Three Principal Ballerinas Who are One with Their Role
How three ballerinas have deepened their approach to a career-defining role
Some ballerinas seem destined to embody certain roles. At her debut, there's a palpable buzz. Over a career, however, her interpretation begins to reflect her maturity and worldliness. A deepening occurs that doesn't lessen her former renditions, but that instead gives an audience—especially those lucky enough to follow the career arc—a delicious new experience. Here, three beloved ballerinas speak about the trajectory of their signature roles.
ALESSANDRA FERRI: JULIET
Photo by Rosalie O'Connor. Courtesy ABT.
When Alessandra Ferri made her debut as Juliet, she was 21. “At the time I was just a sheer force of nature," she says, laughing. “I don't recall it exactly, and if I did, I would be lying. But I remember exactly how I felt: It was like an explosion—everything blown out of me." The performance with The Royal Ballet at Covent Garden that night was an open “Promenade Evening," where audience members paid a pound for admission and often left chewing gum on the seats. But at the curtain calls, the crowd went wild.
When Ferri performed Juliet with American Ballet Theatre last summer, she was 53—and again, the crowd went wild.
No one would dispute that Juliet is a role that Ferri was born to dance, or, as she says, “It's the role of my soul." (She claims that no ballerina's interpretation influenced her; her Juliet is hers alone.) But over the last 32 years, Ferri's Juliet has evolved. Early in her career, she says, her approach “was super-instinctive, like a puppy." Over three decades, an emotional awareness and consciousness blossomed to deepen her character's involvement with the story, and that enabled her to bring more nuance to scenes such as the bedroom pas de deux. “Once I started having experiences that were happy or painful, I was looking at myself, and I was looking at the role," she says.
Photo Courtesy ABT.
No matter when she dances Juliet, she says, “that girl is made of fire." It's how the fire is handled that's different. “When you're young and naive you don't fear as much because you don't understand the repercussions," she says. “I think that is a very hard balance to find—the purity of feelings and also the curiosity of discovering your own woman. The older I got, the more I understood that." Ferri also discovered the power of stillness—simply being rather than doing.
Working with different partners—and there have been many: Wayne Eagling, Julio Bocca, Angel Corella and, most recently, Herman Cornejo—changes the onstage chemistry of the ballet. “There are people you feel an affinity with that is very clear and others which are more complicated," she explains. “I enjoy dancing this role with people who dance completely with their heart out, because I put the whole of myself there. I need that from a partner. I hate to be alone onstage."
One thing has remained constant in this role throughout her career: She hasn't tampered with the flighty girlish innocence of the opening nursery scene.
Juliet has become central to her in many ways. “It's part of me, part of my DNA," she says. “I know everything about that period, where the story takes place. I don't know why, but I imagine what the streets were like, I know the texture of the clothes, everything speaks to me about that role of Juliet." Once you open that door, she says, “the role becomes eternal."
YUAN YUAN TAN: GISELLE
John Neumeier's coaching in The Little Mermaid helped Tan make her mad scene feel more authentic. Photo by Erik Tomasson. Courtesy SFB.
The character of Giselle possesses a vulnerability and an ethereal essence that comes completely naturally to Yuan Yuan Tan. She has immersed herself in the character since she was 16, when she danced the second-act pas de deux at the Shanghai Dancing School and, later, at international ballet competitions as a teenager. “You are human in the first act, with a mad scene that is a test for your ability to act," says the San Francisco Ballet principal. “Then in the second act, you transform yourself into a Wili, which is technically very demanding because your dancing has to be as weightless as possible. It's hard to do, but this ballet gives me such joy."
The first time she danced the entire ballet, Tan was 23, coached by Helgi Tomasson in his production of Giselle. She had watched tapes of Natalia Makarova and Carla Fracci to absorb nuances of the port de bras and hands and the focus of the head and eyes. While technically strong in the ballet, Tan felt that her artistry came more slowly, even though she had opened herself up in the mad scene to the point where, she says, “I had real tears in my eyes, and I hope the audience did, too."
Photo Courtesy SFB.
Paradoxically, a watershed change in her Giselle interpretation came from dancing a 21st-century work: John Neumeier's The Little Mermaid. “That really opened my artistry a great deal," she says. Neumeier's coaching on his ballet based on Hans Christian Andersen's poignant story allowed her to root out Giselle's emotional core as both the earthly and the spectral Giselle. “He taught me how to tune in to my innermost feelings and dig deeper, rather than just act the part," she says. “That experience helped me in the mad scene in Giselle, where I was able to hone in on a mixture of emotions—from confusion to betrayal and anger to sadness—to become more than just a character in a story. I've made it an authentic experience for myself, thanks to John's coaching."
