Kelsey Grills in rehearsal for ABT Incubator. Photo by JJ Geiger, courtesy ABT Incubator.
"Is everyone okay?" was my most used sentence during my time with American Ballet Theatre. There I was, leading world-class ABT dancers through my own choreographic process. I knew that it was unlike anything they'd ever experienced, but I think half of the time I was asking that question, it was really directed to myself.
ABT Incubator is a two-week choreographic program created by principal dancer David Hallberg. Supported by The Howard Hughes Corporation, this process-oriented lab gave me and four other choreographers the opportunity to generate ideas for the work we have been inspired to create.
Update: Raffaella Stroik's body was found near a boat ramp in Florida, Missouri on Wednesday morning. No information about what led to the death is currently available. Our thoughts are with her friends and family.
Raffaella Stroik, a 23-year-old dancer with the Saint Louis Ballet,went missing on Monday.
Her car was found with her phone inside in a parking lot near a boat ramp in Mark Twain Lake State Park—130 miles away from St. Louis.On Tuesday, the police began an investigation into her whereabouts.
Stroik was last seen at 10:30 am on Monday at a Whole Foods Market in Town and Country, a suburb of St. Louis. She was wearing an olive green jacket, a pink skirt, navy pants with white zippers and white tennis shoes.
"Ballet pink" tights and palest-pink slippers. "Nude" fabrics that match only the lightest of skin tones. Unfortunately, many dancewear staples have historically been available only in a single "flesh tone" that tended to exclude non-Caucasian dancers.
Boston Ballet rehearsing "ELA, Rhapsody in blue" choreographed by Paulo Arrais. PC Kelsey Grills
When Boston Ballet principal dancer Paulo Arrais was approached to choreograph for the company's spring program, Rhapsody, he immediately knew where he wanted to draw inspiration from. "I grew up in a part of Brazil where it was very common to see domestic violence," says Arrais. "I'm angry about this problem and I'm trying to find a way to choreograph with the anger I have."
The Joffrey Ballet in Alexander Ekman's Joy won "Most Moving Performance" last year. Photo by Cheryl Mann, Courtesy Silverman Group
Have you seen any shows in 2018 that you can't stop thinking about? Watched any dance videos that blew your mind? Discovered any performers who everyone should know about? We want to hear about them!
Yes, we realize that it's only August. But we're gearing up for our annual Readers' Choice Awards, and it's time to send in your nominations!
It's as easy as filling out the form below. (You don't even have to fill out the whole form—just complete as many categories as you want.) Nominations will be accepted until August 30. You'll then be able to vote on selected nominations beginning September 4, and winners will be announced in our December issue.
Marcelo Gomes and Victoria Hulland in The Two Pigeons, PC Frank Atura
Sarasota Ballet is returning to New York City's Joyce Theater with a batch of rarely-seen Ashton works. But the big news is that guest artist Marcelo Gomes will be performing with the company. Yes, Gomes is back performing in New York, possibly for the first time since he resigned from American Ballet Theatre in December after an allegation of sexual misconduct.
Gomes is one of the greatest male ballet dancers ever to grace the ABT stage—which he did for 20 years. Watching him dance, it's easy to see why he was every woman's favorite partner: He lavishes attention on his ballerina. The audience can feel his connection and his passion.
Kovaleva soars in Swan Lake. Photo by M. Logvinov, Courtesy Bolshoi Ballet.
Whether etching the linear purity of Balanchine's "Diamonds" or slowly stretching her long arms as Odette, the Bolshoi's Alena Kovaleva is a promising young talent. Majestic port de bras and impeccable legs that draw into textbook-perfect arabesques make her an ideal choice for both classical and lyrical roles. She's already advancing at record pace and was promoted to soloist in just her second season.
Ukrainian ballet dancer Sergei Polunin doesn't appear to have completely shed his bad-boy skin. A new video from Rankin Hunger Magazine,"Sergei x Rankin," shows us what happens when Polunin is given total freedom to explore his tendency for raw, emotional movement. Paired with British photographer Rankin, the duo creates a captivating video that explores our primal need for unrestrained expression set to an alternative rock soundtrack by Husky Loops.
New York City Ballet dancers will be led by the interim leadership team for at least several more months. Here, the company in Justin Peck's The Times Are Racing. Photo by Paul Kolnik, Courtesy NYCB.
Since December an interim artistic leadership team has been guiding New York City Ballet, and in January, Peter Martins officially resigned. But only now has the search for Martins' permanent replacement begun. Here's what we know about how the process will unfold.
Bucharest National Ballet's 2013 trailer for "La Sylphide,' via YouTube
Few things are more powerful for promoting ballet performances than captivating trailers—especially in today's visually-focused, digitally-connected world.
We've rounded up some eye-catching ads from seasons past and present that not only make us wish we could have seen the show, but also stand alone as short films.
