Three More NYCB Stars are Headed to Broadway
The connections between New York City Ballet and Broadway go way back—choreography by Jerome Robbins and George Balanchine frequently found its way onto Broadway stages, from West Side Story to the Slaughter on Tenth Avenue number in On Your Toes. Today, principal Robert Fairchild is currently headlining the West End production of An American in Paris, while soloist Georgina Pazcoguin has been on a leave of absence this past year to play Victoria in the Broadway revival of CATS.
When the just-announced revival of the Rodgers & Hammerstein classic Carousel opens on Broadway in March 2018, we'll be adding three more names to the list: Justin Peck has been brought on to choreograph the production, while Amar Ramasar and Brittany Pollack have been cast in key roles.
According to The New York Times, Peck's work will be based on Agnes de Mille's choreography for the original 1945 production (her second Rodgers & Hammerstein collaboration, after Oklahoma!). However, he believes this version "will be an even more dance-and-movement focused production."
This isn't the first time that Peck has followed in de Mille's footsteps. His 2015 Rodeo: Four Dance Episodes took Aaron Copland's score for de Mille's famous dramatic ballet and reinterpreted it as a semi-abstract contemporary work.
Ramasar is set to play Jigger, a ruffian who incites the male lead, Billy Bigelow, to assist him with a dangerous robbery. Pollack will portray Louise, Bigelow's daughter. Ramasar might be playing the exact opposite of the joyful guy we're used to seeing onstage at NYCB, but Pollack will have loads of dancing to do if de Mille's original choreography is anything to go by, which featured an extended ballet sequence starring Pollack's character.
As Peck's recent The Times are Racing for NYCB proved, the young choreographer still has quite a few tricks up his sleeve in terms of stylistic range—and really, it was probably only a matter of time before the Great White Way came calling. We can't wait.
More than once, when I'm sporting my faded, well-loved ballet hoodie, some slight variation of this conversation ensues:
"Is your daughter the dancer?"
"Actually," I say, "I am."
"Wow!" they enthuse. "Who do you dance with? Or have you retired...?"
"I don't dance with a company. I'm not a professional. I just take classes."
Insert mic drop/record scratch/quizzical looks.
You nominated your favorite dance moments so far in 2019, and we narrowed them down to this list. Now it's time to cast your vote to help decide who will be deemed our Readers' Choice picks for the year!
Voting is open until September 17th. Only one vote per person will be counted.
Just four years ago, the University of Southern California's Glorya Kaufman School of Dance welcomed its first class of BFA students. The program—which boasts world-class faculty and a revolutionary approach to training focused on collaboration and hybridity—immediately established itself as one of the country's most prestigious and most innovative.
Now, the first graduating class is entering the dance field. Here, six of the 33 graduates share what they're doing post-grad, what made their experience at USC Kaufman so meaningful and how it prepared them for their next steps:
The 2019–20 season is here, and with it more performances than any one person could reasonably catch. But fear not: We polled our writers and editors and selected the 31 most promising tickets, adding up to one endlessly intriguing year of dance.