She sees similarities between the tragic mermaid and the unhinged Giselle. “In Act I of Giselle, you finish heartbroken," explains Tan. In the end, she says, “they are both stories of forgiveness."
Nevertheless, her Giselle's innocence in the beginning of the ballet has been consistent. “She is shy, vulnerable and happy and in love," she says. “That never changed."
Photo Courtesy SFB.
In October 2015, Tan danced Giselle in Beijing with SFB. “I think that was my best Giselle ever," she says. “Helgi also said that. I was proud and happy to dance in my country. The audience and the energy—that was different."
SARA MEARNS: ODETTE/ODILE
Photo Courtesy NYCB.
Tchaikovsky composed his music as if his life depended on it, and Sara Mearns dances Tchaikovsky with the same sense of urgency. “With Tchaikovsky it's very emotional and dramatic," says Mearns. “It's not small in any way, even in a quiet moment. Every moment means something. Tchaikovsky has a way of tapping into those really deep parts that enable you to let yourself go and let it all out."
That connection to Tchaikovsky, along with Mearns' obsession with a VHS tape of Natalia Makarova's Swan Lake performance with ABT in 1975, prepared her for a shot-out-of-a-cannon debut in New York City Ballet's Swan Lake in 2006. Even though the 19-year-old Mearns had never danced a soloist role with the company, Peter Martins wanted her to learn Odette/Odile three weeks before her scheduled matinee. Adding to the intensity, Mearns contracted a stomach flu the day before. “It was surreal, it was shocking," says Mearns. “I didn't really have any time to get nervous or freak out about it. Or even think about it."
After the performance Merrill Ashley, who had taught her the role, came backstage with tears in her eyes. “I thought, 'I guess I did a good job,' " recalls Mearns. “I was in a daze. I have vivid pictures in my mind of moments right after the show—it was kind of out-of-body, as if I was looking at it from above."
Photo Courtesy NYCB.
Still, from the roots of that auspicious debut, Mearns has wholeheartedly expanded her interpretation of the dual role. “I definitely approach steps differently, and some steps I emphasize more now. The in-between steps are much more important to me than the tricks—every gesture, every facial expression. I've done the fouettés many times, the solos, the codas, all of that. Everybody does that. But what else do you have to give to it? What comes after that?"
A Valentine's Day–weekend performance in 2011 proved to be a turning point in her portrayal. Mearns and her partner Jared Angle (she calls him her Swan Lake “soul mate") had weathered a marathon week of repertory ballets and the opening night of Swan Lake. For the Sunday performance, she says, “We couldn't see straight, we were so tired." She didn't think her way through the performance, but instead surrendered to her muscle memory and gut passion. “I never thought about a step, never thought about my turns, nothing," she says. “I believe that was the best show I've ever had in my career." The thunderous applause at the end reminded her of the ovation for Makarova on the videotape (which she still watches before every Swan Lake).
“What I learned from that is that it's a much bigger picture—it's not about the steps. It's about what you give emotionally and fully to your performance and the captivating moments at the end that everybody is waiting for." As Odile, Mearns thinks of a type of “vicious, puppet-like person who doesn't really have a soul," easily capable of betrayal. “I've brought it to a human level, and that's how I portray it," she says. “Whatever I've gone through—either that day or that year, or for the past 10 years—all goes into that performance."
It's the second week of Miami City Ballet School's Choreographic Intensive, and the students stand in a light-drenched studio watching as choreographer Durante Verzola sets a pas de trois. "Don't be afraid to look at the ceiling—look that high," Verzola shows one student as she holds an arabesque. "That gives so much more dimension to your dancing." Other students try the same movement from the sidelines.
When Arantxa Ochoa took over as MCB School's director of faculty and curriculum two years ago, she decided to add a second part to the summer intensive: five weeks focused on technique would be followed by a new two-week choreography session. The technique intensive is not a requirement, but students audition for both at the same time and many attend the two back-to-back.
On a summer afternoon at The Ailey School's studios, a group of students go through a sequence of Horton exercises, radiating concentration and strength as they tilt to one side, arms outstretched and leg parallel to the ground. Later, in a studio down the hall, a theater dance class rehearses a lively medley of Broadway show tunes. With giant smiles and bouncy energy, students run through steps to "The Nicest Kids in Town" from Hairspray.
"You gotta really scream!" teacher Judine Somerville calls out as they mime their excitement. "This is live theater!" They segue into the audition number from A Chorus Line, "I Hope I Get It," their expressions becoming purposeful and slightly nervous. "Center stage is wherever I am," Somerville tells them when the music stops, making them repeat the words back to her. "Take that wherever you go."
Dance artists, as a rule, are a resilient bunch. But working in a studio in New York City without heat or electricity in the middle of winter? That's not just crazy; it's unhealthy, and too much to ask of anyone.
