Yuka Oba, Ednis Ariel Gomez Mallol and Connie Flachs in Swing by Olivier Wevers. Photo by Ryan Jackson, courtesy Flachs
"I'm sorry, but I just can't possibly give you the amount of money you're asking for."
My heart sinks at my director's final response to my salary proposal. She insists it's not me or my work, there is just no money in the budget. My disappointment grows when handed the calendar for Grand Rapids Ballet's next season with five fewer weeks of work.
Christine Cox and Matthew Neenan with BalletX dancers at Jacob's Pillow. Photo via Instagram
It takes an excellent leader to run a dance company. But Christine Cox, executive and artistic director of Philadelphia's BalletX, knows that it's not only hard work that distinguishes a leader.
Cox started BalletX with Matthew Neenan in 2005, using fellow Pennsylvania Ballet dancers during their summer layoff to populate a startup contemporary ballet troupe. Fast forward 12 years, and BalletX is opening a new $1 million building next month: The Center for World Premiere Choreography. It will not only serve as a home base for BalletX classes and rehearsals, but will also play host to choreographic residencies and community outreach.
Now the sole director of the company, Cox has learned invaluable lessons along the way. Here are seven tips she shares for new and aspiring directors-to-be.
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.
2017 felt like we were living the Upside Down of the popular Netflix series "Stranger Things." From Donald Trump becoming president, to the sexual harassment scandals that ricocheted into the ballet world, everything we thought we knew was turned on its head.
Yet while the deconstruction of institutional paradigms is frightening, it also presents an unprecedented opportunity for redesign.
Ballet, much like our political parties, seems to be stuck in an antiquated format that's long overdue for a makeover. With the world changing at lightning speed, if ballet wants to survive it will have to undergo a radical reimagining. But what would that look like?
Janie Taylor didn't know if she'd ever return to the stage. But that's exactly where the former New York City Ballet principal has found herself: Nearly three years after retiring, she is performing again, as a member of L.A. Dance Project.
Taylor officially debuted with the company at its December 2016 gala in Los Angeles, then performed in Boston, via live stream from Marfa, Texas, and at New York's Joyce Theater before heading off on tour dates in France, Singapore, Dubai and beyond.
"She is wildly interesting to watch—and not conventional," says LADP artistic director Benjamin Millepied. "There are films of Suzanne Farrell dancing, where you feel like the music is coming out of her body," he says. "I think Janie has that same kind of quality."