Jennifer has worked on Dance Magazine since graduating from New York University's Tisch School of the Arts with a BFA in dance and journalism. A former senior editor of Pointe, she has also written for The Atlantic, Runner's World and other publications. As a dancer, she performed with California's Peninsula Ballet Theatre, Israeli choreographer Gali Hod and for Cirque du Soleil's 25th-anniversary celebration.
One of the country's top arbitrators has decided to reinstate Amar Ramasar and Zachary Catazaro to New York City Ballet. The former principals were fired last fall for "inappropriate communications," namely graphic text messages.
The dancers' union, American Guild of Musical Artists, fought the termination, arguing that the firings were unjust since they related entirely to non-work activity. After a careful review of the facts, an independent arbitrator determined that while the company was justified in disciplining the two men, suspension was the appropriate action and termination took it too far.
As much as audiences might flock to Swan Lake or The Nutcracker, ballet can't only rely on old war horses if it wants to remain relevant. But building new full-lengths from scratch isn't exactly cheap.
So where can companies find the money?
Last night at Parsons Dance's 2019 gala, the company celebrated one of our own: DanceMedia owner Frederic M. Seegal.
In a speech, artistic director David Parsons said that he wanted to honor Seegal for the way he devotes his energy to supporting premier art organizations, "making sure that the arts are part of who we are," he said.
The Rockettes are officially looking for some fresh faces. For the first time in almost a decade, the Christmas Spectacular at Radio City Music Hall is expanding its yearly open call in New York City to add audition locations in Chicago and Atlanta. The creative team wants to widen the pool and reach even more dancers.
So how can you get chosen out of hundreds of hopefuls?
Before Mathilde Froustey met her now-fiancé, she invited him to come watch her dance—even though he'd never been to a ballet. He's now seen every single performance she's given since that night. "Even when I did six Nutcrackers!" Froustey exclaims.
If everyone seems a bit obsessed with tidying up right now, blame the trendy Japanese organizing guru Marie Kondo. Her uber-popular book-turned-Netflix-show has so many people purging their closets that thrift stores can no longer keep up with the donations. The reason? Fans are falling in love with what Kondo calls "the life-changing magic of tidying up."
After all, the newlyweds first met when Mearns, a New York City Ballet star, was being considered for a part on the TV show "Smash," which Bergasse was choreographing. They hit it off, but the role ended up getting cut.
Fast-forward to today, and they're working on their first full-length musical together: I Married an Angel, which opens next week as part of New York City Center's Encores! season, with Bergasse as director and choreographer and Mearns as the star.
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Kamille Upshaw is no stranger to getting through eight shows a week. The Hamilton alum, who currently performs in Mean Girls, knows what her body needs to perform at its best: vegetables, protein, healthy carbs, but also greasy pizza and treats that please her sweet tooth.
We checked in with her for Dance Magazine's "What Dancers Eat" series to find out the fueling secrets that keep her performances so fetch.
When dancers kick their legs, they typically try to avoid hitting their colleagues. But the performers in the upcoming show Dragon Spring Phoenix Rise, choreographed by Akram Khan, have had to train to do just the opposite.
"It's not a grand battement. You're kicking someone's face. It has to have intention," says Martha Graham Dance Company star PeiJu Chien-Pott, who plays the role of Xiao Lian, a mother fighting to protect her family.
Every dancer's nutrition goals are different. Maybe you're trying to go vegan, or maybe you want to cook your own dinner more often. No matter what your personal objectives are—or whether you work with a dietitian—there are all kinds of apps that can help you make smart decisions at the tap of a button.
The lack of female leaders in ballet is an old conversation. But a just-launched website, called the Dance Data Project, has brought something new to the discussion: actual numbers, not just anecdotal evidence.
It's no longer just Les Ballets Trockadero de Monte Carlo and the few pointe-clad male character parts, like in Cinderella or Alexei Ratmansky's The Bright Stream. Some male dancers are starting to experiment with pointe shoes to strengthen their feet or expand their artistic possibilities. Michelle Dorrance even challenged the men in her cast at American Ballet Theatre to perform on pointe last season (although only Tyler Maloney ended up actually doing it onstage).
The one problem? Pointe shoes have traditionally only been designed for women. Until now.
When Catherine Wreford found out that she had brain cancer in June 2013, with doctors predicting she had only two to six years left to live, there was one thing she knew she wanted to do: dance.
She had grown up training in the recreational division at the Royal Winnipeg Ballet School, then went on to perform on Broadway and in musical theater productions around the country. She eventually left the stage to find more stable work, running a mortgage company and later getting a nursing degree because, she says, "I knew that I could do that for a long time."
But a diagnosis of anaplastic astrocytoma meant she didn't have a long time left.
What's better than a Super Bowl ad? A Broadway musical, obviously.
At least that's what Skittles is betting on. This Sunday, rather than paying for a 30-second TV spot seen by more than 100 million people, the candy brand (owned by Mars) is throwing its resources into a 30-minute show called Skittles Commercial: The Broadway Musical. There will only be one performance, seen by 1,500 ticket holders at New York City's Town Hall theater. And no, it won't be aired on TV or livestreamed online.
If that math sounds confusing, don't underestimate the power of social media buzz.
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.
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.
When coming up with phrases of movement, choreographers all have their habits: certain patterns they return to again and again, tendencies that repeat themselves whether they mean for them to or not.
What if artificial intelligence could be used to help choreographers mix things up by suggesting thousands of other options—and ones that still fit their choreographic style, no less?
It's that time again: Everyone's looking at the year to come and thinking about what they might want to get out of it.
So we asked our cover stars from Dance Magazine's 2018 issues what they're hoping for. Their answers spanned everything from more growth and more touring, to more family time and more rest.
On the surface, intercontinental ballet stars David Hallberg and Natalia Osipova would seem to make unlikely partners. He's an American paragon of elegant princeliness; she's an explosive Russian powerhouse who seems to mock the laws of gravity.
But since they first danced together in 2009, they've moved audiences to tears as Romeo and Juliet, and sent chills through spines as Giselle and Albrecht. Whether at American Ballet Theatre, The Royal or the Bolshoi, each time they're together they bring out new depths in each other's artistry.
Tamisha Guy has always loved pushing her body. The dynamic A.I.M dancer and rehearsal director performs like she has no limits. And she's recently taken up a sport that pushes her even further: boxing.
Two or three times a week, she takes a 45-minute class at New York City boxing studios Shadowbox or EverybodyFights. Workouts include a warm-up of core exercises and body-weight strength training. "Then we put the gloves on and go at it on the bag," says Guy.
Tamisha Guy in Kyle Abraham's The Gettin'. Photo by Jerry and Lois Photography, courtesy A.I.M.
Although she was initially afraid that the workouts would bulk up her already muscular physique, she's found they've simply added definition to her arms. More importantly, they've improved her stamina.
"Thirty minutes into class is usually the point where you're like, 'I can't punch anything else,' but you have 15 more minutes to go," she says. "It's just like when you've been dancing for an hour and have to dig deeper to find something in yourself to stay present. Pushing through the uncomfortable part is so gratifying." She feels boxing has put extra fire in her to keep up the intensity onstage.
Her favorite time to box is in the morning. "I find I have more energy going into rehearsals after boxing," she says. "I feel so ready to take on my day."
But if she's got more than four hours of rehearsal, she'll wait to box until after dancing so that her arms aren't overly fatigued. "Then, if I still have a little fight in me, I might take an evening class."
Tamisha Guy is also working to start a side hustle as a fitness model. "You're only young once," she says. Photo by Whitney Browne, courtesy Guy.
For now, she's not looking to enter any fights. "I think I'm gonna stick with the bag," she says, laughing.
Though she admits she loves the feeling of being in a ring. "I've had a few private training sessions inside it, with my trainer calling out sequences," she says. "But he wasn't hitting me back!
Next semester, there'll be a new course name on the syllabus of Boston Conservatory at Berklee: "Constructed Gender Identities in Classical Ballet: Men's Variations."
But this is not a new course, just a new title. The old name is one you might recognize: "Men's Class."