DePrince in David Dawson's A Million Kisses to my Skin. Photo by Angela Sterling via dnb.org
You know Michaela DePrince's story by now. The Dutch National Ballet soloist was orphaned in war-torn Sierra Leone, adopted by an American family and subsequently became a near-household name in the ballet world, eventually joining Dance Theatre of Harlem and then DNB. Since then, she's written a memoir, acted as an ambassador for War Child Holland, appeared in a Beyoncé music video, become the face of a Jockey campaign and will be the subject of a upcoming biopic directed by none other than Madonna. But all her high-profile achievements haven't changed her exacting work ethic or unwavering commitment to her craft.
James Alsop has choreographed for stars from Beyoncé to Janelle Monae. Photo via Facebook
Even if you haven't heard her name, you've almost certainly seen the work of commercial choreographer James Alsop. Though she's made award-winning dances for Beyoncé ("Run the World," anyone?) and worked with stars like Lady GaGa and Janelle Monae, Alsop's most recent project may be her most powerful: A moving music video for Everytown for Gun Safety, directed by Ezra Hurwitz and featuring students from the National Dance Institute.
Jamar Roberts in Talley Beatty's Stack-Up. Photo by Paul Kolnik, courtesy Ailey
Jamar Roberts has long been one of Alvin Ailey American Dance Theater's most thrilling performers, bringing his sinuous power to whatever the company's wide-ranging repertory throws at him. Last season, Roberts' own movement became a part of that repertory: His blues-inspired Members Don't Get Weary, set to the music of John Coltrane, received rave reviews, and returns this week as part of the company's 60th Anniversary season at New York City Center.
We caught up with Roberts for our "Spotlight" series:
Ashley Murphy in Giselle at The Washington Ballet. Photo by Theo Kossenas
Ashley Murphy was the leading lady of Dance Theatre of Harlem for many of her 13 years there. But in 2016, she took a leap of faith, leaving her coveted place as reigning ballerina for a spot in The Washington Ballet.
"I wasn't really growing anymore—they didn't need to pay attention to me because they knew I would work on things on my own. I felt like I'd become everybody's mom," she told writer Gia Kourlas. "I need to be in a setting where I'm more equal with other people."
Two years later, she's found a home in D.C.—and has no regrets about her decision. We caught up with her for our "Spotlight" series:
