Rudolf Nureyev. Courtesy Spotlight Cinema Networks.
What's better than one film about Rudolf Nureyev? Two films about Rudolf Nureyev!
We're excited to share that a feature-length documentary titled Nureyevis slated to make its North American premiere next month. Nureyev will be shown in major U.S. cities starting April 19, giving you just enough time time to brush up on your Nureyev history before the Ralph Fiennes directed biopic, The White Crow, hits U.S. theaters on April 26.
Ruediger Landmann in class at Queensland Ballet. Jason Starr, Courtesy Queensland Ballet.
Last month, dance writer Siobhan Burke tipped us off in Danceletter, her bi-weekly newsletter, to the fact that a ballet emoji was in the works, and we couldn't wait to share the news with you. Since then, we've gleaned a bit more information, and are now glad to let you know that the "pink loafer with ribbons" image that created an outcry from bunheads worldwide is NOT what the emoji will actually look like. Thankfully, the author of the proposal, Ruediger Landmann, reached out to us to set the record straight.
Louisville Ballet dancers Luke Yee and Xavier Pellin in rehearsal for Human Abstract. Sam English, Courtesy Louisville Ballet.
If you follow Louisville Ballet on social media, you may have noticed a statement posted to its channels last week. Titled "An Open Letter Against Hate and Prejudice," it says "we cannot and will not be bystanders to hate and prejudice. As artists we have a duty to challenge preconceptions respectfully and to tell the stories of those individuals and groups who make our city what it is and what it should aspire to become."
The letter was posted after the company received hateful emails and phone calls over their upcoming performances of Human Abstract, an evening-length work by Australian choreographer Lucas Jervies that follows the relationship between two openly gay protagonists.
Naomi Corti in William Forsythe's "Herman Schmerman." Erin Baiano, Courtesy NYCB.
When audience members opened their programs at New York City Ballet's revival of Herman Schmerman a few weeks ago, one name had everyone buzzing: Naomi Corti. Just an apprentice, she was dancing a featured role alongside principals and soloists in William Forsythe's challenging, go-for-broke choreography. How was this going to go down?
Quite well, actually. Despite a nasty fall at the beginning of the ballet, 18-year-old Corti held her own next to castmates Sara Mearns and Unity Phelan—and didn't hold back during her solos and partnering sections. When she stepped forward to take her bow, the audience cheered wildly;her reaction was a mix of shock and utter joy. Still, we couldn't help but wonder what kind of pressure she must have been under.
NYCB has a history of giving young apprentices big breaks. Current corps members Miriam Miller (as Titania in Balanchine's A Midsummer Night's Dream) and Alston Macgill (in a featured role in Symphony in C) both had opportunities to shine during their apprentice years. So how does it feel to take on a big role so young? We talked to Corti to find out.