News

6 Can't-Miss Shows This November, Chosen By DM Editors

Bill Shannon's Touch Update makes its way to Washington, DC, and New York City this month. Photo courtesy Dance Place

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.


Have Your Cake

Hans van Manen's Trois Gnossiennes. Photo by Peter Rakossy, Courtesy Ellen Jacobs Associates

NEW YORK CITY Hungarian National Ballet is putting its best foot forward for its American debut at Lincoln Center's David H. Koch Theater. Following a Nov. 4 gala, the company presents recent stagings of full-length staples Swan Lake (Nov. 6–8) and Don Quixote (Nov. 9–10). To close the engagement, Trois Gnossiennes, 5 Tangos and Black Cake, a trio of Hans van Manen works programmed together last year in celebration of the venerable choreographer's 85th birthday, will be performed twice on Nov. 11. opera.hu. —Courtney Escoyne

Blood Memory

Red Clay Dance Company's Destine Young. Photo by Raymond Jerome, Courtesy Red Clay Dance Company

CHICAGO Red Clay Dance Company's ongoing cultural exchange project with Uganda's Keiga Dance Company has resulted in a new work: EKILI MUNDA|What Lies Within. Created to open the Afro-contemporary troupe's 10th-anniversary season, the piece, by artistic director Vershawn Sanders-Ward and Keiga artistic director Jonas Byaruhanga, investigates the body as an archive for cultural history. Nov. 8–10. redclaydance.com. —CE

Heuristic History

Emily Coates. Photo by Anna Lee Campbell, Courtesy Danspace Project

NEW YORK CITY Emmanuèle Phuon and Emily Coates share an evening at Danspace Project that promises smart, thought-provoking new dances. Phuon's Bits & Pieces (Choreographic Donations) looks back on her eclectic, continent-spanning career with contributions from Patricia Hoffbauer, David Thomson, Elisa Monte, Yvonne Rainer and Vincent Dunoyer. A History of Light, in collaboration with artist Josiah McElheny, dives into Coates' investigation of the intersections of dance and science through the lens of the women who have advanced art and technology throughout history. Nov. 8–10. danspaceproject.org. —CE

Update in Progress

Bill Shannon. Photo by Garrett Jones, Courtesy Dance Place

WASHINGTON, DC, AND NEW YORK CITY Ballet dancers have their pointe shoes, tap dancers have their tap shoes, Spanish dancers have their castanets—and Bill Shannon has his crutches. Since childhood, he has lived with a condition in his hips that makes it hard for him to bear weight. He's created a technique of gliding, swiveling, spinning and floating with his crutches, earning him a place in New York City's underground club scene. Recently, he's taken the idea of necessary body extensions into technology. In his new Touch Update, which was developed at the Maggie Allesee National Center for Choreography and premiered in May in Pittsburgh, Shannon has devised wearable video masks and video sculptures that seem to dismantle the human body. Performers include the couple slowdanger (2018 "25 to Watch") and Pittsburgh hip-hop crew Get Down Gang. Ultimately, Shannon is looking at the human potential for change. Dance Place, Nov. 10–11. New York Live Arts, Nov. 14–18. whatiswhat.com. —Wendy Perron

Early Twyla

Twyla Tharp in her Eight Jelly Rolls. Photo courtesy DM Archives

NEW YORK CITY Before Twyla Tharp choreographed highly technical and propulsive ballets like In the Upper Room, she made a slew of dances with a minimalist edge. Some of them were silent and austere, but when she started to use music—whoa! What a feast of sly musicality and slippery movement. Her latest program Minimalism and Me ranges from the simplicity of her first time out—Tank Dive (1965), all angles and diagonals with a yo-yo trick thrown in—to her lusciously loose, vaudeville-inspired classic, Eight Jelly Rolls (1971), with music by jazz composer Jelly Roll Morton. Our question: Who will perform Twyla's outrageously sloppy/precise drunk solo? The program comes to the Joyce Nov. 14–Dec. 9. joyce.org. —WP

Marginalia

Karen L. Charles' Sacred Feminine is one work included in Femthology. Photo by Bill Cameron, Courtesy AQUA Public Relations

ST. PAUL, MN In the Margins, a program presented by Threads Dance Project at The O'Shaughnessy this month, aims to foster empathy for communities that are often relegated to liminal spaces in society. Karen L. Charles' To Hear Like Me utilizes American Sign Language, music visualization and silence as it interrogates implicit bias against the deaf/hard-of-hearing community. Joining it is Femthology, comprising excerpts from already-existing works that explore the female experience, newly reimagined to be equally accessible to hearing and deaf/hard-of-hearing audiences. Nov. 16–17. threadsdance.org. —CE

The Conversation
Dance Training
Instructor Judine Somerville leads a musical theater class. Photo by Rachel Papo

On a summer afternoon at The Ailey School's studios, a group of students go through a sequence of Horton exercises, radiating concentration and strength as they tilt to one side, arms outstretched and leg parallel to the ground. Later, in a studio down the hall, a theater dance class rehearses a lively medley of Broadway show tunes. With giant smiles and bouncy energy, students run through steps to "The Nicest Kids in Town" from Hairspray.

