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The Wonder Women of NYCB
The astonishing thing about the women of New York City Ballet is that even with the retirement of two of the company' most magnificent dancers, the bench of remarkable women is still deep. The six-week winter season that just ended brought this home to me.
Needless to say, I will miss Jenifer Ringer and Janie Taylor enormously. They are both pure poetry, Jenifer in her warmth and joy, and Janie in her mysterious coolness and waiflike sexuality. In the case of Ringer, we can hold onto her a little longer through her terrific book, Dancing Through It. And Taylor will be designing costumes for Tom Gold Dance and for Justin Peck’s upcoming premiere in May.
(Left) Jenifer Ringer in Alexei Ratmansky's Namouna; photo by Paul Kolnik, courtesy New York City Ballet. (Right) Janie Taylor in costume for Jerome Robbins' Afternoon of a Faun; photo by Matthew Karas for Dance Magazine.
But it takes only a few nights at the Koch Theater to realize the richness of the remaining top women. And these dancers are onstage a lot. Only the hardiest make it through a season without an injury.
Sara Mearns is a tour de force in Wheeldon’s DGV: Danse a Grande Vitesse. She has an intensity wherein her face and whole body bear down and you simply cannot turn away. But she can also be incredibly light in the floating lifts that Wheeldon has given this interesting ballet. In Balanchine's Union Jack she really does seem like she could command a whole fleet. In Balanchine’s Walpurgisnacht Ballet, she rips into her steps, especially in the finale when she (literally) lets her hair down. Whatever the role, Mearns charges the space around her with electricity.
Sara Mearns in costume for Wheeldon's DGV. Photo by Sarah Silver for Dance Magazine.
Ashley Bouder, another powerhouse, can rev up the heartbeat in Balanchine's Tarantella or Stars and Stripes. This season she seemed to take on a new luxuriousness in the premiere of Liam Scarlett’s Acheron (which I found more interesting on second viewing). In this clip of the Dance Magazine Awards from December, you can see her famously crisp ebullience in Square Dance.
Ashley Bouder in Tarantella. Photo by Paul Kolnik, courtesy New York City Ballet.
Sterling Hyltin is quickly expanding her range. As Spring in Robbins’ Four Seasons, partnered by the supremely classical Tyler Angle, she’s a warm breeze. And she brings a terrific kinetic edge to the zig-zag, stop-start rhythms in Peter Martins’ Calcium Light Night.
Sterling Hyltin in costume for Balanchine's Symphony in Three Movements. Photo by Nathan Sayers for Pointe magazine.
Maria Kowroski is super-strong and sharp in Mauro Bigonzetti’s Vespro, funny and goofy as the Girl in Green in Robbins' Dances at a Gathering. (I wish she had more opportunities to showcase her comedic prowess, which delighted audiences in Wheeldon’s Variations Sérieuses and Stroman’s Double Feature.) In the 2012 gala pieces that Peter Martins made in tribute to Valentino, she was the only dancer who looked naturally elegant in Valentino’s extravagant (and body-obscuring) gowns.
Maria Kowroski in Balanchine's Serenade. Photo by Paul Kolnik, courtesy New York City Ballet.
And Tiler Peck continues to be a paragon of virtues, both musically and dramatically. As the Pink Girl in Dances at a Gathering, she radiates humanity and tenderness. In Preljocaj’s premiere Spectral Evidence, she really made something of the questionable role of an accused witch. As Fall in The Four Seasons, she energizes the whole stage, ending the ballet on a high. And she made a stunning debut this season in the simple but celestial After the Rain duet by Wheeldon.
Tiler Peck in costume for Robbins' The Four Seasons. Photo by Matthew Karas for Dance Magazine.
The strength, power, and subtelty of NYCB’s women makes one eager for the next season—to begin April 29. And stay tuned for a blog on the up-and-coming women of NYCB from Margaret Fuhrer.
Choreographer Sergio Trujillo asked the women auditioning for ensemble roles in his newest musical to arrive in guys' clothing—"men's suits, or blazers and ties," he says. He wasn't being kinky or whimsical. The entire ensemble of Summer: The Donna Summer Musical is female, playing men and women interchangeably as they unfold the history of the chart-busting, Grammy-winning, indisputable Queen of Disco.
