Janzen in a work in progress excerpt of Narcissus by Christopher Williams with costumes by Andrew Jordan at the Center for Ballet and the Arts. Photo by Xavier Cousense, courtesy Williams
There is no big mystery to why Russell Janzen is often cast in princely parts at New York City Ballet, roles like the cavalier in Diamonds and The Nutcracker, Siegfried in Swan Lake, and the man who partners the "first violin" in the slow movement of Concerto Barocco. His dancing is pristine, and he's tall enough for the tallest ballerinas; he's also handsome, and, most importantly, he's a generous and sensitive partner.
Which is not to say that Janzen is dull or recessive. You want to know what he's thinking whenever he's onstage; one of his greatest assets is an ability to draw you into his world, quietly, engrossingly. He always looks like he's acting out a story in his mind.
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.
NYCB's snow scene. Photo by Paul Kolnik, courtesy NYCB
As any good bunhead would tell you, for me, Nutcracker is a yearly tradition as old as leaving cookies out for Santa Claus. But this year, I got to experience it with fresh eyes by taking both my 35-year-old fiancé and my 5-year-old nephew for their first times.
I didn't plan on being a Nutcracker evangelist. But my fiancé Brent decided he really, really wanted to see it, and my mother decided that Nutcracker tickets were really what I should give my nephew Robbie for Christmas. So I found myself taking Brent with me to New York City Ballet, and Robbie to San Francisco Ballet while I was home for the holidays.
And experiencing it with them made me realize just how much those of us who've seen and performed Nutcracker dozens of time take for granted. Their reactions made me see the ballet in a whole new light:
While it's appalling that any male leader would use his power to humiliate women, the accusations against Peter Martins opens up a wonderful, rosy possibility. In an email conversation about Martins stepping down temporarily, a friend of mine wrote, "They won't hire a man in this climate."
I suddenly found myself getting giddy with the thought that a woman might lead New York City Ballet. I pictured a former NYCB principal coming in and calming the dancers down, respecting them, inspiring them, treating them like adults, listening to them and encouraging communication between all factions of the company.
Silas Farley as Cavalier in Nutcracker. Photo by Paul Kolnik, courtesy NYCB.
As dancers, we often talk about perfect feet, perfect turnout and the perfect execution of steps. We spend our days in diligent pursuit of the total mastery of our bodies. We seek to fully conquer space and time. We want our dance to be perfect, which is a powerful incarnation of our deeper human longing for personal perfection.
But in dance, as in life itself, there is no perfection in the sense of a state of flawlessness at which we can arrive. Our humanity keeps us from that.
However, there is always perfection in the sense of formation: the unending process of refinement. Incrementally progressing through sustained training and exploration is what gives the dance life its vitality. I believe that this process is for our good, because it provides us with the opportunity to cultivate devotional delight in the details of imperfect practice, to feed our need for discovery and to grow in humility.
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.
The first executive director in New York City Ballet's history is also the executive director of its home, the David H. Koch Theater. Which means Katherine E. Brown oversees a 141-person staff and an annual budget of about $90 million.
Under her leadership, NYCB has never been more accessible. It consistently puts out shareable videos and snapshots of the company's work to an online audience of more than a million, while partnerships with mainstream brands like Puma bring its otherworldly artists down to Earth.
"It's important we communicate how the company is forward-thinking, doing interesting things out there in the world, not just cloistered away at the theater," says Brown. "I'd like to think we're removing some of the obstacles people feel in accessing this art form, without affecting in any negative way the artistic vision of the company."
Imagine being a student at the School of American Ballet, looking up to the dancers at New York City Ballet and hoping to one day join their ranks. Then imagine teaching your choreography to those dancers, and watching them perform it at the company's fall fashion gala.