What It's Like Inside NYCB Right Now
New York City Ballet continues its first year without Peter Martins at the helm as our spring season opens tonight.
When he retired at the start of the new year, we plunged headfirst into unknown, murky waters. Who would the new director be? When would we know? Would we dancers get some say in the decision? Who would oversee the Balanchine ballets? Who would be in charge of casting? Would a new director bring along huge upheaval? Could some of us be out of a job?
The dancers currently have little information about the search process and plans to move forward. But Mr. Martins' absence has certainly been felt around the theater.
I've noticed it the most during dress rehearsals, particularly for Balanchine ballets. Although he rarely attended daily rehearsals, he always supervised the final rehearsals before the ballets went before the audience. Frequently, he had a nugget of wisdom to share, often from the mouth of Balanchine himself, to help us fix a tricky partnering maneuver, or a difficult sequence of turns.
Without this guidance, it feels as if we have lost a connection to our past. Although it is inevitable that the company's ballet masters and leaders will eventually become people who never danced for Balanchine, will his particular nuances slowly be forgotten and lost?
For me, as the news has sunk in, it was initially difficult to fathom that the man responsible for the trajectory of my career, my life for the last 18 years, could be replaced. I have never not been a ballet dancer, and I have only worked for him.
After training for 10 years in rural Pennsylvania, and climbing the tiers at the ultra-competitive School of American Ballet, Mr. Martins himself handpicked me to join NYCB as an apprentice. Out of all the women in the corps de ballet, he selected me for featured roles when I was only 17, promoted me to soloist at 19, and again to principal dancer at 25, fulfilling a lifelong dream.
A new director coming in could change everything. What if she or he doesn't like my dancing? My career could end before I'm ready.
After a bit of time, however, I allowed myself to view the changes optimistically. A new director would not be clouded with memories of me as a young, inexperienced dancer. Under Mr. Martins, I knew what to expect in terms of casting and roles, but unfortunately, I was unsatisfied. I wanted to dance more roles—different roles—to grow in new ways.
Abi Stafford in Flower Festival in Genzano from Bournonville Divertissements. Photo by Paul Kolnik
Ultimately, I am thankful for the life lessons that I learned to deal with my feelings during those years. I wasn't handed every role that I wanted, nor did I receive the validation from him that we all craved.
Instead, I had to learn to look inside myself for acceptance and approval. I had to reevaluate why I dance and who I dance for. I can continue to dance for myself and fulfill my own expectations regardless of who is in charge.
A new director offers the prospect of changes and growth within the management of the company. I would love to see us taking advantage of the wealth of resources at our fingertips. The amount of talent that has the graced the stage over the years at NYCB is incomparable. Some dancers worked with all three of NYCB's former directors—Balanchine, Robbins and Martins. Many had masterpieces created on them. Still more had signature roles in ballets that we frequently perform.
Given the opportunity, I'm sure that they would jump at the chance to help us to look our best. For instance, at the request of the dancers appearing in the lead roles of Le Baiser de le Fee, Patricia McBride rehearsed the ballet for the first time during the winter season. As the originator of the role, she was able to offer her first-hand knowledge about Balanchine's ideas and intentions. The dancers reveled in the experience. Recent retirements and, sadly, the passing of several ballet masters have brought an awareness to how these past generations won't always be there to coach the company.
A new director might also spread out roles more evenly. In addition to having happier dancers, I think this would help everyone would perform better. Those who previously carried heavy workloads wouldn't be dancing injured and exhausted. Dancers who were underutilized would feel more confident and in shape.
I'd love to see casting against type, too. Give us a chance. We may surprise you!
For now, I'd like to assure everyone simply that we are all right. Each of us at NYCB, in whatever position or title we hold, is continuing to do his or her job to the best of their ability. We are fulfilling our specific duties to sustain our brilliant and special organization.
The level of passion and dedication in each of us, from stage managers and stage hands, to musicians and wardrobe staff, remains the same. Although business continues as usual, there is a palpable sense of hope for the future. We are excited to help shape the next era at NYCB.
- Peter Martins Retires From New York City Ballet After Misconduct ... ›
- A Peter Martins Ballet Loses Peter Martins, and a Slap - The New ... ›
- New York City Ballet Appoints Interim Artistic Management Team ... ›
- NYC Ballet Pulls Off Winter Season, But What Next Without Martins ... ›
Last night, longtime theater legends (including Chita Rivera herself!) as well as rising stars gathered to celebrate one of Broadway's danciest events: the third annual Chita Rivera Awards.
The evening paid tribute to this season's dancer standouts, fabulous ensembles, and jaw-dropping choreography—on- and off-Broadway and on film.
As usual, several of our faves made it into the mix. (With such a fabulous talent pool of nominees to choose from, we're glad that ties were allowed.) Here are the highlights from the winner's list:
The way we create and consume dance is changing every day. Now more than ever, the field demands that dancers not only be able to perform at the highest level, but also collaborate with choreographers to bring their artistic visions to life. Dancers who miss out on choreographic training may very well find themselves at a disadvantage as they try to launch their careers.
When you're a foreign dancer, gaining legal rights to work in the U.S. is a challenging process. It's especially difficult if you're petitioning to work as a freelance dancer without an agent or company sponsorship.
The process requires professional muscle along with plenty of resources and heart. "There's a real misnomer that it's super easy," says Neena Dutta, immigration attorney and president of Dutta Law Firm. "People need to educate themselves and talk to a professional."
Here are four things every foreign dancer who wants to work in the U.S. needs to know to build a freelance dance career here.
What does it take to "make it" in dance? It's no secret that turning this passion into a profession can be a struggle. In such a competitive field, talent alone isn't enough to get you where you want to be.
So what kinds of steps can you take to become successful? Dance Magazine spoke to 33 people from all corners of the industry to get their advice on the lessons that could help us all, no matter where we are in our careers.
It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.
Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
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On May 18, 1919, Margot "Peggy" Hookham was born. She would grow up to become Dame Margot Fonteyn, England's first homegrown prima ballerina. She joined the Sadler's Wells School in 1934 and was performing principal roles with the precursor to The Royal Ballet the next year. Fonteyn was a company-defining figure, dancing Aurora for the re-opening of the Royal Opera House after World War II, creating numerous roles with Sir Frederick Ashton and forging a legendary partnership with Rudolf Nureyev.
Memorial Day is notoriously one of Chicago's bloodiest weekends. Last year, 36 people were shot and seven died that weekend. In 2017 and 2016, the number of shootings was even higher.
When Garley "GiGi Tonyé" Briggs, a dance teacher and Chicago native, started noticing this pattern, she was preparing her second annual Memorial Day workshop for local youth.
The event's original aim was simple: "I wanted the youth of Chicago to have somewhere they could come and learn from different dancers and be off the streets on the South Side on this hot holiday," she says.
A recent trip I took to Nashville coincided with the NFL draft. As we drove into town, my Uber driver was a fount of information on the subject.
I learned that there are 32 NFL teams and that the draft takes place over seven rounds. That the team that did the poorest during the previous season gets first pick. That during an earlier event called the scouting combine, the teams assess college football players and figure out who they want.
There is also the veteran combine for "free agents"—players who have been released from their contracts or whose contracts have expired. They might be very good players, but their team needs younger members or ones with a certain skill set. All year round, experienced NFL scouts scan games across the country, checking out players and feeding that information back to the teams. Players' agents keep their eyes on opportunities for their clients which might be more rewarding.
While I sat in the traffic of 600,000 NFL fans I got thinking, is there something ballet could learn from football? Could a draft system improve young dancers' prospects and overall company caliber and contentment?
Despite what you might think, there's no reason for dancers to be afraid of bread.
"It's looked at as this evil food," says New York State–certified dietitian and former dancer Tiffany Mendell. But the truth is, unless you have celiac disease or a gluten intolerance, bread can be a healthy source of carbohydrates—our body's preferred fuel—plus fiber and vitamins.
The key is choosing your loaf wisely.
It can be hard to imagine life without—or just after—dance. Perhaps that's why we find it so fascinating to hear what our favorite dancers think they'd be doing if they weren't performing for a living.
We've been asking stars about the alternate career they'd like to try in our "Spotlight" Q&A series, and their answers—from the unexpected to the predictable—do not disappoint:
"New York City Ballet star appears in a Keanu Reeves action movie" is not a sentence we ever thought we'd write. But moviegoers seeing John Wick: Chapter 3 – Parabellum will be treated to two scenes featuring soloist Unity Phelan dancing choreography by colleague Tiler Peck. The guns-blazing popcorn flick cast Phelan as a ballerina who also happens to be training to become an elite assassin. Opens in theaters May 17.
The Brooklyn-based choreographer Gillian Walsh is both obsessed with and deeply conflicted about dance. With her latest work, Fame Notions, May 17–19 at Performance Space New York, she seeks to understand what she calls the "fundamentally pessimistic or alienating pursuit" of being a dancer. Noting that the piece is "quiet and introverted," like much of her other work, she sees Fame Notions as one step in a larger project examining why dancers dance.
What does Mikhail Baryshnikov have to say to dancers starting their careers today? On Friday, he gave the keynote speech during the graduation ceremony for the inaugural class of the USC Glorya Kaufman School of Dance.
The heart of his message: Be generous.