Glenn Allen Sims and Linda Celeste Sims (here in Christopher Wheeldon's After the Rain) are couple goals both onstage and off. Photo by Paul Kolnik, Courtesy Alvin Ailey American Dance Theater
No matter how much anti–Valentine's Day sentiment I'm feeling in a given year, there's something about dancer couples that still makes me swoon. Here's a collection of wonderful posts from this year, but be warned: Continued scrolling is likely to give you a severe case of the warm fuzzies.
Kristin Damrow and Company's Allegra Bautiste. Photo by RJ Muna, Courtesy John Hill PR
If one of your New Year's resolutions was "See more dance" (and really, shouldn't that be everyone's?), never fear. We picked five shows certain to get 2019 off to a brilliant start.
Tiler Peck, Christopher Grant and Roman Mejia in Peck's choreographic debut: Lincoln Square. Photo by Erin Baiano, courtesy Vail Dance Festival
Last week, Dance Magazine's owner Frederic Seegal visited the Vail Dance Festival. He was so excited by what he saw there that he wanted to share with Dance Magazine readers a few of the highlights that made the biggest impression on him.
Having been fortunate enough to be on the board of New York City Center when Arlene Shuler introduced Fall for Dance in 2004, I never thought that I would see anything that could rival its inventiveness, assemblage of talent and audience enthusiasm. That is, until this week when I spent fours days at the Vail Dance Festival.
For us, Cornejo's lines will always be #goals. Photo by Lucas Chilczuk, courtesy Cornejo
Whenever World Cup season comes around, Herman Cornejo is as happy as a kid on Christmas morning.
"Since I joined ABT 20 years ago, every time there's a World Cup, we are also at the Met," says the American Ballet Theatre principal. "It's the biggest event in soccer happening simultaneously with being able to dance on the Met stage!"
Like most Argentinians, Cornejo grew up playing "the beautiful game," first with his dad when he was little, then more seriously at school from ages 10 to 14. He was a natural, playing forward because he loved scoring. "For me, it was quite easy," he says. "But my passion for dance was stronger, so I had to stop playing to prevent any injuries."
