ABT Studio Company dancer Chloe Misseldine and her mom, former soloist Yan Chen. Photo by Rosalie O'Connot
When former American Ballet Theatre principal Cheryl Yeager watches her daughter—Hannah Marshall, a current ABT corps member—take the stage, she gets a bit emotional.
"I always think, 'I wanted to move just like you when I was dancing!' because we are total opposites," Yeager says. "She is tall and moves with a legato quality, while I was short and moved fast and staccato."
Marshall isn't the only ABT dancer who inherited ballet genes from her mother. Former ABT soloist Carla Stallings Lippert's daughter Carolyn Lippert is also a current member of the corps, and former soloist Yan Chen's 17-year-old daughter, Chloe Misseldine, is a rising ABT Studio Company star. So for Mother's Day, we spoke with each pair about what it's been like sharing the same career path.
Jesse Obremski captivates as a freelancer for many NYC–based troupes. Photo by Roi Lemayh, Courtesy Gibney Dance Company
At six feet tall, Jesse Obremski dances as though he'sinvestigating each movement for the first time. His quiet transitional moments are as astounding as his long lines, bounding jumps and seamless floorwork. Add in his versatility and work ethic, and it's clear why he's an invaluable asset to New York City choreographers. Currently a freelance artist with multiple contemporary groups, including Gibney Dance Company and Limón Dance Company, Obremski also choreographs for his recently formed troupe, Obremski/Works.
Sergei Polunin and Misty Copeland lead a corps of 18 dancers in choreography by Liam Scarlett. Photo courtesy Walt Disney Studios Motion Pictures
The wait for Disney's reimagining of The Nutcracker is over. Although The Nutcracker and The Four Realms is not a full-length ballet, woven into the plot is a five-minute performance by megastars Misty Copeland and Sergei Polunin alongside 18 supporting dancers, with a CGI Mouse King moved by jookin sensation Lil Buck (aka Charles Riley). Royal Ballet artist in residence Liam Scarlett led the film's choreography in his first major motion picture experience. "It was a call I didn't expect to get," says Scarlett. "I really am the biggest Disney fan, so I couldn't believe it!"
Members of RIOULT check out the construction site. Photo by Penelope Gonzalez, Courtesy RIOULT
For over a decade, husband-and-wife team Pascal Rioult and Joyce Herring, artistic and associate artistic directors of RIOULT Dance NY, dreamed of building a space for their company and fellow artists in the community, and a school for future dancers. This month, their 11,000-square-foot dream opens its doors in the Kaufman Arts District in Astoria, Queens, a New York City neighborhood across the East River from Manhattan.
Jawole Willa Jo Zollar "is an artist who understands how to pull things out to find the essence of a work," says Robert Battle. Here, Zollar in the studio with Ailey dancers. Photo by Erica Hochstedler, Courtesy AAADT
Coming this fall to the ever-expanding Ailey organization is an intriguing new event: the Choreography Unlocked festival. From Oct. 12–14 and 26–28, the Joan Weill Center for Dance will host workshops, performances and panel discussions. It is an extension of Ailey's New Directions Choreography Lab, an annual residency fellowship for four emerging and mid-career choreographers, founded by artistic director Robert Battle in 2011.
Cameron McKinney working with students at The Ailey School through the New Directions Choreography Lab. Photo by Nicole Tintle, Courtesy AAADT
The festival offers a rare experience for choreographers to work collectively on their craft, and for students and public audiences to interact firsthand with the process of creating dance. "Choreographers tend to section off on their own, so I wanted to offer classes for them to come together and vibe off each other," says Battle. He also hopes to demystify the choreographic process for audiences.
Pat Birch on the set of Grease, choreographing the legendary Hand Jive scene, with Olivia Newton John and John Travolta. Photo courtesy Birch
Forty years ago, the movie musical Grease introduced audiences around the world to Grease lightning and an iconic hand jive. Would anyone guess now that all those unforgettable rock-n'-roll style dances were choreographed by a former Martha Graham Dance Company soloist? (Was John Travolta actually in a contraction?)
Choreographer Patricia Birch, better known as Pat, says "I was always attracted to Broadway, even when I was dancing with Martha."
After Grease's sensational success, Birch continued choreographing and directing, working nonstop for five decades and counting. She directed and choreographed numerous Broadway productions (Candide, A Little Night Music), was resident choreographer for the first six years of Saturday Night Live, choreographed HBO's Boardwalk Empire, and is currently working on touring her musical production, Orphan Train.