Bucharest National Opera's La Sylphide
Magnifying the scarf which—spoiler alert—brings about the ballet's tragic conclusion, this 2013 Bucharest National Opera's trailer turns that fateful fabric into a beautiful, deadly web. Its windswept movements form a dance of its own.
The role of Harlequin in Marius Petipa's comic balletHarlequinade is one American Ballet Theatre dancer Gabe Stone Shayer knows quite well. He first performed a variation of the role when he was just nine years old. Today, he explores commedia dell'arte in Alexei Ratmansky's new take on the ballet, premiering at the Metropolitan Opera House this June.
We stepped into a rehearsal of Harlequinade with Shayer and fellow ABT dancer Cassandra Trenary for our "In The Studio" series:
Since the beginning, when I first started dancing at 6 years old, I loved it. I never really thought of the hard work and long hours as a sacrifice because ballet always brought me joy and happiness.
Boris Eifman in 2013, photo by Dmitriy Dubinskiy via Wikipedia Commons
In the 1970s, the Soviet government withdrew Boris Eifman's passport and declared his work pornographic. Today, he has funding from the Russian government for a state-of-the-art school and a company that travels the globe for several months each year.Last year alone, Eifman Ballet presented six different programs on the Bolshoi's historic stage.
What He Has To Say: With Eifman's Anna Karenina running at New York's Lincoln Center this week, Dance Magazine asked him about how he became embraced by Russia, and his thoughts on performing in Balanchine's house.
Dance Theatre of Harlem performing Dougla. Photo by Matha Swope, courtesy DTH.
Dance Theatre of Harlem is busy preparing for the company's Vision Gala on April 4. The works on the program, which takes place on the 50th anniversary of the assassination of Dr. Martin Luther King Jr., reflect on the legacy of Dr. King and his impact on company founder Arthur Mitchell. Among themis the much-anticipated revival of legendary choreographer Geoffrey Holder's Dougla, which will include live music and dancers from Collage Dance Collective.
We stepped into the studio with Holder's wife Carmen de Lavallade and son Leo Holder to hear what it feels like to keep Holder's legacy alive and what de Lavallade thinks of the recent rise in kids standing up against the government—as she did not too long ago.
LINES Ballet company members Adji Cissoko and Shuaib Elhassan in rehearsal.
At 5'10" I felt like an ant in the studio with Alonzo King LINES Ballet. The San Francisco-based company is full of statuesque dancers whose passion is infectious. Every story was told not only through their movement, but through the expression on their faces and their connection to one another.
We talked to artistic director Alonzo King about his love of collaborations and why he thinks politicians need to dance more.
The 2017 Grand Audition drew dancers from 27 countries. Photo by Andrej Uspenski, Courtesy Grand Audition.
Hopping from city to city during audition season can be both expensive and time-consuming—not to mention disheartening if you end up being cut after barre. Since its inception in 2016, the Grand Audition has aimed to solve that conundrum for young ballet dancers looking for a job: This annual two-day event in Europe provides an unprecedented opportunity to audition for 10 companies at once.
Megan Fairchild in Jerome Robbins' Dances at a Gathering. PC Paul Kolnik, Courtesy NYCB
From the minute my journey as a dancer began at age 4, there were no other options of what I might do with my life.
Sure, I tried other "after-school activities." I tried desperately to master The Phantom of the Opera with my squeaky violin rental—a headache for my parents who paid for private Suzuki method lessons at our house. Constantly attempting famous show tunes on my violin, the effort was completely futile. I actually remember thinking, 'Surely this sheet music is wrong, this sounds nothing like the Phantom of the Opera.'
I even tried my hand at gymnastics. But when my mom's brilliant bribery of $100 for my first mastery of a kip or a back handspring didn't produce any results, we quickly threw in the towel.
Unbeknownst to pedestrians on the street, inside a warehouse at 383 Troutman is one of the most eccentric dance companies in Brooklyn. Company XIV is known for their ostentatious costumes, raunchy choreography and taboo twists on old classics like Snow White and The Nutcracker. From former Limon dancers on trapeze swings to opera-singing pole dancers, this company has talents that, woven together through a familiar storyline, make for an exciting show.
Between rehearsing for the company's upcoming holiday season run of Nutcracker Rouge in their newly-renovated theater and his choreography work for the Metropolitan Opera, we caught up with artistic director Austin McCormick for our latest rendition of In The Studio.
Rebecca Krohn in Balanchine's Serenade. Photo by Paul Kolnik, Courtesy NYCB
This Saturday night, New York City Ballet principal Rebecca Krohn is performing for the last time, in Balanchine's Stravinsky Violin Concerto. After 19 years at the company, she's transitioning into a ballet master role. As she told Playbill, she's incredibly grateful for the coaching she's received during her career, and now she wants to give back to the next generation.
In a company filled with buzzed-about stars, Krohn can sometimes fly under the radar. But then you'll see her in certain roles—particularly in Balanchine's "leotard ballets" —and she'll completely win you over with her bright, charming presence. Here are a few of the reasons we're going to miss her.