Unfortunately, Brooklyn Studios for Dance hasn't had heat since mid-November, making it impossible for classes or performances to take place in the community-oriented center.
So what's a studio to do? Throw a massive dance party, of course.
A newly launched initiative hopes to change the face of ballet, both onstage and behind the scenes. Called "The Equity Project: Increasing the Presence of Blacks in Ballet," the three-year initiative, funded by the Andrew W. Mellon Foundation, is a partnership between Dance Theatre of Harlem, the International Association of Blacks in Dance and Dance/USA.
"We've seen huge amounts of change in the years since 1969, when Dance Theatre of Harlem was founded," says Virginia Johnson, artistic director of DTH. "But change is happening much too slowly, and it will continue to be too slow until we come to a little bit more of an awareness of what the underlying issues are and what needs to be done to address them."
As winter sets in, your muscles may feel tighter than they did in warmer weather. You're not imagining it: Cold weather can cause muscles to lose heat and contract, resulting in a more limited range of motion and muscle soreness or stiffness.
But dancers need their muscles to be supple and fresh, no matter the weather outside. Here's how to maintain your mobility during the colder months so your dancing isn't affected:
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From the outside, it seemed like the worst of New York City Ballet's problems were behind them last winter, when ballet master in chief Peter Martins retired amid accusations of abuse and sexual harassment, and an internal investigation did not substantiate those claims.
But further troubles were revealed in August when a scandal broke that led to dancer Chase Finlay's abrupt resignation and the firing of fellow principals Amar Ramasar and Zachary Catazaro. All three were accused of "inappropriate communications" and violating "norms of conduct."
The artistic director sets the tone for a dance company and leads by example. But regardless of whether Martins, and George Balanchine before him, established a healthy organization, the issues at NYCB bespeak an industry-wide problem, says Jawole Willa Jo Zollar, founding artistic director of Urban Bush Women. "From New York City Ballet to emerging artists, we've just done what's been handed down," she observes. "That has not necessarily led to great practices."
If you've ever wondered what goes on behind the scenes at Dance Magazine, now's your chance to find out. Dance Magazine is seeking an editorial intern who's equally passionate about dance and journalism.
Through March 1, we are accepting applications for a summer intern to assist our staff onsite in New York City from June to August. The internship includes an hourly stipend and requires a minimum two-day-a-week commitment. (We do not provide assistance securing housing.)
For the past few months, the dance world has been holding its collective breath, waiting for New York City Ballet to announce who will take over the helm as artistic director.
Though former ballet master in chief Peter Martins retired over a year ago after accusations of sexual harassment and abuse (an internal investigation did not corroborate the accusations), the search for a new leader didn't begin until last May.
Nine months later, the new director's name could be released any day now. And we have some theories about who it might be:
Some people take this profession as just a chapter of their life. They feel like dance is a job—a fun job, but a job. Other people live their life through dance. I never considered being a ballerina a profession. It's a lifestyle.
If I don't have a performance, I feel like a tiger trapped in a cage. I have so many emotions, I feel I need to give them to somebody, to exhaust myself—I need to cry or laugh, or else it's suffocating. Other people might scream or throw bottles into the wall. We dancers scream onstage through our movement. For me, it's like sweeping off the dust in my soul.
Back in 2011, Yale University's dean of science was thinking about refreshing the program's offerings for non-majors when he happened upon a Pilobolus performance. A light bulb went off: Dance is full of physics.
That realization led to what has become an eight-year collaboration between particle physicist Sarah Demers and former New York City Ballet dancer Emily Coates, both professors at Yale who were brought together to co-teach a course called The Physics of Dance. Their partnership has involved everything from directing a short film to presenting a TedX Talk and performing a piece that Coates created, commissioned by Danspace Project. This month, they're publishing a book about what they've discovered by dialoging across two seemingly disparate disciplines.
Sebastian Abarbanell remembers being asked as an undergrad at Trinity Laban in London to perform wearing only a dance belt. "I said no," he says, "because I felt uncomfortable." Now a performer with Sidra Bell Dance New York, he's performed partially nude several times, without reservation. The difference? "It comes with more experience and maturing as a dancer," he says. "When you see a dancer living in their skin, you don't need to put anything else on them. When I said no in college, I wasn't in my skin yet."
Getting in your skin—and getting comfortable wearing only your skin onstage—requires a particular alchemy of vulnerability, agency, preparation and practice.
Birmingham Royal Ballet announced today that international star Carlos Acosta will be taking over as director in January of 2020. Current BRB director David Bintley will be stepping down this summer, at the end of the company's 2019 season, after a 24-year tenure. "It is a tremendous honor and privilege to have been appointed to lead Birmingham Royal Ballet," Acosta said in a statement.
