Sometimes, change happens all at once. Last year, The Juilliard School, one of the country's top conservatories for music, dance and drama, got not one new leader but three.
Damian Woetzel, a former star at New York City Ballet, took the reins as Juilliard's new president, the first in the institution's history to come from the field of dance. (The previous six have been musicians.) Evan Yionoulis was named director of drama. And Alicia Graf Mack, an exemplary dancer at both the Dance Theatre of Harlem and Alvin Ailey American Dance Theater, became Juilliard's incoming director of dance—the first African American, and, at 39, the youngest person to ever take up the position.
There's a delicious bit of mischief in everything Kolton Krouse does. He'll toss off some impossibly difficult sequence—a quintuple pirouette into a prolonged développé into an aerial, say—and end with an impish smile that's the stage equivalent of saying, "How good was that? And how much fun did I have doing it?"
I have always felt a need to communicate and, even more importantly, to be understood. But as a child, I always hit an emotional wall when trying to speak.
Although my great-aunt Rose had no connection to dance, she intuitively saw that I needed an outlet, and recommended that I take a movement class. It was literally life-changing. I realized I could make myself understood without my needing to be verbal.