"You gotta really scream!" teacher Judine Somerville calls out as they mime their excitement. "This is live theater!" They segue into the audition number from A Chorus Line, "I Hope I Get It," their expressions becoming purposeful and slightly nervous. "Center stage is wherever I am," Somerville tells them when the music stops, making them repeat the words back to her. "Take that wherever you go."

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News
Brooklyn Studios for Dance founder Pepper Fajans illustrates the cold temperatures inside the studio. Screenshot via Vimeo.

Dance artists, as a rule, are a resilient bunch. But working in a studio in New York City without heat or electricity in the middle of winter? That's not just crazy; it's unhealthy, and too much to ask of anyone.

Unfortunately, Brooklyn Studios for Dance hasn't had heat since mid-November, making it impossible for classes or performances to take place in the community-oriented center.

So what's a studio to do? Throw a massive dance party, of course.

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News
The International Association of Blacks in Dance's annual audition for ballet dancers of color. Photo by E. Mesiyah McGinnis, Courtesy IABD

A newly launched initiative hopes to change the face of ballet, both onstage and behind the scenes. Called "The Equity Project: Increasing the Presence of Blacks in Ballet," the three-year initiative, funded by the Andrew W. Mellon Foundation, is a partnership between Dance Theatre of Harlem, the International Association of Blacks in Dance and Dance/USA.

"We've seen huge amounts of change in the years since 1969, when Dance Theatre of Harlem was founded," says Virginia Johnson, artistic director of DTH. "But change is happening much too slowly, and it will continue to be too slow until we come to a little bit more of an awareness of what the underlying issues are and what needs to be done to address them."

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Health & Body
Anika Huizinga via Unsplash

As winter sets in, your muscles may feel tighter than they did in warmer weather. You're not imagining it: Cold weather can cause muscles to lose heat and contract, resulting in a more limited range of motion and muscle soreness or stiffness.

But dancers need their muscles to be supple and fresh, no matter the weather outside. Here's how to maintain your mobility during the colder months so your dancing isn't affected:

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The Creative Process
Nashiville Ballet artistic director Paul Vasterling went through executive coaching to be come a better leader. Photo by Anthony Matula, Courtesy Nashville Ballet

From the outside, it seemed like the worst of New York City Ballet's problems were behind them last winter, when ballet master in chief Peter Martins retired amid accusations of abuse and sexual harassment, and an internal investigation did not substantiate those claims.

But further troubles were revealed in August when a scandal broke that led to dancer Chase Finlay's abrupt resignation and the firing of fellow principals Amar Ramasar and Zachary Catazaro. All three were accused of "inappropriate communications" and violating "norms of conduct."

The artistic director sets the tone for a dance company and leads by example. But regardless of whether Martins, and George Balanchine before him, established a healthy organization, the issues at NYCB bespeak an industry-wide problem, says Jawole Willa Jo Zollar, founding artistic director of Urban Bush Women. "From New York City Ballet to emerging artists, we've just done what's been handed down," she observes. "That has not necessarily led to great practices."

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Popular

If you've ever wondered what goes on behind the scenes at Dance Magazine, now's your chance to find out. Dance Magazine is seeking an editorial intern who's equally passionate about dance and journalism.

Through March 1, we are accepting applications for a summer intern to assist our staff onsite in New York City from June to August. The internship includes an hourly stipend and requires a minimum two-day-a-week commitment. (We do not provide assistance securing housing.)

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News
Credits with photos below.

For the past few months, the dance world has been holding its collective breath, waiting for New York City Ballet to announce who will take over the helm as artistic director.

Though former ballet master in chief Peter Martins retired over a year ago after accusations of sexual harassment and abuse (an internal investigation did not corroborate the accusations), the search for a new leader didn't begin until last May.

Nine months later, the new director's name could be released any day now. And we have some theories about who it might be:

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Irina Dvorovenko with Tony Yazbeck in The Beast in the Jungle. Photo by Carol Rosegg, Courtesy Sam Rudy Media Relations.

