The Rebirth of David Hallberg
David Hallberg almost quit dancing two years ago. The international ballet star, whose talent and drive had made him the first American to join the Bolshoi Ballet as a principal dancer, was struggling after a 2014 ankle surgery to repair a frayed deltoid ligament. A resulting mass of scar tissue ultimately required a second surgery. Impingements and Achilles tendinopathy hounded him, making it nearly impossible to plié, as he pushed to get back into the studio.
Meanwhile, he was fielding promising offers to direct companies and curate festivals. Unsure of himself, the American Ballet Theatre principal sought advice from ABT artistic director Kevin McKenzie: Was it time to retire and move on to a leadership role, or was it worth giving his recovery another shot?
"He was injured and wasn't back on top of the world yet, but it also seemed to me that he was splitting his focus, trying to manage a dancing career on pause when his rehab needed 110 percent," says McKenzie. "If he wanted to direct, he should direct, but if he wanted to dance, he should drop all else and dance." McKenzie urged Hallberg not to let the injury decide the end for him, cautioning that it's best to make career decisions from a place of good health.
The advice resonated. Hallberg reached out to a close friend, Australian Ballet dancer Brooke Lockett, to see if she could talk to AB's principal physiotherapist Sue Mayes about his situation. In his time guesting with AB, he'd observed its premier rehab team in action. "I ended up sending Sue this long email detailing what had gone wrong," says Hallberg. "It was a very strong note, along the lines of 'Save me or I will retire.' " Mayes conferred with AB artistic director David McAllister and wrote back, "How soon can you be here?"
Hallberg booked a one-way ticket to Melbourne, with no sense that it would be 14 months before he returned.
"Sue was always confident we could get David back onstage," says McAllister. "But this was a big responsibility for us to take on because he is a bloody megastar. He basically had to rethink everything he did, which is weird for such a natural dancer. A lot of dancers would not be able to cope, but David never wavered."
An earlier era: rehearsing Sleeping Beauty with Australian Ballet's Amber Scott. Photo by Kate Longley, courtesy AB.
Hallberg let those close to him know he wouldn't be in touch for a while. He needed to create a cocoon for himself. He didn't take calls or answer emails. He vanished from his high-profile social media accounts. He even shaved his head. "I just took it all off," says Hallberg. "It was symbolic. A way of letting go of the past and what had happened to me."
The reckoning that comes with outsider status is not new to Hallberg. At pivotal times in his career—when he left his Phoenix, Arizona, home at 18 to train for a lonely year at the Paris Opéra Ballet School; while dancing with the Bolshoi and eating dinner by himself at night—Hallberg has found a sort of solace, and perhaps even a periodic necessity, in the personal growth that comes with being a stranger in a strange land.
In Melbourne, the team got to work immediately. AB's medical department is integrated into the artistic staff and they meet frequently to maintain the health of the dancers. Hallberg's care began with an evaluation determining that before anything else, he needed to regain strength—and be allowed to progress with an open-ended timeline.
"When he arrived he looked really worried and stressed," says Mayes. "I think the most crucial thing we gave him was hope." Beyond traditional manual therapy, Mayes set short-term goals, measuring all those small achievements so that Hallberg could have proof he was steadily getting better. All the while, Mayes educated him about the structural changes in his body and his brain's response to pain.
"When you have been off for so long, your pain threshold drops, so much of your brain is focused on pain," explains Mayes. "It was important he understand that what he was feeling was exaggerated. He had built up so much fear about the damage, and fear exacerbates symptoms, adding to the dysfunction."
Hallberg began working with conditioning specialist Paula Baird-Colt five days a week, twice a day. He remained committed to the intense mental focus it required and the daily rigors—like bounding up and down flights of stairs to the steady beat of a metronome—even when he didn't fully believe it would work.
"The team told me for months I was getting back, but I had lost that sense of positivity with the complications of past rehabs," says Hallberg. "Yet some part of me knew I just had to keep going."
