With his reedy, praying-mantis-like body, Billy Barry isn’t someone you’d pick out on the street as a dancer. But get him onstage and you’ll understand why the 22-year-old Juilliard alum earned a spot in Israel’s prestigious Batsheva Ensemble. Billy has something larger than technique: He’s an intimately arresting, delightfully odd performer who seems to speak his own mysterious language. In other words, he’s an alien—the coolest alien you’ve ever seen.
A native New Yorker, Billy first discovered dance at a local studio near his hometown on Long Island. Serious ballet training at the Eglevsky Ballet soon followed, and as a teen, he enrolled at Manhattan’s Professional Performing Arts School. While at PPAS, he began to hear the siren call of Juilliard. “I just knew it was where I belonged,” he says. The feeling wasn’t immediately mutual: Billy was waitlisted when he applied to Juilliard his senior year. Suddenly unsure of his future, he auditioned for the European tour of West Side Story and was cast as Baby John. But before he could jump on the West Side bandwagon, Juilliard called: He’d made the final cut.
At Juilliard, Billy was a standout from the beginning. “First you notice him because he’s so striking physically—then you see that he has this extraordinary imagination,” says Lawrence Rhodes, director of Juilliard’s Dance Division. And it was at Juilliard that Billy first met Batsheva director Ohad Naharin, who set excerpts from his works MAX and Three on the students during Billy’s sophomore year. In Naharin’s Gaga technique, which emphasizes image-based improvisation, Billy found a home. “Ohad added this extra ingredient to my dancing,” he says. “I stopped obsessing about technique. If you hang on to technique, you may be beautiful to watch, but you won’t be very exciting. And I’d much rather be exciting than beautiful.”
During his senior year at Juilliard, Billy had another dream-come-true moment: Naharin asked him to join the Batsheva Ensemble. Two months after graduation, Billy moved to Tel Aviv to begin working with the company. “It’s amazing—it’s a job that feels nothing like work,” he says. “It’s just playtime.”
Birthday: September 23, 1989
Dance idol: Martha Graham
Three words that describe your dancing: Spastic, off-kilter, quirky
Three words that describe your personality: Flamboyant, loud, chatty
Hidden talent: “I can make this goose-honk noise. The problem is if I cough or laugh really loud, that noise just happens, usually at some inappropriate moment.”
Who would play you in a movie: Dakota Fanning
Advice for DS readers: “See all kinds of dance—even if you’re not familiar with the company performing. I’d never heard of Batsheva before Juilliard!”
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The groundwork for Erin Carpenter's company, Nude Barre, began when she was a teenager. At 16, she earned a spot in the residency program at The Kennedy Center in partnership with Dance Theatre of Harlem. "We were required to wear nude—as in, our actual skin tone—tights and shoes," she remembers. Carpenter brought her "sun tan" tights and a pair of pink ballet shoes with her, because that was all she could find. But she wasn't allowed in class because her dancewear didn't match her skin. "I was so embarrassed," she says. "I looked unprepared. I just didn't have the right nudes." Her teacher explained that the dancers dyed their tights and pancaked their shoes.