Some people take this profession as just a chapter of their life. They feel like dance is a job—a fun job, but a job. Other people live their life through dance. I never considered being a ballerina a profession. It's a lifestyle.

If I don't have a performance, I feel like a tiger trapped in a cage. I have so many emotions, I feel I need to give them to somebody, to exhaust myself—I need to cry or laugh, or else it's suffocating. Other people might scream or throw bottles into the wall. We dancers scream onstage through our movement. For me, it's like sweeping off the dust in my soul.

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Dance & Science
Amar Odeh/Unsplash

Back in 2011, Yale University's dean of science was thinking about refreshing the program's offerings for non-majors when he happened upon a Pilobolus performance. A light bulb went off: Dance is full of physics.

That realization led to what has become an eight-year collaboration between particle physicist Sarah Demers and former New York City Ballet dancer Emily Coates, both professors at Yale who were brought together to co-teach a course called The Physics of Dance. Their partnership has involved everything from directing a short film to presenting a TedX Talk and performing a piece that Coates created, commissioned by Danspace Project. This month, they're publishing a book about what they've discovered by dialoging across two seemingly disparate disciplines.

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Career Advice
Umi Akiyoshi Photography, Courtesy Sidra Bell Dance New York

Sebastian Abarbanell remembers being asked as an undergrad at Trinity Laban in London to perform wearing only a dance belt. "I said no," he says, "because I felt uncomfortable." Now a performer with Sidra Bell Dance New York, he's performed partially nude several times, without reservation. The difference? "It comes with more experience and maturing as a dancer," he says. "When you see a dancer living in their skin, you don't need to put anything else on them. When I said no in college, I wasn't in my skin yet."

Getting in your skin—and getting comfortable wearing only your skin onstage—requires a particular alchemy of vulnerability, agency, preparation and practice.

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Dancers Trending
Courtesy Birmingham Royal Ballet

Birmingham Royal Ballet announced today that international star Carlos Acosta will be taking over as director in January of 2020. Current BRB director David Bintley will be stepping down this summer, at the end of the company's 2019 season, after a 24-year tenure. "It is a tremendous honor and privilege to have been appointed to lead Birmingham Royal Ballet," Acosta said in a statement.

Since retiring from The Royal Ballet in 2015, Acosta has focused much of his attention on his native Cuba, where he's proven his directorial abilities at the helm of Acosta Danza, the contemporary company that he founded in 2016. In 2017 Acosta also opened his first Dance Academy through his foundation, which provides free training to students. We don't yet know how Acosta will balance his time between his projects in Cuba and his new role at BRB.

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Advice for Dancers
When you spend most of your day at the theater, it's challenging to find time to date. Photo by rawpixel/Unsplash.

My personal life has taken a nosedive since I broke up with my boyfriend. He's in the same show and is now dating one of my colleagues. It's heartbreaking to see them together, and I'm determined never to date a fellow dancer again. But it's challenging to find someone outside, as I practically live in the theater. Do you have any advice?

—Loveless, New York, NY

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Dancers Trending
Photos via Polunin's Instagram

If you follow Sergei Polunin on Instagram, you've probably noticed that lately something has been...off.

Though Polunin has long had a reputation for behaving inappropriately, in the last month his posts have been somewhat unhinged. In one, Polunin, who is Ukrainian, shows off his new tattoo of Vladimir Putin:

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25 to Watch
Photo credits, clockwise from bottom left: Peter Mueller, Courtesy Cincinnati Ballet; Jayme Thornton; Jochen Viehoff, Courtesy Stephanie Troyak; Karolina Kuras, Courtesy National Ballet of Canada; Natasha Razina, Courtesy State Academic Mariinsky Theatre; Kim Kenney, Courtesy Atlanta Ballet; Jim Lafferty; Arian Molina Soca, Courtesy Pennsylvania Ballet; Altin Kaftira, Courtesy Dutch National Ballet; Scott Shaw, Courtesy Shamar Wayne Watt

What's next for the dance world? Our annual list of the dancers, choreographers and companies that are on the verge of skyrocketing has a pretty excellent track record of answering that question.

Here they are: the 25 up-and-coming artists we believe represent the future of our field.

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Rant & Rave
Photo Caleb Woods via Unsplash.com

Update: Additional perspectives have been added to this story as more responses have come in.

When news about the lawsuit against New York City Ballet and Chase Finlay emerged last week, plaintiff Alexandra Waterbury, a former School of American Ballet student, told The New York Times:

"Every time I see a little girl in a tutu or with her hair in a bun on her way to ballet class, all I can think is that she should run in the other direction," she said, "because no one will protect her, like no one protected me."

