What Wendy's Watching: Can The Red Shoes Ever Really Be Contemporary?
We are back at New York City Center for The Red Shoes. Matthew Bourne's sumptuous version sticks with the story told in the wildly popular 1948 film. I have to admit I'm not crazy about the idea that Victoria Page, a beautiful young dancer, must choose between work and love. Plus, it uses ballet, once again in popular culture, as a destructive force. But this production is by Matthew Bourne's New Adventures, so the sets and costumes are (ahem) to die for.
For New Yorkers, a special indulgence: On select nights, New York City Ballet's Sara Mearns plays Victoria Page, and American Ballet Theatre's Marcelo Gomes (a 2015 Dance Magazine Awardee) plays the composer who falls for her.
The Red Shoes is up at NY City Center until Nov. 5. Click here for more information.
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:
Every dancer knows there's as much magic taking place backstage as there is in what the audience sees onstage. Behind the scenes, it takes a village, says American Ballet Theatre's wig and makeup supervisor, Rena Most. With wig and makeup preparations happening in a studio of their own as the dancers rehearse, Most and her team work to make sure not a single detail is lost.
Dance Magazine recently spoke to Most to find out what actually goes into the hair and makeup looks audiences see on the ABT stage.
On a sunny July weekend, hundreds of Seattle-area dance fans converged on tiny Vashon Island, a bucolic enclave in Puget Sound about 20 miles from the city. They made the ferry trek to attend the debut performance of the fledgling Seattle Dance Collective.
SDC is not a run-of-the-mill contemporary dance company; it's the brainchild of two of Pacific Northwest Ballet's most respected principal dancers: James Yoichi Moore and Noelani Pantastico. The duo wanted to create a nimble organization to feature dancers and choreographers they felt needed more exposure in the Pacific Northwest.