What Dancers Eat

When a Ballerina Decides to Marry a Michelin Star Chef

San Francisco Ballet principal Mathilde Froustey and her fiancé Mourad Lahlou. Photo courtesy Froustey

Before Mathilde Froustey met her now-fiancé, she invited him to come watch her dance—even though he'd never been to a ballet. He's now seen every single performance she's given since that night. "Even when I did six Nutcrackers!" Froustey exclaims.


A mutual friend brought the San Francisco Ballet principal to Mourad Lahlou's Michelin-starred restaurant, Mourad, last year. Although Lahlou wasn't working that night, the friend tagged both in an Instagram post. Lahlou wrote back that they should all grab a coffee together, but Froustey was in the middle of SFB's season and only had time after performances. So he came to watch her dance in Cathy Marston's Snowblind, and the two met at the stage door afterwards.

As the chef of two top restaurants in San Francisco—including his eponymous Mourad and the newly-launched Moroccan-Mexican Amara—he works long, late nights more often than not. But he'll always take off to watch her dance.

In August, he asked her to marry him.

"When we first started dating, we thought our worlds were so different, but we have the same pressure, the same joy, the same tiredness but feeling of accomplishment at the end of the day," says Froustey. "We don't work in finance, we don't save lives. Both of our jobs are about giving joy to people."

Lahlou, who's originally from Marrakech, Morocco, learned to cook when he grew homesick while studying economics at San Francisco State University, and started regularly calling his mother to get recipes. He never attended culinary school; his dishes are built around family traditions and fresh, organic food. That focus has rubbed off on Froustey, who now makes a point to focus her diet on organic, high-quality ingredients.

"Dancers are very careful about what they eat, and we sometimes get scared of certain elements, like, 'I don't eat meat, or else I will get fat,' " says Froustey. "Mourad's helped me make peace with elements I could be scared of. He cooks chicken with olive oil and vegetables—amazing, healthy food. It's not about quantity, it's about quality."

Still, Froustey's pre-performance meal plan remains the same: She eats about five hours before curtain, then keeps her sugar levels high with pieces of chocolate, granola bars or Gu, the energy gels that runners eat during marathons. She'll eat dinner with Lahlou after the show, unwinding and connecting with each other over a plate of good food.

Often, the couple is both so tired by the end of the night that instead of cooking, they'll snack on nuts, fruit and cheese. "He's been around food all day, and doesn't always want to cook," explains Froustey. "And it's intimidating for me to cook for him. He's really sweet so he doesn't say anything, but I can see he doesn't like my food." (When they do cook at home, she prefers playing the role of sous chef.)

But for their wedding in San Francisco this September, both are looking forward to a big party—and, we can only imagine, lots of good food.

Broadway

We knew that Ivo van Hove and Anne Teresa de Keersmaeker's production of West Side Story would challenge our preconceived notions about the show.

But a recent Vogue story gives us a taste of just how nontraditional the Broadway revival will be. Most notably, van Hove is cutting "I Feel Pretty" and the "Somewhere" ballet, condensing the show into one act to better reflect the urgency of the 48-hour plot. (The choice has been approved by the West Side Story estate, including Sondheim, who has "long been uncomfortable" with some of the "I Feel Pretty" lyrics.)

Keep reading... Show less
Sponsored by NYCDA
Ailey II artistic director Troy Powell teaching an Ailey Workshop at NYCDA. Courtesy NYCDA

Back in 2011 when Joe Lanteri first approached Katie Langan, chair of Marymount Manhattan College's dance department, about getting involved with New York City Dance Alliance, she was skeptical about the convention/competition world.

"But I was pleasantly surprised by the enormity of talent that was there," she says. "His goal was to start scholarship opportunities, and I said okay, I'm in."

Today, it's fair to say that Lanteri has far surpassed his goal of creating scholarship opportunities. But NYCDA has done so much more, bridging the gap between the convention world and the professional world by forging a wealth of partnerships with dance institutions from Marymount to The Ailey School to Complexions Contemporary Ballet and many more. There's a reason these companies and schools—some of whom otherwise may not see themselves as aligned with the convention/competition world—keep deepening their relationships with NYCDA.

Now, college scholarships are just one of many ways NYCDA has gone beyond the typical weekend-long convention experience and created life-changing opportunities for students. We rounded up some of the most notable ones:

Keep reading... Show less
Cover Story
Jayme Thornton

It's a much-repeated part of Francesca Hayward's origin story that she discovered ballet at age 3, when her grandparents bought a video of The Nutcracker to keep her occupied and she immediately started dancing around the room. What's less well-known is that there was another video lined up next to The Nutcracker that Hayward liked to dance along to: Cats. "I really just did the White Cat bit and fast-forwarded the rest," she remembers. "I'd make my friends who came around be the other cats."

Twenty-four years later, she's not only become a Royal Ballet principal, but has been cast as Victoria the White Cat in Tom Hooper's new movie adaptation of the Andrew Lloyd Webber musical, out in theaters on December 20. "I remember the director telling me I'd got the part: 'Just to let you know you're the lead in a Hollywood film,' he said." Hayward laughs. "This is crazy!"

Keep reading... Show less
Sponsored by Harlequin Floors
Left: Hurricane Harvey damage in Houston Ballet's Dance Lab; Courtesy Harlequin. Right: The Dance Lab pre-Harvey; Nic Lehoux, Courtesy Houston Ballet.

"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.

Keep reading... Show less

mailbox

Get Dance Magazine in your inbox