Barak Marshall's Monger, which appears at the Walking Distance Dance Festival this month. Photo by Rose Eichenbaum, Courtesy John Hill PR
A Broadway luminary and a postmodern darling bring their talents to ballet, a music video maven turns to the concert stage, and a contemporary choreographer gets soulful with Aretha Franklin. Our editors' must-sees this May are all about the unexpected.
Photo by Karolina Kuras, Courtesy English National Ballet
In the six years since taking over as artistic director at English National Ballet, Tamara Rojo, 44, has been lauded for revitalizing the company. She has presented classics danced with gusto alongside contemporary commissions, including a radical reworking of Giselle by contemporary/kathak choreographer Akram Khan, setting the story in a community of migrant factory workers. ENB brings Khan's Giselle to Chicago's Harris Theater, Feb. 28–March 2, the company's first trip to the U.S. in 30 years.
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.
Dance Magazine's December 2018 cover girl: Adji Cissoko. Photographed by Jayme Thornton
Adji Cissoko has the alchemical blend of willowy limbs and earthy musicality you expect from a dancer in Alonzo King LINES Ballet. But she also has something more—a joy in dancing that makes every step feel immediate.
"She has this soulful quality of an ancient spirit coming through her body," says LINES chief executive officer Muriel Maffre, a former prima ballerina with San Francisco Ballet. "She's fearless, which is fun to work with," says artistic director Alonzo King. "I don't know how to put it into words— she's herself."
"Off Kilter" has real dancers playing dancers. Still courtesy CBC Arts.
"It just...always looks better in my head."
While that might not be something any of us would want to hear from a choreographer, it's a brilliant introduction to "Off Kilter" and the odd, insecure character at its center, Milton Frank. The ballet mockumentary (think "The Office" or "Parks and Recreation," but with pointe shoes) follows Frank (dancer-turned-filmmaker Alejandro Alvarez Cadilla) as he comes back to the studio to try his hand at choreographing for the first time since a plagiarism scandal derailed his fledgling career back in the '90s.
Evan McKie with Tanya Howard rehearsing Genus. Photo by Karolina Kuras
As a kid, I often had trouble getting any words out the way I really wanted to. I developed a fantasy where I could find each character from each story I read within myself, and use them to communicate. I was always "Evan," but embodying different characters broadened the way I could connect with people. I felt that each character was like an instrument and that communicating effectively required the whole orchestra.
Then, when I was 8, I saw John Cranko's Onegin. I hadn't known that dance could develop characters in a way that would resonate so strongly. It was the first ballet that made me want to dive into this life of expressing the human condition through the body. The role of Onegin ended up following me through my career, and it taught me to rely on my humanness.
It's tricky to recognize Alejandro Alvarez Cadilla in the latest character he's written for himself. The fictional Milton Frank—star of the new mockumentary series "Off Kilter"—is a moody choreographer whose tender ego is easily bruised as he attempts to revive his floundering career. Cadilla, on the other hand, is down-to-earth and humble; the actor/filmmaker loves to chat about his family and is clearly more comfortable raving about his colleagues' successes than turning the spotlight on his own. But Milton Frank isn't something Cadilla pulled out of thin air—the character comes from everything Cadilla experienced during his many years as a dancer.
Tiler Peck and Joaquin De Luz in Dances at a Gathering. Photo by Paul Kolnik, courtesy NYCB
All dancers work hard to hone technical skills and master thrilling moves. Musical dancers, however, offer something more. Their daring play with rhythm and their completely present reactions to the score make for bold performances that are mesmerizing to watch.
But how can performers learn to let music drive the dance? We asked some of today's most musical dancers how they do it.
Xiao Nan Yu in rehearsal for A Month In The Country. Photo by Bruce Zinger, courtesy National Ballet of Canada
What does it take to sustain a 20-year ballet career? The luminous principal dancer Xiao Nan Yu, who just marked two decades with National Ballet of Canada, shares how she's kept her body strong for long-term success:
To hear the screaming throngs of teenagers, you might think this was a Beatles concert in 1964. But no, it's dance students from all over the world joining together for the Youth America Grand Prix's gala at Lincoln Center, excited to see some of the greatest stars in dance today. Their rafter-shaking enthusiasm was heartening to hear, as they will no doubt become the performers, teachers, donors and audiences of tomorrow.
Actually, every single dance was a "best moment." In the first half of the YAGP gala, dubbed the "Stars of Tomorrow," 11 young dancers from the United States, Argentina, Portugal, Czech Republic, Japan and China displayed their outsized talents in solo variations. The young audience responded to the astounding turns and jumps that kept coming and coming.
Tiler Peck and Zachary Catazaro in Wheeldon's "Carousel," all photos Siggul/VAM
What makes a ballet truly Canadian? Sprinkle in a some lumberjacks, says Will Tuckett. That's just one of the many details we're loving about the brand-new production of Pinocchio that the British choreographer is creating at the National Ballet of Canada. Though it doesn't open until March 11, the company has offered several glimpses into the creative process with an ongoing video series. Check out Episode 2 below, which lets you be a fly on the wall during rehearsal. First soloist Skylar Campbell's movement as Pinocchio isn't what you'd expect to see in a ballet—he's all angles and no flow, but then again he's a puppet. This is one time we actually prefer a dancer's movement to be wooden, at least until hebecomes a real boy.
National Ballet of Canada dancers took barre in a very unusual location earlier this week: Toronto's Union Station.
Principal Heather Ogden led a group of company members through typical combinations to the delight of several surprised commuters. The event celebrated the Toronto Transit Commission's We Move You ad campaign, which features photos and videos of NBoC members dancing in various trains, buses and stations around the city.
The campaign ran into a surprising controversy last month. The group Body Confidence Canada criticized the ads for not representing ordinary commuters. An online statement complained that the images "perpetuate unrealistic and highly regimented bodies as some sort of an ideal of 'beauty' " and that "the body type of most ballet dancers do not adequately represent those of most Canadians and dare we say most TTC users."
TTC spokesman Stuart Green pointed out to The Toronto Star that no one's ever had a problem when the organization has used athletes from major sports teams in its ads. Those body types don't exactly represent most Canadians, either. Neither do the unrealistic images of actors and models that surround us every day in all sorts of advertising and media.
Principal Naoya Ebe
But it seems the stereotype of skinny dancers makes them a target. Of course, ballet has a history of not exactly being open to diverse bodies. Still, it seems odd to object to celebrating what highly-trained dancers can do simply because their bodies don't reflect the general population. Obviously, depicting what's ordinary or everyday was not the aim of this campaign. (I, for one, would be much more excited about taking the subway if this was regularly happening on my way to work.)
Although the underground barre event had already been planned before the controversy erupted, hopefully it opened a few commuters' minds. Seeing some of what goes into creating a dancer's physique by watching an up-close-and-personal barre can be an eye-opening experience for non-dancers. Maybe, rather than being offended by the dancers' shapes, Torontonians were inspired by their abilities.