The 2,500 square foot studio has radiant floor-heat and a sprung floor. Photo by Nora Thompson, Courtesy Everyman Agency
This summer, the Petronio Residency Center at Crow's Nest welcomes its first three artists in residence: Nora Chipaumire, Will Rawls and Kathy Westwater. The center, located in the Catskill Mountains, about two and a half hours north of New York City, is idyllic: The 2,500-square-foot studio has radiant floor-heat and a sprung floor, and the 6,500-square-foot house sleeps up to 10 people and has soaring views of the mountains. "As a creator, I understand the power of a residency," says Stephen Petronio. "I want the dancers to feel like they have gone to heaven when they pull up to the gate."
Behind every virtuosic performance, there is a quiet group of champions. Private patrons are critical to the success of American dance companies. Most large troupes only generate about half of their operating budget from ticket sales, while smaller companies recoup only a fraction. In a country with minuscule government funds allocated to the arts, individual contributors play an indelible role in financing concert dance.
Jermaine Terry working on fellow Ailey dancer Sarah Daley-Perdomo's dress while on tour in Frankfurt, Germany.
It's widely known how jam-packed an Ailey dancer's schedule is: the company averages between 175 and 200 performances each year. So it's hard to imagine that these artists have time for anything else.
Impressively, eight-year AAADT dancer Jermaine Terry has somehow maintained a second career in costume and clothing design. From wedding dresses to one-of-a kind evening gowns for Ailey galas, the self-taught designer is inspired by the challenge.
What He Has To Say: Terry gave Dance Magazine the scoop on how, in the words of Project Runway's Tim Gunn, he is able to "make it work."
Black Panther's Dora Milaje, with Abney second from right. Photo via Marvel Studios
There are many reasons why fans are loving the groundbreaking film Black Panther, but here's one more for dance fans: two of the eight female warriors protecting Wakanda and King T'Challa are dancers.
Zola Williams and Marija Abney are both former The Lion King ensemble dancers, and Abney was also part of the original Broadway cast of After Midnight. The rest of the bald, badass female warriors—known as the Dora Milaje—are stuntwomen and martial artists.
"The director, Ryan Coogler, was having trouble finding actors to fulfill the physical requirements needed for a Dora Milaje," says Abney. When she got the audition invite, she immediately knew she wanted to be one of those women. "I already feel like a warrior on the streets of New York City every day," she says. "I felt confident with the physicality of the role, I'm an aggressive dancer—one of the few dancers I know that does pull-ups in the gym!"
Yuan Yuan Tan and the new Barbie based on her. Photos via Mattel
While Barbie is not the first thing that comes to mind as a role model for my 3-year-old daughter (see: unrealistic body image), Mattel has made huge strides to change that.
Starting in 2015, they rolled out a "Shero" collection, honoring boundary-breaking women, including 2016's Misty CopelandFirebird Barbie. To celebrate International Women's Day yesterday, the company announced 14 new Global Role Model Barbie dolls—including one based on San Francisco Ballet's Yuan Yuan Tan.
Gaga teacher Amy Morrow says investigative styles can help any dancer. PC Ascaf Avraham
In today's dance world, it seems to go without saying: The more varied the training, the better. But is that always the case? Rhonda Malkin, a New York City–based dance coach who performed with the Radio City Rockettes, thinks trendy contemporary techniques that emphasize improvisation and organic movement quality are detrimental to the precision and strength needed to be a Rockette, in a traditional Broadway show or on a professional dance team. Her view is controversial: "If you really want to work, making $40,000 in three months for the Rockettes or $25,000 in one day filming a commercial, you need ballet, Broadway jazz, tap, hip hop—not contemporary," she says.
On the flip side, techniques that allow dancers more freedom may help them connect more deeply with their body and artistry, while providing release for overused muscles. We broke down the argument for both sides:
Tsai-Wei Tien in Bausch's Rite of Spring. Photo by Alexandra Campeau, courtesy Tanztheater Wuppertal
In a sheer red slip—dirt-covered and exposed—the Chosen One frantically pleads with the community encircling her, wildly dancing until she at last succumbs to an inevitable death. Part of Pina Bausch's haunting Rite of Spring, this solo is one of the most vulnerable in dance.
"When I perform this role, there is no acting, my struggle is very real—it becomes very spiritual," says Tanztheater Wuppertal dancer Tsai-Wei Tien. "I squeeze everything I have into those final moments."
A truly unguarded performance electrifies the stage and connects deeply with the audience, in a way that surpasses even the most flawless technical prowess.