Forsythe, Flex, Azealia Banks: You're Going to Want to Grab a Ticket to This Free Event
The Shed might not open its doors for another year, but this month Manhattan's new multidisciplinary arts center is showcasing the type of programming it hopes to offer. A Prelude to The Shed takes over an empty lot near the High Line for two weeks of ever-shifting programming. It will include dance battles featuring Reggie "Regg Roc" Gray's D.R.E.A.M. Ring and FlexNYC program; This variation, an immersive dance/sound experience by Tino Sehgal; and a new work commissioned from William Forsythe reimagining the pas de deux from his iconic In the middle, somewhat elevated. And those are just the dance offerings. May 1–13. Once the Prelude ends, we're particularly looking forward to a new production with music by Sia and choreography by Akram Khan set to premiere as part of The Shed's inaugural season next spring.
Tickets for A Prelude to The Shed are free and can be reserved beginning Thursday, April 5 at 12:00 pm EST at theshed.org.
Just four years ago, the University of Southern California's Glorya Kaufman School of Dance welcomed its first class of BFA students. The program—which boasts world-class faculty and a revolutionary approach to training focused on collaboration and hybridity—immediately established itself as one of the country's most prestigious and most innovative.
Now, the first graduating class is entering the dance field. Here, six of the 33 graduates share what they're doing post-grad, what made their experience at USC Kaufman so meaningful and how it prepared them for their next steps:
Every dancer knows there's as much magic taking place backstage as there is in what the audience sees onstage. Behind the scenes, it takes a village, says American Ballet Theatre's wig and makeup supervisor, Rena Most. With wig and makeup preparations happening in a studio of their own as the dancers rehearse, Most and her team work to make sure not a single detail is lost.
Dance Magazine recently spoke to Most to find out what actually goes into the hair and makeup looks audiences see on the ABT stage.
On a sunny July weekend, hundreds of Seattle-area dance fans converged on tiny Vashon Island, a bucolic enclave in Puget Sound about 20 miles from the city. They made the ferry trek to attend the debut performance of the fledgling Seattle Dance Collective.
SDC is not a run-of-the-mill contemporary dance company; it's the brainchild of two of Pacific Northwest Ballet's most respected principal dancers: James Yoichi Moore and Noelani Pantastico. The duo wanted to create a nimble organization to feature dancers and choreographers they felt needed more exposure in the Pacific Northwest.