It was quite a statement, and it got us thinking. Of course, it's heartbreaking to imagine the experiences that Waterbury lists in the lawsuit, and it's easy to see why this would be her reaction.

But should aspiring ballet dancers really "run in the other direction"? Were her alleged experiences isolated incidences perpetuated by a tiny percentage of just one company—or are they indicative of major problems in today's ballet culture within and beyond NYCB's walls?

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News
Carol Channing in the original 1964 production of Hello, Dolly! Photo by Eileen Darby, Courtesy DM Archives.

The inimitable Carol Channing, best known for her role as the titular Hello, Dolly!, passed away today at 97.

Though she became a three-time Tony winner, Channing was born in Seattle, far from the Great White Way, in 1921. After growing up in San Francisco, she attended the famed Bennington College, studying dance and drama. She later told the university, "What Bennington allows you to do is develop the thing you're going to do anyway, over everybody's dead body." For Channing, that meant decades of fiery, comical performances, bursting with energy.

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News
It includes this familiar face! (Erin Baiano)

Something's coming, I don't know when
But it's soon...maybe tonight?

Those iconic lyrics have basically been our #mood ever since we first heard a remake of the West Side Story film, directed by Steven Spielberg and choreographed by Justin Peck, was in the works. THE CASTING. THE CASTING WAS COMING.

Well, last night—after an extensive search process that focused on finding the best actors within the Puerto Rican/Latinx community—the WSS team finally revealed who'll be playing Maria, Anita, Bernardo, and Chino (joining Ansel Elgort, who was cast as Tony last fall). And you guys: It is a truly epic group.

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Cover Story
Leta Biasucci's on and offstage charm has made her a company favorite. Photo by Jayme Thornton for Dance Magazine.

Rehearsal is in full swing, and Leta Biasucci, Pacific Northwest Ballet's newest principal dancer, finds herself in unfamiliar territory. Biasucci is always game for a challenge, but choreographer Kyle Davis wants her to lift fellow dancer Clara Ruf Maldonado. Repeatedly. While she's known for her technical prowess, lifting another dancer off the floor is a bit daunting for Biasucci, who stands all of 5' 3". She eyes Maldonado skeptically, then breaks into a grin.

"It's absolutely given me a new appreciation for the partner standing behind me!" Biasucci says with a laugh.

Looking at Biasucci, 29, with her wide smile and eager curiosity, you think you see the quintessential extrovert. In reality, she's anything but. "I was an introverted kid," Biasucci says. "That's part of the reason I fell in love with dance—I didn't have to be talkative."

It's only one of the seeming contradictions in Biasucci's life: She's a short, muscular ballerina in a company known for its fleet of tall, long-legged women; she's also most comfortable with classical ballet, while taking on a growing repertoire of contemporary work.

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News
Aurelie Dupont explained she did not share Polunin's values. Photo via Instagram

Sergei Polunin, whose recent homophobic and sexist Instagram posts have sparked international outrage, will not be appearing with the Paris Opéra Ballet as previously announced.

POB artistic director Aurélie Dupont sent an internal email to company staff and dancers on Sunday, explaining that she did not share Polunin's values and that the Russian-based dancer would not be guesting with the company during the upcoming run of Rudolf Nureyev's Swan Lake in February.

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Dance Training
Balanchine technique will challenge your footwork and musicality. Photo by Rosalie O'Connor, courtesy SAB

Before spending a summer at Los Angeles Ballet School, Lillian Glasscock had never learned a Balanchine variation. "The stylistic differences, like preparing for a pirouette with a straight back leg, were at first very challenging," says Glasscock, 17. "But it soon got easier."

Los Angeles Ballet company members were in class daily, motivating and inspiring her. Trying out a new style and expanding her repertoire gave Glasscock more strength, and a better understanding of the varied demands of ballet companies today. Months later, the Balanchine variations she learned are now personal favorites.

While the early years of training are typically spent diligently working through the syllabus of a single ballet technique, when you start to prepare for a professional career, versatility is key. There isn't just one correct version of each step. And as ballet companies continue to diversify their repertoires, directors need dancers who can move fluidly between an array of styles.

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News
Kristin Damrow and Company's Allegra Bautiste. Photo by RJ Muna, Courtesy John Hill PR

If one of your New Year's resolutions was "See more dance" (and really, shouldn't that be everyone's?), never fear. We picked five shows certain to get 2019 off to a brilliant start.

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