Why NYCB's Russell Janzen Is Taking On Gender-Bending Side Projects
There is no big mystery to why Russell Janzen is often cast in princely parts at New York City Ballet, roles like the cavalier in Diamonds and The Nutcracker, Siegfried in Swan Lake, and the man who partners the "first violin" in the slow movement of Concerto Barocco. His dancing is pristine, and he's tall enough for the tallest ballerinas; he's also handsome, and, most importantly, he's a generous and sensitive partner.
Which is not to say that Janzen is dull or recessive. You want to know what he's thinking whenever he's onstage; one of his greatest assets is an ability to draw you into his world, quietly, engrossingly. He always looks like he's acting out a story in his mind.
Janzen in Swan Lake. Photo by Paul Kolnik, Courtesy NYCB
In 2014, as a corps dancer, he was cast, against type, as the tormented soul in George Balanchine's Robert Schumann's 'Davidsbündlertänze.' His performance was riveting and earned him rave reviews. Janzen is still trying to put his finger on what exactly made it so: "I didn't really feel like I knew what the ballet was or what I had done onstage," he confesses. "I didn't do anything I had planned to do."
The experience of dancing Davidsbündlertänze has grown into a project he will take on at the Center for Ballet and the Arts, a think tank based at New York University, in the fall. Under the trees near the Metropolitan Opera House on a warm afternoon, we talked about writing, his love of ballet—as well as his doubts about it—, the performance of gender and sexual preference onstage, and the increasing number of outside projects he's taking on.
Janzen with Reid Bartelme. Photo by Robert Altman, courtesy Bartelme.
Is it difficult to read what others write about your dancing?
I try not to do it. Every once in a while I'll read a review and no matter what it says it messes with my head. Part of why I'm interested in writing about Davidsbündlertänze is that I got a really good review after my first performance. The second time I danced it, I was wondering: Are people here because they read that? Am I doing the thing that I did before? Did I live up to what they read?
One reason I started writing about dance in the last couple of years is that when I began getting bigger parts, people would mention something I had done onstage and I was like, well that wasn't what I thought I was doing.
When did you start writing?
Both my sister and I wrote a lot when we were kids. Everyone in my family reads a lot. My mom was a high school English teacher, and my aunt was a linguistics professor and teaches English as a second language.
Were your parents surprised when you decided to go into ballet?
I think it was a little bit weird for my parents. They didn't really believe me when I said I wanted to do it. I kept asking for a long time.
At what point did you start writing about dance?
I'm taking a break right now but I was at the New School for a while. I took a class with [the cultural historian] Julia Foulkes where I wound up writing about gender roles and queerness and the experience of performing. I talked to several dancers, including James Whiteside, Faye Arthurs, Taylor Stanley, Katy Pyle and Reid Bartelme—all people I thought would have different perspectives on how their bodies read onstage. I presented the paper at the Contemporary Ballet conference at Barnard last year.
What did you discover in the process?
It was really disheartening. I went into it thinking that ballet was the most natural expression of everything for me. When I go out onstage I feel like I'm just being myself. I feel free. You have a certain task when you're the cavalier: You're showing off this person as if she were the most beautiful thing you've ever seen; that doesn't have to be sexual.
But then I realized that my 15 years of training have taught me to move in a specific way with some sort of hetero masculine idea. Talking to other people who felt more constrained by ballet than I do made me think about it more.
How has that affected your thinking?
These conversations made me even more aware of how much I bought into the constructs of ballet. When I talked to James Whiteside about dancing full-length story ballets, he said, "I feel like I have to act, not only the part of Romeo or the prince, but also the part of the straight man."
Part of what interests me about Adam Lüders, who originated the role I dance in Davidsbündlertänze, is that Lüders and Peter Martins were dancing at the same time but had such different presences onstage. Adam somehow was doing the same thing that his partners were doing, emotionally. And he was still serving the function that the man in ballet is supposed to serve. That's something that I would love to be able to do.
Aren't the qualities of "princeliness"—gentility, nobility, good manners—beyond gender in a way?
I think being a prince is a boring idea to me in a lot of ways. But I love all the ballets that I do. I'm trying to consciously think about how to do what I'm asked to do while doing it in a way that feels good and more true to what I think about things.
So much of ballet is about artifice and approaching some sort of ideal.
Yes! And that's one of the things that's so disappointing to me. My aunt always says that Concerto Barocco represents how she thinks the world should work. But it feels less and less like a good use of time these days in terms of what's happening politically and these conversations we're having in our culture.
Are you disappointed in Balanchine?
No! I guess Balanchine is about the sublime, but it doesn't feel that way to dance it. I've only thought in very specific ways about very specific ballets. I'm definitely not disappointed by any of my rep.
One of the keys to your rise at New York City Ballet has been your mastery of partnering. When did you discover that you were good at it?
I went to the Rock School, where Christopher Fleming, who danced for both ABT and NYCB, taught men's classes and partnering class. Everyone had to do press lifts and shoulder sits and finger turns in class, and he would give us tricky partnering things, stuff that is hard for experienced partners, all the time. But he wouldn't say they were tricky. So when I got to the School of American Ballet I just had an insane amount of confidence in partnering class. [Laughs.]
What do you enjoy about partnering now?
Part of it is similar to why I love dancing. For example, I love dancing with Tess [Teresa Reichlen] because we've always been friendly but I feel like almost all of our intimacy has been established onstage. Partnering is a lot about pleasing my partner, which I like doing in life, too. I want everyone to like me and to do the right thing for people, and partnering feels like an extension of that.
Janzen partnering Reichlen in Balanchine's Diamonds. Photo by Paul Kolnik, courtesy NYCB
In your recent projects with Christopher Williams, Reid Bartelme and Burr Johnson, you've also partnered and been partnered by men. Is that different?
It feels really different. When I danced [the pas de deux from Lar Lubovitch's Something About Night, originally created for a man and a woman] with Reid, I was doing the man's part. In a lot of ways it wasn't different from what I've done before, but it felt different to be physically intimate with a man. When I dance with women it's fun to go to that vulnerable place with them because it's not a vulnerability that extends to the rest of my life. We're creating something, but I don't wonder what that means for us offstage. Looking at a man in that way and creating intimacy for an audience felt like, what does this mean? There was something scarier just in the fact that he's a man.
In Christopher Williams's work-in-progress Narcissus, you went even further, dancing the part of an intersex being, with prosthetic breasts. What was that like?
I think the idea of exploring the duality of masculinity and femininity and not having it be a duality was very attractive to me. I loved that someone thought of me for that part. But I felt uncomfortable wearing breasts. It stressed me out. I like dressing in drag, and I thought it was cool how having breasts made it look like my butt was rounder, for example. But it felt uncomfortable to take on a different physical reality in a way that was so gendered. Especially now; I think it's a time to be really conscientious about how you tell these kinds of stories. But I loved the choreography he made for me.
Not to be superficial, but I notice you're going gray. [Janzen is only 28.] I love how it looks.
Yeah. A few years ago the company asked me to dye it. And I just don't want to—unless I have to play a character who is a certain age, I'm not going to do it. I've thought about my hair more than I ever wanted to. There's something about the care of dying it that doesn't make me happy.
What other choreographers would you love to work with?
Alexei Ratmansky. I wish I were a Ratmansky dancer. Maybe one day. I look at what he has made for Sara Mearns or Jenifer Ringer or Tyler Angle; he sees people so differently from how other people see them and I would feel so honored to find out what he saw in me. I'm so curious.
And Mark Morris. I wish he had tall dancers. I love everything he does. One of the things I hope comes out of the changes New York City Ballet is going through is that Mark Morris will come and work with the company.
What do you love about ballet?
Sometimes I don't know why I love it, but I do, I love my job. It's such a part of me. Recently I've been doing a lot of outreach programs where you move to music. I did the Dance for PD [a dance program for people with Parkinson's] teacher training. It has reminded me that what I like about dance is really moving to music with people in a room.
As a very shy little girl, my happy place was my room, where I would wear improvised costumes and giggle with happiness while dancing for an imaginary audience. I was raised in a family where dancing was "normal." My mom and sisters graduated from the national ballet academy in Poland, and I, of course, wanted to follow their steps. But I was never forced to. I am proud to say I discovered the magic of ballet all by myself.
Photo by Costin Radu, courtesy of Petra Conti
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The midterm elections are less than three weeks away on November 6. If you're registered to vote, hooray!
But you can't fully celebrate before you've completed your mission. Showing up at the polls is what matters most—especially since voter turnout for midterms doesn't have a fabulous track record. According to statistics from FairVote, about 40 percent of the population that is eligible to vote actually casts a ballot during midterm elections.
Many members of the dance community are making it clear that they want that percentage go up, and they're using social media to take a stand. Here's how they're getting involved:
Dancers will do just about anything to increase their odds of staying injury-free. And there are plenty of products out there claiming that they can help you do just that. But which actually work?
We asked for recommendations from four experts: Martt Lawrence, who teaches Pilates to dancers in San Francisco; Lisa-Marie Lewis, who teaches yoga at The Ailey Extension in New York City; physical therapist Alexis Sams, who treats dancers at her clinic in Phoenix; and stretch training coach Vicente Hernandez, who teaches at The School of Pennsylvania Ballet.
