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."
What do Percy Jackson, Princess Diana and Tina Turner have in common? They're all characters on Broadway this season. Throw in Michelle Dorrance's choreographic debut, Henry VIII's six diva-licious wives and the 1990s angst of Alanis Morissette, and the 2019–20 season is shaping up to be an exciting mix of past-meets-pop-culture-present.
Here's a look at the musicals hitting Broadway in the coming months. We're biding our time until opening night!
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.