Since retiring from The Royal Ballet in 2015, Acosta has focused much of his attention on his native Cuba, where he's proven his directorial abilities at the helm of Acosta Danza, the contemporary company that he founded in 2016. In 2017 Acosta also opened his first Dance Academy through his foundation, which provides free training to students. We don't yet know how Acosta will balance his time between his projects in Cuba and his new role at BRB.
Though Polunin has long had a reputation for behaving inappropriately, in the last month his posts have been somewhat unhinged. In one, Polunin, who is Ukrainian, shows off his new tattoo of Vladimir Putin:
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.
Just before retiring in 2015, Sylvie Guillem appeared on "HARDtalk with Zeinab Badawi," the BBC's hard-hitting interview program. Badawi told Guillem,
"Clement Crisp of the Financial Times, 14 years ago, described your dancing as vulgar."
"Yeah, well, he said that. But at the same time, when they asked Margot Fonteyn what she thought about lifting the leg like this she said, 'Well, if I could have done it, I would have done it.' "
They were discussing Guillem's signature stroke—her 180-degree leg extension à la seconde. Ballet legs had often flashed about in the higher zones between 135 and 160 degrees before. But it wasn't until the virtuoso French ballerina regularly
extended her leg beside her ear with immaculate poise in the 1980s that leg extensions for ballet dancers in classical roles reached their zenith. Traditionalists like Clement Crisp were not taken with it.
My personal life has taken a nosedive since I broke up with my boyfriend. He's in the same show and is now dating one of my colleagues. It's heartbreaking to see them together, and I'm determined never to date a fellow dancer again. But it's challenging to find someone outside, as I practically live in the theater. Do you have any advice?
—Loveless, New York, NY
The inimitable Carol Channing, best known for her role as the titular Hello, Dolly!, passed away today at 97.
Though she became a three-time Tony winner, Channing was born in Seattle, far from the Great White Way, in 1921. After growing up in San Francisco, she attended the famed Bennington College, studying dance and drama. She later told the university, "What Bennington allows you to do is develop the thing you're going to do anyway, over everybody's dead body." For Channing, that meant decades of fiery, comical performances, bursting with energy.
Something's coming, I don't know when
But it's soon...maybe tonight?
Those iconic lyrics have basically been our #mood ever since we first heard a remake of the West Side Story film, directed by Steven Spielberg and choreographed by Justin Peck, was in the works. THE CASTING. THE CASTING WAS COMING.
Well, last night—after an extensive search process that focused on finding the best actors within the Puerto Rican/Latinx community—the WSS team finally revealed who'll be playing Maria, Anita, Bernardo, and Chino (joining Ansel Elgort, who was cast as Tony last fall). And you guys: It is a truly epic group.
Rehearsal is in full swing, and Leta Biasucci, Pacific Northwest Ballet's newest principal dancer, finds herself in unfamiliar territory. Biasucci is always game for a challenge, but choreographer Kyle Davis wants her to lift fellow dancer Clara Ruf Maldonado. Repeatedly. While she's known for her technical prowess, lifting another dancer off the floor is a bit daunting for Biasucci, who stands all of 5' 3". She eyes Maldonado skeptically, then breaks into a grin.
"It's absolutely given me a new appreciation for the partner standing behind me!" Biasucci says with a laugh.
Looking at Biasucci, 29, with her wide smile and eager curiosity, you think you see the quintessential extrovert. In reality, she's anything but. "I was an introverted kid," Biasucci says. "That's part of the reason I fell in love with dance—I didn't have to be talkative."
It's only one of the seeming contradictions in Biasucci's life: She's a short, muscular ballerina in a company known for its fleet of tall, long-legged women; she's also most comfortable with classical ballet, while taking on a growing repertoire of contemporary work.
Sergei Polunin, whose recent homophobic and sexist Instagram posts have sparked international outrage, will not be appearing with the Paris Opéra Ballet as previously announced.
POB artistic director Aurélie Dupont sent an internal email to company staff and dancers on Sunday, explaining that she did not share Polunin's values and that the Russian-based dancer would not be guesting with the company during the upcoming run of Rudolf Nureyev's Swan Lake in February.
Before spending a summer at Los Angeles Ballet School, Lillian Glasscock had never learned a Balanchine variation. "The stylistic differences, like preparing for a pirouette with a straight back leg, were at first very challenging," says Glasscock, 17. "But it soon got easier."
Los Angeles Ballet company members were in class daily, motivating and inspiring her. Trying out a new style and expanding her repertoire gave Glasscock more strength, and a better understanding of the varied demands of ballet companies today. Months later, the Balanchine variations she learned are now personal favorites.
While the early years of training are typically spent diligently working through the syllabus of a single ballet technique, when you start to prepare for a professional career, versatility is key. There isn't just one correct version of each step. And as ballet companies continue to diversify their repertoires, directors need dancers who can move fluidly between an array of styles.