On the Rise: Rachel Richardson
Richardson, here in Sylvia, says, “Accepting who I am as a dancer helped me be comfortable, even in company class.” PC Rosalie O’Connor, Courtesy ABT
The luminous Rachel Richardson has it all: long legs, articulate feet and a sparkling smile that makes her prodigious technique seem all the more natural. She was a standout in American Ballet Theatre’s Studio Company, where she danced—with particular generosity and expansiveness—a memorable Medora in Le Corsaire, but during ABT’s Metropolitan Opera season last spring, she held the stage as both the Fairy Miettes qui tombent, or Breadcrumb, and the Gold Fairy in Alexei Ratmansky’s The Sleeping Beauty. Though she’s only been a member of the corps de ballet since 2015, one thing is clear: Richardson is in remarkable possession of ballerina aplomb.
Company: American Ballet Theatre
Hometown: Eugene, Oregon
Training: Oregon Ballet Academy, Eugene Ballet Academy and The Rock School for Dance Education
Accolades: Youth America Grand Prix silver medal, senior division
How the ballet bug bit her: When she started dancing at age 8, Richardson was deep into soccer and avoided all things girly. “My older sister danced,” she says. “Her teacher saw my feet and thought that I should try a class. I didn’t want to do it originally because I sort of thought it was nothing, like really easy. After my first class I totally loved it. I was always up for a challenge.”
Insider tip: “I went to The Rock for one year and then my parents asked me to come back to Eugene for my sister’s senior year.” That coincided with an illuminating year of training at Eugene Ballet Academy. “It’s tempting to think, If I can’t take from this one teacher or at this one school, then my life is ruined!” Richardson says. “But it’s important to see the bigger picture and that there’s a lot to gain from different people.”
On dancing in the corps: Richardson says it comes down to being gracious. “I’m learning about the unselfish aspect of dancing, which I’m realizing more and more is what being an artist is really about. If you’re too much in your head, it takes away from your ability to give.”
Breakthrough moment: “The Sleeping Beauty. Ratmansky has so much he wants. It’s the best way to work toward anything because you have a sense of how far you want to try to go, even if you can’t get there in that rehearsal—or in the next five. He works you hard, but I like coming out of a rehearsal super-sweaty.”
What Kate Lydon says: “I like the precision of her technique,” says Lydon, who directs ABT’s Studio Company. “Not many people have that ability. But I also like the honesty of her characterizations, plus her vulnerability and her steel will. She’s tiny, but she’s mighty.”
It never ends: Attaining perfection is impossible, but Richardson relishes the challenge. “I definitely always am working on improving my jump. Footwork. Strength in my feet. Dancing with my whole body as opposed to just dancing with limbs. But that’s why I started dancing and why I still love it. Literally every single thing can always be better.”
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If you think becoming a trainee or apprentice is the only path to gaining experience in a dance company environment, think again.
The University of Arizona, located in the heart of Tucson, acclimates dancers to the pace and rigor of company life while offering all the academic opportunities of a globally-ranked university. If you're looking to get a head-start on your professional dance career—or to just have a college experience that balances company-level training and repertory with rigorous academics—the University of Arizona's undergraduate and graduate programs have myriad opportunites to offer:
Yes, we realize it's only August. But we can't help but to already be musing about all the incredible dance happenings of 2019.
We're getting ready for our annual Readers' Choice feature, and we want to hear from you about the shows you can't stop thinking about, the dance videos that blew your mind and the artists you discovered this year who everyone should know about.
Ah, stretching. It seems so simple, and is yet so complicated.
For example: You don't want to overstretch, but you're not going to see results if you don't stretch enough. You want to focus on areas where you're tight, but you also can't neglect other areas or else you'll be imbalanced. You were taught to hold static stretches growing up, but now everyone is telling you never to hold a stretch longer than a few seconds?
Considering how important stretching correctly is for dancers, it's easy to get confused or overwhelmed. So we came up with 10 common stretching scenarios, and gave you the expert low-down.