Back in January, we took a look at Hollywood's 2018 dance card. While Red Sparrow and the Tiler Peck documentary Ballet Now have been released, several other films that piqued our curiosity are still in various stages of development. (And some have been radio silent, like the Carmen being helmed by Benjamin Millepied.) From Misty Copeland to Carlos Acosta, new trailers to first looks, here's the latest on the dancing we might just see on the big screen later this year.
Allow me to start with a question.
In the average graduating class of any dance program (in styles that use pirouettes), how many of the graduates can do a quadruple, clean, controlled, pirouette with consistency? Forty percent? Fifty? Seventy percent? Think carefully before you answer.
"So You Think You Can Dance" choreographer Christopher Scott woke up one morning last month, rolled over like he usually does to check his iPhone—and found a barrage of text messages and notifications. The very first text he read was from fellow "SYTYCD" choreographer Mandy Moore: "Congratulations!"
It turned out that he'd just gotten his third Emmy nomination for choreography. (Moore had received one, too.) "We find out at the same time as everyone else," says Scott. "Everything official from the television academy comes through the mail weeks later."
Have you seen any shows in 2018 that you can't stop thinking about? Watched any dance videos that blew your mind? Discovered any performers who everyone should know about? We want to hear about them!
Yes, we realize that it's only August. But we're gearing up for our annual Readers' Choice Awards, and it's time to send in your nominations!
It's as easy as filling out the form below. (You don't even have to fill out the whole form—just complete as many categories as you want.) Nominations will be accepted until August 30. You'll then be able to vote on selected nominations beginning September 4, and winners will be announced in our December issue.
A classmate lands the role you wanted. Another dancer is always earning compliments from the teacher you can never seem to please. The dance world is full of opportunities to feel envious—and according to psychologist Nadine Kaslow, that is completely normal.
"To say you shouldn't ever feel jealous is unrealistic," says Kaslow, who works with dancers at Atlanta Ballet. "But when you become driven by it, rather than focusing on doing your best to improve, that's when it turns harmful." Luckily, there are ways to channel this negative emotion into positive growth.
Ever since Peter Martins retired from New York City Ballet this January amid an investigation into sexual harassment and abuse allegations, we've been speculating about who might take his place—and how the role of ballet master in chief might be transformed.
Until now, we've only known a bit about what the search for a new leader looks like. But yesterday, The New York Times reported that the company has released a job description for the position. Though the full posting isn't available to the public, here's what we're able to discern about the new leader and what this means for the future of NYCB:
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It's no wonder Yeman Brown was nominated for a 2017 Outstanding Performer Bessie for his performance in Reggie Wilson's Citizen. Amidst the marathon of broken-up solos, Brown flies through the lightning-fast choreography. His movement is both gestural and athletic—not to mention deeply poetic—and is driven by a particular force which exudes a matter-of-fact command of the stage.
When Sarah-Gabrielle Ryan was 5 years old, her mother took her to a Pennsylvania Ballet production of Swan Lake. "One day, you'll be a ballerina," her mother said. Ryan replied, "I already am one." Even at that age, Ryan was confident about her future; with good reason, it turns out. Sixteen years later, she's starting her third season at Pacific Northwest Ballet. Though still a corps member, she's already danced Sugar Plum Fairy, featured roles in Crystal Pite's Emergence and William Forsythe's New Suite, and the pas de deux in Balanchine's "Rubies."
After 20 years at The Royal Ballet, Marianela Nuñez has more than a few words of wisdom to share. As writer Lyndsey Winship points out in our September cover story, over the past two decades Nuñez has never missed a season, and never once had a serious injury. She's stayed with the company through four directors, rising through the ranks to become its star.
So what's the secret of her staying power?
Since its founding in 1999, more than 80,000 ballet dancers have participated in Youth America Grand Prix events. While more than 450 alumni are currently dancing in companies across the world, the vast majority—tens of thousands—never turn that professional corner. And these are just the statistics from one competition.
"You may have the best teacher in the world and the best work ethic and be so committed, and still not make it," says YAGP founder Larissa Saveliev. "I have seen so many extremely talented dancers end up not having enough motivation and mental strength, not having the right body type, not getting into the right company at the right time or getting injured at the wrong moment. You need so many factors, and some of these are out of your hands."
Earlier this week, a friend of a friend reached out to me seeking recommendations for a dancer/choreographer to hire. She wanted someone who could perform a solo and talk about their process for an arts-appreciation club. After a few emails back and forth, as I was trying to find out exactly what kind of choreographer she was looking for, it eventually emerged that she was not looking to pay this person.
"We are hoping to find someone who would be willing to participate in exchange for the exposure," she wrote.
Why do people think this is an okay thing to ask for?
In case you missed it, our favorite actress/dance fangirl Jennifer Garner hit the studio this weekend to brush up on her technique (stars, they really are just like us). And the end result might be even better than Garner's #TutuTuesday posts. At the request of American Ballet Theatre principal Isabella Boylston, Garner took to her Instagram story to participate in Lil Buck's #GoinInCirclesChallenge.
The 20-somethings doing Broadway Dance Lab's first-ever Choreography Summer Intensive ended their recent tour of Lincoln Center's New York Public Library for the Performing Arts with something special. In the seminar room, Tony-winning choreographer Christopher Gattelli awaited them with a conference table laden with Broadway treasures from the library's collection. Decades-old original sketches and black-and-white production photos from My Fair Lady, The King and I and South Pacific served as visual aids for Gattelli's discussion of these shows' Lincoln Center Theater revivals, as well as My Fair Lady's 2016 60th-anniversary production at the Sydney Opera House, directed by the original Eliza, Julie Andrews.
Prodded by BDL founder Josh Prince, Gattelli talked about tackling those three musical theater classics and the art of Broadway choreography in general. Here are some highlights, edited and annotated for clarity.
Time for a quick pop quiz: What does "BTS" stand for?
A. Back To the Studio
B. Behind The Scenes
C. Back To School
D. Back To Shopping
Answer: All of the above! We've searched far and wide to round up a trio of blockbusting BTS online sales that you won't want to miss. Ready, set, stock up on everything you'll need for the 2018–2019 year of dance.
When the cat food started smelling good, I knew I had a problem.
I'd always considered eating disorders to be extreme. Someone who never eats. Someone who weighs less than 100 pounds. Someone who gets hospitalized.
My behavior didn't fit the mental health definition of an eating disorder. I ignored it because I didn't know how to articulate it. It took me several years after the cat food smelled good to have the language to describe what was going on.
For most dancers, the costumes act as the finishing touch. At MOMIX, however, the costumes are just the starting point. In order for the company of dancer-illusionists to become marigolds or stars onstage, founder and artistic director Moses Pendleton sets his movement to the costumes (designed by Phoebe Katzin), letting the sometimes-unconventional designs shape the finished piece.
So, what's it like working on a piece like Paper Trails, where the dancers are costumed in paper that later transforms into a 12-foot dress? We spoke with Pendleton and MOMIX dance captain Sarah Nachbauer to learn all of the details of how they get their concepts from the studio to the stage—and all of the costume mishaps in between.