American Ballet Theatre announced today that, after 24 years, beloved principal dancer Stella Abrera will retire from the stage this coming summer. Her farewell performance will be June 13, 2020, at the Metropolitan Opera House, dancing the title role in Giselle.
Inside a bustling television studio in Los Angeles, Lindsay Arnold Cusick hears the words "Five minutes to showtime." While dancers and celebrities covered head to toe in sequins whirl around preparing for their live performances on "Dancing with the Stars," Cusick pauses to say a prayer to God and express her gratitude.
"I know that it's not a given, and I'm grateful for the opportunity to do what I love for a living," says Cusick, a member of The Church of Jesus Christ of Latter-day Saints. For her, prayer is a ritualized expression of her faith that she has maintained since she was a girl in Provo, Utah. Even with her seven-plus years of industry experience, she always takes a moment to steady herself and close her prayer in Christ's name before rushing onto the stage.
From an indie rock collaboration to major anniversary celebrations to yet another retelling of the Orpheus myth, the fall performance season has fully hit its stride. Here are the six shows we have on our calendars.
Roberto Bolle's rise in ballet reads like a fairy tale—one in which he's the prince. At 15, he was hand-picked by Rudolf Nureyev to perform with La Scala Ballet, and by 19 he was hired into the company. Two years later, he rose to the rank of principal, and in 2009, he joined American Ballet Theatre.
"A lot of ballets remind me of Roberto," says Hee Seo, ABT principal, who danced the role of Manon in Bolle's farewell performance this summer. Although Bolle will continue to guest with La Scala, he is leaving ABT to devote more time to a festival he's building in Italy. His final role with the company had special significance: Bolle also debuted with ABT in Manon, when Italian ballerina Alessandra Ferri requested him as her partner.
You nominated your favorite dance moments so far in 2019, and we narrowed them down to this list. Now it's time to cast your vote to help decide who will be deemed our Readers' Choice picks for the year!
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Working in corporate America can be a grind, so, for many, vacation is a welcome opportunity to relax and unwind. But for Jane Collier, it's a chance to ramp up her ballet training.
Though she's based in Chicago, where she works in global sourcing for Walgreens Boots Alliance, over the last several years she's attended summer intensives at American Ballet Theatre in New York City, the Bolshoi Ballet Academy in Moscow and, most recently, the Royal Danish Ballet in Copenhagen.
Every dancer knows there's as much magic taking place backstage as there is in what the audience sees onstage. Behind the scenes, it takes a village, says American Ballet Theatre's wig and makeup supervisor, Rena Most. With wig and makeup preparations happening in a studio of their own as the dancers rehearse, Most and her team work to make sure not a single detail is lost.
Dance Magazine recently spoke to Most to find out what actually goes into the hair and makeup looks audiences see on the ABT stage.
Erica Lall, a member of American Ballet Theatre's corps de ballet, accomplished an impressive feat this spring: she danced in every single one of ABT's spring Metropolitan Opera House season performances. That's 64 shows—actually, as Lall notes, "it would technically be 69 shows at the Met," since she performed in all of the ABTKids performances as well.
On July 27, 1974, Mikhail Baryshnikov made his American Ballet Theatre debut, dancing opposite fellow expatriate Natalia Makarova in Giselle mere weeks after his defection from the Soviet Union. The then-26-year-old caused a sensation, with Dance Magazine contributor Olga Maynard observing in her review, "If Baryshnikov exerts his good influences on ballet in the West we shall owe him a debt of gratitude."
Like most years, American Ballet Theatre closes its spring Met season this weekend with a sweet surprise: company promotions. Artistic director Kevin McKenzie just announced that two members of the corps de ballet—Aran Bell and Joo Won Ahn—are being promoted to soloist, effective September 1.
Could the hottest new ticket in dance be at sea? While Virgin Voyages will offer immersive dance theater on its maiden ship the Scarlet Lady, Celebrity Cruises is bringing guests closer to the stars through a partnership with American Ballet Theatre. With these new ventures, Celebrity and Virgin will bring bespoke dance experiences to their guests, and dancers will have a chance to push their artistry off the proscenium stage while sailing between exotic ports of call.
If like us you're already mourning the end of American Ballet Theatre's marathon Met season, don't fear. The company just announced the lineup for its fall season, and there's a lot to look forward to.
Running October 16-27 at Lincoln Center's David H. Koch Theater, ABT's fall lineup includes world premieres by choreographers Twyla Tharp and Gemma Bond. While Tharp has been creating for ABT since 1976 (the company's Met season included a trio of her works), corps dancer Gemma Bond will be making her choreographic debut for ABT's main company. The season also shines a spotlight on principal Herman Cornejo, who will be celebrating his 20th anniversary with the company.
Being coached by a treasure like former Kirov prima Irina Kolpakova is an experience most dancers only dream of. But company members at American Ballet Theatre have been the lucky beneficiaries of her wisdom since 1990. Thanks to Instagram, where pros like Gillian Murphy and James Whiteside share snippets of their sessions with Kolpakova, any ballet lover can be a fly on the wall during rehearsals with the famed ballet mistress.
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.
After almost a decade at The Washington Ballet, Brooklyn Mack has struck out on his own. Last summer, after unsuccessful contract negotiations with the company—now under the direction of Julie Kent—the 32-year-old star decided to go it alone. So far, his full-time freelance career has taken him to Hong Kong, Mexico, Norway, Russia, Georgia (the country, not the state) and various cities across the U.S. But his biggest debut is still to come. This month, he appears with American Ballet Theatre at the Metropolitan Opera House for four performances of Le Corsaire, playing both Conrad and Ali.
When former American Ballet Theatre principal Cheryl Yeager watches her daughter—Hannah Marshall, a current ABT corps member—take the stage, she gets a bit emotional.
"I always think, 'I wanted to move just like you when I was dancing!' because we are total opposites," Yeager says. "She is tall and moves with a legato quality, while I was short and moved fast and staccato."
Marshall isn't the only ABT dancer who inherited ballet genes from her mother. Former ABT soloist Carla Stallings Lippert's daughter Carolyn Lippert is also a current member of the corps, and former soloist Yan Chen's 17-year-old daughter, Chloe Misseldine, is a rising ABT Studio Company star. So for Mother's Day, we spoke with each pair about what it's been like sharing the same career path.
James Whiteside sometimes seems larger than life. He knows how to effortlessly command any room he's in, whether he's playing a noble prince onstage or appearing in fashion campaigns for designers like Marc Jacobs and Thom Browne. During a rare day off, Whiteside gave us a glimpse into a quieter side of his personality—which is perhaps most endearing of all.
After the horrific March 15 terrorist attacks at two New Zealand mosques, the music and arts community sprang into action to plan a way to help victims and their families. A series of resulting concerts, titled "You Are Us/Aroha Nui," will take place in New Zealand (April 13 and 17), Jersey City, New Jersey (April 17) and Los Angeles (April 18). Proceeds from ticket sales will be donated to the Our People, Our City Fund, which was established by the Christchurch Foundation to aid those affected by the attacks.