What do you think is the most common misconception about dancers?
When I meet new people and tell them that I am a dancer, their first questions are usually something like "Where do you dance?" or "What's your company called?" As a freelance dance artist and choreographer, it's a little more difficult to respond to that.
What was the last dance performance you saw?
Malpaso Dance Company at The Music Center in Los Angeles
What other career would you like to try?
Film directing or real estate
What's the most-played song on your phone?
Pool Party by Julia Jacklin
What's the first item on your bucket list?
Write a screenplay
Do you have a pre-performance ritual?
Arrive hours early for mental preparation, abdominals, push-ups, caffeine and "save it for the stage."
Where can you be found two hours after a performance ends?
In this phase of my life, sitting in my backyard with anyone who came to support the performance.
Devon Teuscher performing the titular role in Jane Eyre. Photo by Gene Schiavone, Courtesy ABT
Story ballets that debut during American Ballet Theatre's spring season at the Metropolitan Opera House are always the subject of much curiosity—and, sometimes, much debate. Cathy Marston's Jane Eyre was no different. The ballet follows the eponymous heroine of Charlotte Brönte's novel as she grows from a willful orphan to a self-possessed governess, charting her romance with the haughty Mr. Rochester and the social forces that threaten to tear them apart.
While the ballet was warmly received in the UK when Northern Ballet premiered it in 2016, its reception from New York City–based critics has been far less welcoming. A group of editors from Dance Magazine and two of our sister publications, Dance Spirit and Pointe, sat down to discuss our own reactions.