What to Watch: Inside the Life of an ABT Studio Company Dancer
If you've ever wondered what it's like to be a member of American Ballet Theatre's Studio Company, you're in luck. The latest episode of "No Days Off," a documentary web series profiling young and inspiring athletes, spotlights 17-year-old Joseph Markey, a first-year Studio Company member. The doc not only underscores the physical aspects of Markey's training, but also the artistic refinements he must make on his road to becoming a professional dancer.
17-Year-Old Is The FUTURE of Dance www.youtube.com
Twice a week, Markey starts his day with an intense strength and conditioning class. Supplementing his ballet training with aerobic and agility exercises (think jumping rope, line drills and rope ladders) helps him build the core strength necessary for a full day of dancing. After technique class, we see him rehearsing with famous ABT luminaries like Ethan Stiefel, Sascha Radetsky and Gillian Murphy. They provide not only thoughtful coaching, but a huge dose of inspiration. "Just being around them every day, I feel, has helped me improve," Markey says in the episode.
He's also getting the chance to refine his partnering skills as he and fellow dancer Chloe Misseldine rehearse Don Quixote. "Joseph is already is on top of things," says Radetsky, the Studio Company's artistic director, in the video. "He has an innate sense of partnering: where the ballerina needs to be, where her weight is, coordination." That said, Markey, who is nursing a strained bicep, must also learn how to work smart so that he doesn't aggravate his injury.
"No Days Off," produced by Whistle Sports, does a great job of educating general audiences about these young artist-athletes' grueling regime. As Radetsky puts it: "These dancers are ballet's versions of Olympians, our art form's top prospects—each of them hoping to be drafted into the major leagues at American Ballet Theatre."
For decades the name Alicia Alonso has been virtually synonymous with Ballet Nacional de Cuba, the company she co-founded in Havana in 1948. Alonso died on October 17, just shy of what would have been her 99th birthday. In recent years, she had stepped back from day-to-day decision-making in the company. As if preparing for the future, in January, the company's leading ballerina, 42-year-old Viengsay Valdés, was named deputy director, a job that seems to encompass most of the responsibilities of a traditional director. Now, presumably, she will step into her new role as director of the company. Her debut as curator of the repertory comes in November, when the troupe will perform three mixed bills selected by her at the Gran Teatro de la Habana Alicia Alonso. The following has been translated from a conversation conducted in Spanish, Valdés' native tongue.
"The show must go on" may be a platitude we use to get through everything from costume malfunctions to stormy moods. But when it came to overcoming a literal hurricane, Houston Ballet was buoyed by this mantra to go from devastated to dancing in a matter of weeks—with the help of Harlequin Floors, Houston Ballet's longstanding partner who sprang into action to build new floors in record time.
New York City Ballet principal Sara Mearns wasn't sure she was strong enough. A ballerina who has danced many demanding full-length and contemporary roles, she was about to push herself physically more than she thought was possible.
"I said, 'I can't. My body won't,' " she says. "He told me, 'Yes, it will.' "
She wasn't working with a ballet coach, but with personal trainer Joel Prouty, who was asking her to do squats with a heavier barbell than she'd ever used.
Her Dying Swan was as fragile as her Juliet was rebellious; her Odile, scheming, her Swanilda, insouciant. Her Belle was joyous, and her Carmen, both brooding and full-blooded. But there was one role in particular that prompted dance critic Arnold Haskell to ask, "How do you interpret Giselle when you are Giselle?"
At eight, Alicia Alonso took her first ballet class on a stage in her native Cuba, wearing street clothes. Fifteen years later, put in for an ailing Alicia Markova in a performance of Giselle with Ballet Theatre, she staked her claim to that title role.
Alonso received recognition throughout the world for her flawless technique and her ability to become one with the characters she danced, even after she became nearly blind. After a career in New York, she and her then husband Fernando Alonso established the Cuban National Ballet and the Cuban National Ballet School, both of which grew into major international dance powerhouses and beloved institutions in their home country. On October 17, the company announced that, after leading the company for a remarkable 71 years, Alonso died from cardiovascular disease at the age of 98.