Career Advice
Amy Seiwert rehearsing Sacramento Ballet. Keith Sutter, Courtesy Sacramento Ballet

Becoming an artistic director can be a lot more complicated than it may seem. Dance Magazine spoke with three newly minted leaders, at the beginning and then again at the end of their first seasons as artistic directors of long-running ballet companies.

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The Creative Process
Nashiville Ballet artistic director Paul Vasterling went through executive coaching to be come a better leader. Photo by Anthony Matula, Courtesy Nashville Ballet

From the outside, it seemed like the worst of New York City Ballet's problems were behind them last winter, when ballet master in chief Peter Martins retired amid accusations of abuse and sexual harassment, and an internal investigation did not substantiate those claims.

But further troubles were revealed in August when a scandal broke that led to dancer Chase Finlay's abrupt resignation and the firing of fellow principals Amar Ramasar and Zachary Catazaro. All three were accused of "inappropriate communications" and violating "norms of conduct."

The artistic director sets the tone for a dance company and leads by example. But regardless of whether Martins, and George Balanchine before him, established a healthy organization, the issues at NYCB bespeak an industry-wide problem, says Jawole Willa Jo Zollar, founding artistic director of Urban Bush Women. "From New York City Ballet to emerging artists, we've just done what's been handed down," she observes. "That has not necessarily led to great practices."

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News
Amy Seiwert rehearses Sacramento Ballet. Photo by Keith Sutter, Courtesy Atlanta Ballet

Gennadi Nedvigin is not the only early tenure director breaking out a new production of The Nutcracker this season.

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Dancers Trending
Seiwert rehearsing at Imagery. Photo by Scot Goodman

Announcements about new artistic directors are always exciting. But Sacramento Ballet tapping Amy Seiwert to head the company just makes us all warm and fuzzy inside.

Why? Three reasons:

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Hypnotic

NEW YORK CITY

Endless repetition can drive audiences out of the theater, but a gifted choreographer can make watching the same phrase over and over with subtle changes fascinating. Anne Teresa De Keersmaeker is one of those rare ones. Four of her early works from the 1980s are coming to Lincoln Center Festival for a De Keersmaeker marathon that will make her fans deliriously happy: Fase, Elena’s Aria and Rosas danst Rosas—the work that Beyoncé borrowed from for her “Countdown” music video—and Bartók/Mikrokosmos. As a bonus, the Belgian choreographer herself will perform in the first three of these evening-length works. She dances with a poetic inner focus as though immersed in a rhythmic dream. July 8–16, John Jay College. lincolncenterfestival.org.

 

Above: De Keersmaeker’s Bartók/Mikrokosmos. Photo by Herman Sorgeloos, Courtesy Lincoln Center Festival.

 

 

A Change for Sascha

NEW YORK CITY

He is dashing on the Metropolitan Opera House stage, has written eloquently for Dance Magazine and was charismatic on the silver screen in Center Stage. On July 3, when beloved soloist Sascha Radetsky performs the role of Franz in Coppélia, it will be his last dance as a member of American Ballet Theatre. But the innately likeable dancer will keep busy: He’s currently in production as a main character in the TV show “Flesh and Bone,” to air on Starz in 2015. He and his wife, ABT soloist Stella Abrera, will also serve as répétiteurs for the Antony Tudor Ballet Trust. abt.org.

 

At right: Radetsky in Fancy Free. Photo by Marty Sohl, Courtesy ABT.

 

 

Straight From the Horse’s Mouth

DURHAM, NORTH CAROLINA

When choreographers perform their own work, we’re getting an undiluted product—from mind to body to stage. That’s the reward of the On Their Bodies program, July 22–23, at American Dance Festival. Ronald K. Brown, Stephen Petronio, Doug Varone and Shen Wei, who have each carved out their own unique movement languages, will perform self-choreographed solos. (If only there was a woman in the mix, too!) americandancefestival.org.

 

At left: Ronald K. Brown. Photo by Kurt H. Leggard, Courtesy Evidence.

 

 

 

Mirror, Mirror

SAN FRANCISCO

It’s a simple but compelling experiment: Commission a piece of music, have two choreographers create their own works to it and present them on the same bill. Audiences will be hearing double during the SKETCH 4 | Music Mirror program at ODC Theater, in which Amy Seiwert and Adam Hougland will offer separate interpretations of Kevin Keller’s score. Seiwert, known for her quirky, angular movement, and Hougland, for his innovative narratives, have been housed at ODC for five weeks to prepare. July 24–27. odcdance.org.

 

At right: Weston Krukow and Sarah Griffin of Amy Seiwert Imagery. Photo by David DeSilva, Courtesy Amy Seiwert Imagery.

 

 

See the Music

BECKET, MASSACHUSETTS

Mark Morris is a master of translating a musical score into lush dancing. This summer’s Jacob’s Pillow Dance Festival will offer a full week of events that dive into his obsession with melody. Morris himself will lead music seminars, discussions and open company classes. And there will be plenty of performances, too: The Mark Morris Dance Group Music Ensemble will have its own concert and will accompany MMDG in seven programs of newer Morris works—Festival Dance, A Wooden Tree, Crosswalk and Jenn and Spencer. July 21–27. jacobspillow.org.

 

At left: Domingo Estrada and Michelle Yard in Festival Dance. Photo by Stephanie Berger, Courtesy MMDG.

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