LaFreniere as Dewdrop in The Nutcracker. Photo by Paul Kolnik, Courtesy NYCB
Isabella LaFreniere dances like a beam of light. A member of New York City Ballet's corps since 2014, LaFreniere, 5' 8", is a technical powerhouse who exudes a sweet radiance: It's no surprise to learn that while she hasn't danced many principal roles yet, she is being primed for them in the studio. One is Balanchine's Tschaikovsky Piano Concerto No. 2. As ballet master Jonathan Stafford puts it, "That's a ballerina role big time."
Company: New York City Ballet
Hometown: Lambertville, Michigan
Training: Northeast Academy of Dance (Oscoda, Michigan), Southold Dance Theater (South Bend, Indiana), Joffrey Academy of Dance (Chicago) and the School of American Ballet
Accolades: 2013 Mae L. Wien Award
LaFreniere in Balanchine's Harlequinade. Photo by Paul Kolnik, Courtesy NYCB.
Ballet battle wound: Growing up, LaFreniere wanted to be just like her older sister. "That meant that I had to do ballet," she says. "When I was 2, she had just learned how to do pirouettes. I was like, 'I can do that too.' I fell over and cracked my forehead open." She still has a scar to prove it.
Breakout moment: Although LaFreniere made her Dewdrop debut in last December's Nutcracker, she doesn't consider it her breakout. "Getting into the corps is such a learning experience," she says. "You learn how to be your number-one advocate, because no one else is going to push for you." Conversely, she's also learned how to work with a group. "I don't know if that's a breakout, but it is a mental and emotional breakthrough."
"She has everything that we're looking for
to be a ballerina for these epic
Balanchine ballets." —Jonathan Stafford
Right brain, left brain: LaFreniere is currently taking corporate finance at Fordham University and says she got the "math gene" from her parents, who are both electrical engineers. "I like number crunching. Ballet is so subjective, but in math, two plus two always equals four."
LaFreniere as Dewdrop. Photo by Paul Kolnik, Courtesy NYCB
Learning from a setback: While rehearsing for the lead in Firebird, LaFreniere was sidelined by a severely strained lower back and had to cancel her debut. "It was such a bummer," she says. "But I learned who to seek out for doctors. I've really been able to find a solid team that's going to hopefully carry me through my career."
What others are saying: "For her, we see a really high ceiling," says Stafford. "She's a very clean, strong dancer, and she has a nice quality to her movement. If she ends up making it to principal one day, I think she'll be a great role model for younger dancers."
Devon Teuscher performing the titular role in Jane Eyre. Photo by Gene Schiavone, Courtesy ABT
Story ballets that debut during American Ballet Theatre's spring season at the Metropolitan Opera House are always the subject of much curiosity—and, sometimes, much debate. Cathy Marston's Jane Eyre was no different. The ballet follows the eponymous heroine of Charlotte Brönte's novel as she grows from a willful orphan to a self-possessed governess, charting her romance with the haughty Mr. Rochester and the social forces that threaten to tear them apart.
While the ballet was warmly received in the UK when Northern Ballet premiered it in 2016, its reception from New York City–based critics has been far less welcoming. A group of editors from Dance Magazine and two of our sister publications, Dance Spirit and Pointe, sat down to discuss our own reactions.