It can be hard to imagine life without—or just after—dance. Perhaps that's why we find it so fascinating to hear what our favorite dancers think they'd be doing if they weren't performing for a living.
We've been asking stars about the alternate career they'd like to try in our "Spotlight" Q&A series, and their answers—from the unexpected to the predictable—do not disappoint:
Derrick Agnoletti feels non-ranked companies challenge dancers to be more versatile. Photo by Cheryl Mann, courtesy The Joffrey Ballet
Over eight years, Sasha Mukhamedov rose through Dutch National Ballet to become a principal dancer in 2016. Of its ranks—aspirant, élève, corps de ballet, coryphée, grand sujet, soloist and principal—she skipped élève and grand sujet along the way. "In having these levels, if you feel you've done well and your director is happy and promotes you, it gives you this motivational push knowing you made it one step closer to what you've dreamed of," she says.
Many large European ballet companies have preserved the traditional multi-runged ladder of rankings, which originated with the Paris Opéra Ballet. (DNB dropped the aspirant level in 2013 with the addition of its second company.) Others, like The Royal Ballet, the Bolshoi Ballet, Dresden Semperoper Ballet, the Mariinsky Ballet and English National Ballet retain at least five levels.
Photo credits, clockwise from bottom left: Peter Mueller, Courtesy Cincinnati Ballet; Jayme Thornton; Jochen Viehoff, Courtesy Stephanie Troyak; Karolina Kuras, Courtesy National Ballet of Canada; Natasha Razina, Courtesy State Academic Mariinsky Theatre; Kim Kenney, Courtesy Atlanta Ballet; Jim Lafferty; Arian Molina Soca, Courtesy Pennsylvania Ballet; Altin Kaftira, Courtesy Dutch National Ballet; Scott Shaw, Courtesy Shamar Wayne Watt
What's next for the dance world? Our annual list of the dancers, choreographers and companies that are on the verge of skyrocketing has a pretty excellent track record of answering that question.
Here they are: the 25 up-and-coming artists we believe represent the future of our field.
Royal Winnipeg Ballet revived Lila York's adaptation of Margaret Atwood's The Handmaid's Tale earlier this month. Photo by David Cooper, Courtesy RWB
When American Ballet Theatre announced yesterday that it would be adding Jane Eyre to its stable of narrative full-lengths, the English nerds in the DM offices (read: most of us) got pretty excited. Cathy Marston's adaptation of Charlotte Brontë's classic novel was created for England's Northern Ballet in 2016, and, based on the clips that have made their way online, it seems like a perfect fit for ABT's Met Opera season.
It also got us thinking about what other classic novels we'd love to see adapted into ballets—but then we realized just how many there already are. From Russian epics to beloved children's books, here are 10 of our favorites that have already made the leap from page to stage. (Special shoutout to Northern Ballet, the undisputed MVP of turning literature into live performance.)
Northern Ballet in David Nixon's The Great Gatsby (F. Scott Fitzgerald)
Star-crossed lovers? Check. Wild party scenes? Check. The 1920s aesthetic is just bonus.
Dutch National Ballet in John Cranko's Onegin (Alexander Pushkin)
It's a novel in verse, but it still counts! Cranko's pas de deux work vividly paints the emotional turmoil of Pushkin's characters, such as this sequence in which Tatiana imagines being loved by the haughty Onegin.
The Royal Ballet in Liam Scarlett's Frankenstein (Mary Shelley)
It's spooky, it's sensational, it's a deep meditation on the nature of humanity—oh, and it's alive.
Northern Ballet in David Nixon's The Three Musketeers (Alexandre Dumas)
All for one and one for all! (And we're all in for this epic fight choreography the dancers took to a famous Abbey in their hometown of Leeds, England.)
Charlotte Ballet in Sasha Janes' Wuthering Heights (Emily Brontë)
The Brontë sisters had a knack for writing complex, tempestuous relationships—great fodder for pas de deux like this one.
The Washington Ballet in Septime Webre's Peter Pan (J. M. Barrie)
Sword-fighting, pirates, pixie dust and a ticking crocodile? This one simply flies off the page.
Hamburg Ballet in John Neumeier's Anna Karenina (Leo Tolstoy)
Some would argue that Tolstoy's epic is the greatest literature ever written, but you can't argue with the fact that the titular heroine is a deliciously complex character to tackle.
The Royal Ballet in Christopher Wheeldon's Alice's Adventures in Wonderland (Lewis Carroll)
Why is a raven like a writing desk? We still might not know the answer to Carroll's riddle, but we do know that Wheeldon's blockbuster production is so full of incredible moments (like Steven McRae stealing the show as a tap-dancing Mad Hatter) that we had trouble narrowing it down.
Atlanta Ballet in Michael Pink's Dracula (Bram Stoker)
There's a reason it seemed at one point like every ballet company in America had a production of Dracula in its repertoire.
Northern Ballet in Jonathan Watkins' 1984 (George Orwell)
Just in case the dystopian nightmare conjured by Orwell wasn't vivid enough in your own imagination.