on more contemporary work. —Jenny Dalzell
How did you choose VCU?
My high school hosted the National High School Dance Festival my junior year, and the director of Richmond Ballet’s trainee program told me about their partnership with VCU: The first two years of college you’re a full-time trainee with the Richmond Ballet and you get credit toward a BFA. I hadn’t considered that program before—I wanted strictly ballet and I had assumed VCU was all modern. But when I auditioned for Butler in the October of my senior year, I didn’t get in. That turned out to be okay, because I wouldn’t have auditioned for VCU.
What was your schedule like?
As a trainee, I took my gen ed classes in the morning, and headed to Richmond Ballet from 1 pm to 6 pm Monday through Saturday. I only had one VCU dance class per week—a modern class taught by different guest artists.
After the two years as a trainee, students are either chosen for Richmond Ballet’s second company, or they can continue college. What was your route?
I switched over to be full-time at VCU. I took ballet four times per week and modern five days per week. And I started taking choreography classes, which is something I realized that I love.
How did you feel when you weren’t selected?
Well, my first year, none of the trainees were chosen, and then only two trainees were chosen out of my year. You just have to keep in mind that it’s a professional company. They’re selective in whom they choose; and they often selected people from outside auditions—dancers they didn’t know as trainees.
By my second year into the traineeship, I realized that I didn’t necessarily want a career in classical ballet. That was great, because I got to really explore the school and modern dance. Plus, I never got senioritis since I was really only at school for two years.
In retrospect, would you have made a different choice after high school?
I absolutely love what happened. The best thing about the traineeship was that I got professional experience with a company, which has been especially pivotal now as a freelancer. I know how to act like a professional; I know how hierarchies work—even simple things like not encroaching on someone else’s space at barre. I think it was a blessing that my original plan didn’t work out. I realized I was ready to explore something else.
James Whiteside (Jayme Thornton for Dance Magazine)
Say you're perpetually impeccable designer Thom Browne. Say you're planning your Spring 2020 Paris menswear show along a "Versailles country club" theme. Say you want a world-class danseur to open the show with some kind of appropriately fabulous choreography.
Who do you call? James Whiteside, of course. On Saturday, the American Ballet Theatre principal—wearing pointe shoes and a glorious pinstriped tutu—kicked off Browne's presentation at the École des Beaux-Arts with a 15-minute, show-stealing solo. Whiteside choreographed the piece himself, with the help of detailed notes from the designer.
I'd been a professional dancer for five years when I realized the pain I'd been feeling in my hip and down my sciatic nerve was not going away. I had been treating it for two years as we dancers do—with regular visits to my masseuse, physical therapy, baths, ice and lots of Aleve—but I never stopped dancing. It finally dawned on me that if I kept going at the speed I was going (which was, well, speedy), the pain would only get more severe and unrelenting, and I might never dance again.
I told myself I'd take two months off, and all would be better.
That first morning when I woke up at 10 am, I had no idea what to do with myself. My life until that moment had been dictated by class and rehearsal, every hour accounted for. How should I fill the huge swath of time ahead of me?