On the Rise: Natasha Sheehan
With her delicate movement quality and a silken jump, at age 17 Natasha Sheehan became the youngest winner of the International Competition for the Erik Bruhn Prize this past November. The rookie San Francisco Ballet corps dancer flawlessly embodied the ghostly Giselle, and her emotional performance stood out in an arena typically showcasing athletic prowess. The spellbound audience and judges agreed: Sheehan's profound artistry and self-assurance belie her years.
Company: San Francisco Ballet
Hometown: San Francisco
Training: SFB School since age 11, nine months after her first dance lesson
Accolades: 2016 female winner of the Erik Bruhn Prize, Dizzy Feet Foundation's Angelina Ballerina scholarship recipient
Here and above: Sheehan with Angelo Greco at the Erik Bruhn Competition. Photo by Aleksandar Antonijevic, Courtesy SFB.
Breakout moment: Last season, while still an SFB trainee, Sheehan danced one of the Four Little Swans in Swan Lake. "After that, I felt I could accomplish anything," she says, "because it required so much precision, focus and strength to dance as one." Soon after, artistic director Helgi Tomasson hired her full-time. He later chose her to be the company's female representative at the Erik Bruhn Prize, despite her not meeting the competition's usual minimum age requirement of 18.
"She really does seem born to dance. I am
completely fascinated by her." —Helgi Tomasson
A budding artist: "She's not just focused on the technique but the meaning behind it," says SFB School associate director Patrick Armand. "She's a very sensitive person and what you see is the emotion she can put through her dancing. You can't teach that."
Juggling high school with a company job: Presently in 12th grade, Sheehan takes online courses, often studying before class and between rehearsals. "With the kind of family I've got, not doing school is not an option." (Her mom is a writer, her dad is a content tech strategist and both paternal grandparents are history professors.)
Embracing her roles: Sheehan confesses that she sometimes overintellectualizes her dancing. "Getting my head around the storyline or concept of the choreography without overthinking is my biggest artistic challenge," she says.
Photo by Karolina Kuras, Courtesy SFB
Fueling her dancing: Sheehan plans to become a nutritionist once she finishes dancing. She steers clear of processed foods and snacks on fruits, vegetables, nuts, seeds, probiotic yogurt, hummus and avocados. Each morning, she sips kombucha and a cup of green tea with lemon.
What Tomasson says: "I watched her doing Snowflakes during Nutcracker, serene and confident onstage despite the chaos around her. She's the calm at the middle of the storm. A dancer like this comes along only so rarely. I think she's a major talent."
Capezio, Bloch, So Dança, Gaynor Minden.
At the top of the line, dancers have plenty of quality footwear options to choose from, and in most metropolitan areas, stores to go try them on. But for many of North America's most economically disadvantaged dance students, there has often been just one option for purchasing footwear in person: Payless ShoeSource.
When Sonya Tayeh saw Moulin Rouge! for the first time, on opening night at a movie theater in Detroit, she remembers not only being inspired by the story, but noticing the way it was filmed.
"What struck me the most was the pace, and the erratic feeling it had," she says. The camera's quick shifts and angles reminded her of bodies in motion. "I was like, 'What is this movie? This is so insane and marvelous and excessive,' " she says. "And excessive is I think how I approach dance. I enjoy the challenge of swiftness, and the pushing of the body. I love piling on a lot of vocabulary and seeing what comes out."
Back when Robbie Fairchild graced the cover of the May 2018 issue of Dance Magazine, he mentioned an idea for a short dance film he was toying around with. That idea has now come to fruition: In This Life, starring Fairchild and directed by dance filmmaker Bat-Sheva Guez, is being screened at this year's Dance on Camera Festival.
While the film itself covers heavy material—specifically, how we deal with grief and loss—the making of it was anything but: "It was really weird to have so much fun filming a piece about grief!" Fairchild laughs. We caught up with him, Guez and Christopher Wheeldon (one of In This Life's five choreographers) to find out what went into creating the 11-minute short film.
When Hollywood needs to build a fantasy world populated with extraordinary creatures, they call Terry Notary.
The former gymnast and circus performer got his start in film in 2000 when Ron Howard asked him to teach the actors how to move like Whos for How the Grinch Stole Christmas. Notary has since served as a movement choreographer, stunt coordinator and performer via motion capture technology for everything from the Planet of the Apes series to The Hobbit trilogy, Avatar, Avengers: Endgame and this summer's The Lion King.
Since opening the Industry Dance Academy with his wife, Rhonda, and partners Maia and Richard Suckle, Notary also offers movement workshops for actors in Los Angeles.