With a contemporary air that exalts—rather than obscures—flamenco tradition, and a technique and stamina that boggle the mind, Eduardo Guerrero's professional trajectory has done nothing but skyrocket since being named one of Dance Magazine's "25 to Watch" earlier this year. His 2017 solo Guerrero has toured widely, and he has created premieres for the Jerez Festival (Faro) and the 2018 Seville Flamenco Biennial (Sombra Efímera). In the midst of his seemingly unstoppable ascension, he's created Gaditanía, his first work utilizing a corps de ballet. Guerrero is currently touring the U.S. with this homage to Cadiz, the city of his birth.
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At our cover shoot for the November issue, Bobbi Jene Smith curated one of the best lineups of YouTube music videos that I've heard in a long time. From Bob Dylan to Tom Waits, they felt like such perfect choices for her earthy, visceral movement and soulful approach to dance.
Dance technology has come a long way from ballet variations painstakingly learned by watching fuzzy VHS tapes. Over the last few years, a dizzying number of online training programs have cropped up, offering the chance to take class in contemporary, jazz, ballet, tap, hip hop and even ballroom from the comfort of your own living room or studio.
Usually, it takes new recruits a few seasons to make their mark at the Paul Taylor Dance Company. But Taylor wasted no time in honing in on the talents of Alex Clayton. Only a few months after Clayton joined in June 2017, Taylor created an exciting solo for him in his new Concertiana, filled with explosive leaps and quick footwork. Clayton was also featured in new works by Doug Varone and Bryan Arias. At 5' 6" he may be compact, but onstage he fills the space with a thrilling sense of attack.
Scottish Ballet is turning 50 next year, but they'll be the one giving out the gifts.
In 2019, the company will make five wishes from fans come true, as a way of thanking them for their loyalty and support over the years. "It can be anything from the dancers performing at a birthday party or on the banks of Loch Ness, or even the chance to get on stage and be part of a Scottish Ballet show," according to the company.
Recently, English National Ballet first artist Precious Adams announced that she will no longer be wearing pink tights. With the support of her artistic director Tamara Rojo, she will instead wear chocolate brown tights (and shoes) that match her flesh tone.
It may seem like a simple change, but this could be a watershed moment—one where the aesthetics of ballet begin to expand to include the presence of people of color.
Flamenco dancer and choreographer Rocío Molina created her first full-length production, Entre paredes ("Between Walls"), at the age of 22. At 26, the prodigy received Spain's National Dance Prize, the most coveted dance award in Spain. Now 34, her rupture with tradition makes her no stranger to controversy. But it, and her fiercely personal and contemporary style, means that each new project is a fascinating voyage.
Molina is the subject of French filmmaker Emilio Belmonte's first feature length documentary, IMPULSO. The film, which makes its U.S. theatrical premiere at New York City's Film Forum on October 17, follows Molina for two years as she tours Europe presenting a series of improvised works. These improvisations ultimately inspired the creation of one of Molina's masterworks, Caída de Cielo ("Fallen from Heaven"), which premiered in 2016.
In a move that was both surprising and seemingly inevitable, New York City Ballet closed its fall season by promoting seven dancers. Joseph Gordon, who was promoted to soloist in February 2017, is now a principal dancer. Daniel Applebaum, Harrison Coll, Claire Kretzschmar, Aaron Sanz, Sebastian Villarini-Velez and Peter Walker have been promoted to soloist.
Newly promoted soloist Peter Walker has been showing his abilities as a leading man in ballets like Jerome Robbins' West Side Story Suite. Photo by Paul Kolnik, Courtesy NYCB
The announcement was made on Saturday by Jonathan Stafford, the head of NYCB's interim leadership team. These seven promotions mark the first since longtime ballet master in chief Peter Martins retired in the midst of harassment allegations at the beginning of this year. While Stafford and fellow interim leaders Rebecca Krohn, Craig Hall and Justin Peck have made some bold choices in terms of programming—such as commissioning Kyle Abraham and Emma Portner to create new works for the 2018–19 season—their primary focus has appeared to be keeping the company running on an even keel while the search for a new artistic leader is ongoing. Some of us theorized that we would not be seeing any promotions until a new artistic director was in place.
Ryan Steele has a simple rule for demanding days on Broadway: "I listen to my body," he says. "I have whatever I'm craving: If I need more protein, I go straight for that. If I'm tired, I know I need carbs."
This wasn't always Steele's approach. Growing up, shuttling between the studio and school meant relying on McDonald's and Burger King.