Have a scroll through Agnes Muljadi's Instagram feed (@artsyagnes), and you'll notice that in between her ballet shots is a curated mix of lifestyle pics. So what exactly sets her apart from the other influencers you follow? Muljadi has made a conscious effort to only feature natural beauty products, sustainable fashion and vegan foods. With over 500k followers, her social strategy (and commitment to making ethical choices) is clearly a hit. Ahead, learn why Muljadi switched to a vegan lifestyle, and the surprising way it's helped her dance career.
When I wrote about my struggle with depression, and eventual departure from dance because of it, I expected criticism. I was prepared to be challenged. But much to my relief, and horror, dancers from all over the world responded with support and stories of solidarity. The most critical response I saw was this one:
"Dance isn't for everyone."
This may as well be a mantra in the dance world. We have become entrenched in the Darwinian notion that the emotionally weak will be weeded out. There is no room for them anyway.
The #MeToo movement has made its way to France's biggest ballet company.
An anonymous survey recently leaked to the French press revealed major turbulence at the Paris Opéra Ballet. The Straits Times reports that the survey was conducted by an internal group representing POB's dancers. In it, there are numerous claims of bullying, sexual harassment and management issues.
Nearly all of the dancers (132 out of 154) answered the questionnaire, but they didn't know it would be made public. (Around 100 of them later signed a statement saying they didn't consent to its release.)
He may not be a household name, but you probably know Brandon Stirling Baker's work. The 30-year-old has designed the lighting for most of Justin Peck's ballets—including Heatscape for Miami City Ballet, and the edgy The Times Are Racing for New York City Ballet—but also Jamar Roberts' new Members Don't Get Weary at Alvin Ailey American Dance Theater and a trio of Martha Graham duets for L.A. Dance Project.
He's been fascinated by lighting ever since he attended a public performing arts middle school in Sherman Oaks, California, where he had his first experiences lighting shows. He also has a background in music (he plays guitar and bass) and in drawing. Both, he says, are central to the way he approaches lighting dance.
Update: Due to an overwhelming response, the in-person audition has been moved to a larger location to accommodate more dancers. See details below.
For the first time in more than 10 years, Janet Jackson is holding an open audition for dancers.
Even better? You could land a spot in her #JTribe simply by posting a video on social media.
What does it take to become an international superstar? Carlos Acosta might have a few ideas.
At the Oxford Literary Festival earlier this month, the BBC sat down with Acosta to ask for his life lessons. His answers—which he says he will pass on to his kids one day—give incredible insight into how he's become such a beloved worldwide success.
The ballet world will converge on San Francisco this month for San Francisco Ballet's Unbound: A Festival of New Works, a 17-day event featuring 12 world premieres, a symposium, original dance films and pop-up events.
"Ballet is going through changes," says artistic director Helgi Tomasson. "I thought, What would it be like to bring all these choreographers together in one place? Would I discover some trends in movement, or in how they are thinking?"
Several weeks ago, Youth America Grand Prix announced that the lineup for tonight's Stars of Today Meet the Stars of Tomorrow gala at Lincoln Center's Koch Theater would include Bolshoi Ballet principal Olga Smirnova and first soloist Jacopo Tissi. But an article in Page Six published last night states that Smirnova and Tissi were denied visas to enter the US.
YAGP organizers "believe the Department of Homeland Security's decision may be motivated by the myriad tensions between the superpowers," says the piece, noting that "Smirnova is so revered in Moscow that her treatment could create a Russian backlash."
Is it any surprise a world premiere by choreographer Uri Sands and musician Justin Vernon, both renowned for the profound beauty and gorgeous musicality of their work, immediately sold out? We're hungry for creative collaborations that take reflective deep dives into what constitutes our humanity—and then there's the undeniable cool factor. Nine members of TU Dance will perform alongside Bon Iver (Vernon's band) during the evening-length piece. Presented as part of the Saint Paul Chamber Orchestra's Liquid Music Series. April 19–21. The work will also appear at the Hollywood Bowl Aug. 5. tudance.org.