It took nearly four months before he returned to the studio and began the painstaking work of reconstructing his technique, focusing on details of alignment, breath, controlling hyperextension and transferring weight.
"He had to learn to jump from his hips instead of his feet and find his power coming from a different place," says AB ballet mistress and rehabilitation specialist Megan Connelly. They would begin with relevés facing the barre and would only move on to sautés if Hallberg could feel the connection they were after.
The work was more than just physically taxing. "Technique is tied to identity and self-esteem," says Connelly. "What that leg or foot means to him, now we are saying we need to fix that tendu."
Along the way, the realization that the show still goes on without him, that he wasn't physically invincible, affected Hallberg profoundly. "I don't feel like my old self at all. I feel weathered, more textured. I feel like I have lived seven lives in this career already," says Hallberg. "Now I am so deeply appreciative that I can run onstage to the music of Albrecht's entrance. I feel like my whole reason for being is so crystalized now from this time away."
As Mayes promised, Hallberg eventually became the master of his own body again. After making his formal return to the stage as Franz in AB's Coppélia, Hallberg will now return to the company at least once a year as its first international resident guest artist.
Though it is still early, McKenzie has already seen Hallberg's renewed confidence in his first performances with ABT in Alexei Ratmansky's Whipped Cream. "David's story is one of the most severe against-all-odds-pulling-it-back-together I have ever witnessed," says McKenzie. "You have to stand in deep respect and awe of the want, need, ability and discipline to make something like this happen."
For Hallberg, along with his renewed technique and rekindled love for dance has come an immense gratitude. "Before my first performance of Coppélia, I wasn't fearful—even though I hadn't been onstage two and a half years—because I could not have prepared more than I did. The AB team put every single element in front of me before I went out there, including a practice show with an invited audience, lights and costumes," says Hallberg. "I'd worked hard for shows before, but it wasn't quite like this, where I felt 'It isn't up to me; it is up to the universe.' "
Walking offstage after the curtain call the night of his return, he stopped in the wings and looked back at the empty stage. "I clasped my hands and closed my eyes and bowed," he says. "It was a gut reaction. I don't pray, but I was so grateful to the stage for allowing me to be on it again. I didn't need to see a video of the performance, and I knew I still had so much growing to do to get my stage legs back, but in that moment, it didn't matter. All I could do was show my deepest gratitude."
These days, you don't have to be in the circus to learn how to fly. Aerial dance has grown in popularity in recent years, blending modern dance and circus traditions and enlisting the help of trapeze, silks, hammocks, lyra and cube for shows that push both viewers and performers past their comfort zones.
More dancers are learning aerial than ever before. Besides adding new skills to your resumé, becoming an aerialist opens up a new realm of possibilities.
Alicia Alonso's famed ballet company in Cuba has a new leader: the beloved hometown prima ballerina Viengsay Valdés.
Ballet Nacional of Cuba just named Valdés deputy artistic director, which means she will immediately assume the daily responsibilities of running the company. Alonso, 98, will retain the title of general director, but in practice, Valdés will be the one making all the artistic decisions.
I'm terrified of performing choreography that changes directions. I messed up last year when the stage lights caused me to become disoriented. What can I do to prevent this from happening again? I can perform the combination just fine in the studio with the mirror.
—Scared, San Francisco, CA
From the angles of your feet to the size of your head, it can sometimes seem like there is no part of a dancer's body that is not under scrutiny. It's easy to get obsessed when you are constantly in front of a mirror, trying to fit a mold.
Yet the traditional ideals seem to be exploding every day. "The days of carbon-copy dancers are over," says BalletX dancer Caili Quan. "Only when you're confident in your own body can you start truly working with what you have."
While the striving may never end, there can be unexpected benefits to what you may think of as your "imperfections."
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.
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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.
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:
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."
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.
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.
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:
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.
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.
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.