The entrancing power of Instagram can't be denied. I've lost hours of my life scrolling the platform looking at other people documenting theirs. What starts as a "quick" fill-the-moment check-in can easily lead to a good 10-15 minute session, especially if I enter the nebulous realm of "suggested videos."
My algorithm usually shows me professional ballet dancers in performances, rehearsals, class, backstage and on tour, which I quite enjoy. But there are the other dance feeds that I find myself simultaneously intrigued and horrified by: the hyper-elastic, hyper-extended, gumby-footed girls always at the barre doing developpés to six o'clock. There are the multiple turners, the avid stretchers and we can't forget the endless balancers.
This parade of tricksters always makes me wonder, What else can they do? Can they actually dance?
New York City Ballet fired principal dancers Amar Ramasar and Zachary Catazaro on Saturday. Both had initially been suspended until 2019 for engaging in "inappropriate communications," while principal Chase Finlay, who was the instigator of those communications, resigned. (Although, in a statement on Saturday, NYCB made it clear they had decided to terminate Finlay prior to his resignation.)
The New York Times reports that NYCB says the change from suspension to termination resulted from hearing the concerns of dancers, staff members and others in the NYCB community. Yet it's hard to ignore the fact that a lawsuit against NYCB had been filed in the meantime. A statement from NYCB executive director Katherine Brown and interim artistic team leader Jonathan Stafford stated:
"We have no higher obligation than to ensure that our dancers and staff have a workplace where they feel respected and valued, and we are committed to providing that environment for all employees of New York City Ballet."
Since the news was announced, both Catazaro and Ramasar have spoken out publicly about being fired.
Earlier this week, a friend of a friend reached out to me seeking recommendations for a dancer/choreographer to hire. She wanted someone who could perform a solo and talk about their process for an arts-appreciation club. After a few emails back and forth, as I was trying to find out exactly what kind of choreographer she was looking for, it eventually emerged that she was not looking to pay this person.
"We are hoping to find someone who would be willing to participate in exchange for the exposure," she wrote.
Why do people think this is an okay thing to ask for?
For over a decade, husband-and-wife team Pascal Rioult and Joyce Herring, artistic and associate artistic directors of RIOULT Dance NY, dreamed of building a space for their company and fellow artists in the community, and a school for future dancers. This month, their 11,000-square-foot dream opens its doors in the Kaufman Arts District in Astoria, Queens, a New York City neighborhood across the East River from Manhattan.
In the final years of her decade-long career with the Lewitzky Dance Company, University of Arizona Associate Professor Amy Ernst began to develop an interest in dance injury prevention. She remembers feeling an urge to widen her understanding of dance and the body. Soon after retirement from the Company, she was hired by the Kerlan-Jobe Orthopaedic Clinic in Inglewood, California as a physical therapy assistant, where she worked for the next three and a half years. This work eventually led her to pursue an M.F.A. in dance at the University of Washington-Seattle. She remembers growing into the role of a professor during her time pursuing her degree. That incubation phase was critical. Ernst joined the faculty at the University of Arizona in 1995, and now as director of the M.F.A. program, mentors the new generation of dance faculty, company directors and innovators.
With cooler weather finally here, it's time to talk warm-ups. And while your dancewear drawer is probably overflowing with oversized sweaters, leggings and enough leg warmers to outfit the whole class, warm-up boots are often forgotten. To keep your feet and ankles cozy in between rehearsals, we rounded up dance warm-up boots that suit every style.
Bloch Inc. Printed Warm-up Bootie
via Bloch Inc.
Created by Irina Dvorovenko and Max Beloserkovsky, this collection comes in a variety of tie dye, floral and even butterfly prints.
Some of my favorite experiences as both an audience member and a dancer have involved audience participation. Artists who cleverly use participatory moments can make bold statements about the boundaries between performer and spectator, onstage and off. And the challenge to be more than a passive viewer can redefine an audience's relationship to what they're watching. But all the experiences I've loved have had something in common: They've given audiences a choice.
A few weeks back, I had a starkly different experience—one that has caused me to think deeply about how consent should play into audience-performer relationships.
What happens when you mix two really good things together? Sometimes, it can be magical. It's practically guaranteed when one of those elements is the wizarding world of Harry Potter, and the other is—wait for it—dance-team–style hip hop.
When the Bible spoke of the "ingathering of the exiles," it didn't have dance in mind. Yet, this month, more than 100 dancers, choreographers and scholars from around the world will gather at Arizona State University to celebrate the impact of Jews and the Jewish experience on dance. From hora to hip hop, social justice to somatics, ballet to Gaga, the three-day event (Oct. 13–15) is "deliberately inclusive," says conference organizer and ASU professor Naomi Jackson.