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On the Rise: Yasmine Naghdi
Last fall, Yasmine Naghdi's debut as Juliet was an instant sensation in London. Hers was a raw, touchingly youthful account of the role. With effortless technique and musicality, she allowed Kenneth MacMillan's steps to sing. Of Persian and Belgian descent, the British first soloist, who joined The Royal Ballet in 2010, is now establishing herself as a lyrical ballerina to be reckoned with, and a proud representative of the British school.
Company: The Royal Ballet
Hometown: London, England
Training: The Royal Ballet School (White Lodge and Upper School)
Accolades: 2009 Young British Dancer of the Year
Breakout moment: Naghdi's first principal role was Olga, Tatiana's carefree sister, in John Cranko's Onegin in 2013. When she reprised it in 2015 with Natalia Osipova as Tatiana, director Kevin O'Hare noticed how much she'd grown, and deemed her ready to dance Juliet. “She really brought Olga to life," he says. “It's easy to get lost alongside Tatiana, but they were equals."
MacMillan heroine: With Matthew Ball, another young British talent, as her Romeo, Naghdi proved a natural as Juliet. “We were both starting from scratch, and I think that helped our bond," says Naghdi. “I like to think of acting more as being, because if you force it, the audience can see that. With Juliet, I felt like I was living onstage as her."
Generation change: Along with Ball, Francesca Hayward and a few others, Naghdi is part of an outstanding UK–trained generation that is challenging the notion that British dancers are too timid. Onstage, she draws the eye with her calm self-possession. “We're quiet fighters—not brash, but quietly working on what we need to do, and then when it's time, really showing what we can do," Naghdi says.
Queen of the Brits: In addition to the MacMillan and Frederick Ashton repertoire, Naghdi is thriving in works by The Royal Ballet's trio of in-house choreographers: Wayne McGregor, Christopher Wheeldon and Liam Scarlett. “To work with these three face-to-face, you feel like you're making history."
What she's working on: “I'm more of an adagio dancer, so I've had to work on my petite batterie."
What Kevin O'Hare is saying: “She is nicely ambitious—she knows what she wants, and she's a sponge in the studio. She's not going to waste an opportunity."
A trained ear: Naghdi also sings, plays the piano and composes her own music. “It helps with breathing, musicality and to understand musical scores and phrasing. I don't like to count—if there is an opportunity to just trust the music, I will."
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While Solange was busy helping big sis Beyoncé give Coachella its best performances of all time, an equally compelling project was quietly circulating on Instagram:
When I wrote about my struggle with depression, and eventual departure from dance because of it, I expected criticism. I was prepared to be challenged. But much to my relief, and horror, dancers from all over the world responded with support and stories of solidarity. The most critical response I saw was this one:
"Dance isn't for everyone."
This may as well be a mantra in the dance world. We have become entrenched in the Darwinian notion that the emotionally weak will be weeded out. There is no room for them anyway.
In his final bow at New York City Ballet, during what should have been a heroic conclusion to a celebrated ballet career, Robert Fairchild slipped and fell. His reaction? To lie down flat on his back like he meant to do it. Then start cracking up at himself.
"He's such a ham," says his sister Megan Fairchild, with a laugh. "He's really good at selling whatever his body is doing that day. He'll turn a moment that I would totally go home and cry about into something where the audience is like, 'That's the most amazing thing ever!' "
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?
In the world of ballet, Arcadian Broad is a one-stop shop: He'll come up with a story, compose its music, choreograph the movement and dance it himself. But then Broad has always been a master of versatility. As a teenager he juggled school, dance and—after the departure of his father—financial responsibility. It was Broad's income from dancing that kept his family afloat. Fast-forward six years and things are far more stable. Broad now lives on his own in an apartment, but you can usually find him in the studio.
Bales of hay, black umbrellas, bicycles—this Midsummer Night's Dream would be unrecognizable to the Bard. Alexander Ekman's full-length, inspired by Scandinavian solstice traditions and set to music by Mikael Karlsson, is a madcap celebration of the longest day of the year, when the veil between our world and that of the supernatural is said to be at its thinnest. The Joffrey Ballet's performances mark the seductively surreal work's North American premiere. April 25–May 6. joffrey.org.
"There's an ancient energy in Fana's movement, a deep and trusted knowing," says Jeff, director of the Chicago-based Deeply Rooted Dance Theater. "Because I witnessed the raw humanity of his dancer's souls, I wanted my dancers to have that experience."
Growing up in a family-owned dance studio in Missouri had its perks for tap dancer Anthony Russo. But it also earned him constant taunting, especially in high school.
"There was a junior in my sophomore year health class who was absolutely relentless," he says. "I'd get tripped on my way to the front of the classroom and he'd say, 'Watch out, twinkle toes.' If I raised my hand and answered a question incorrectly, I'd hear a patronizing 'Nice one, Bojangles.' "
Choreographer Sergio Trujillo asked the women auditioning for ensemble roles in his newest musical to arrive in guys' clothing—"men's suits, or blazers and ties," he says. He wasn't being kinky or whimsical. The entire ensemble of Summer: The Donna Summer Musical is female, playing men and women interchangeably as they unfold the history of the chart-busting, Grammy-winning, indisputable Queen of Disco.