Justin (Peck) Time
If you've already gotten your hands on DS's October issue (and if you haven't, click here!), you've seen our "Choreographer's Collage" with Justin Peck. The 25-year-old is pretty busy these days: Not only is he one of the ballet world's most talked about up-and-coming choreographers, he's also a corps dancer with New York City Ballet.
As Peck's collage reveals, his ballets are inspired by anything from the George Balanchine classics he's danced to restaurant meals. Sounds fascinating, right? Which is why I kind of can't wait to see his new work for NYCB, Year of the Rabbit, when it premieres this Friday. The piece is set to music by indie star Sufjan Stevens, who worked with Peck and conductor Michael Atkinson to translate what was originally a lot of beepy electronica into a score for a string orchestra. (Check out the three of them talking about the process in this recording of their Guggenheim "Works & Process" presentation—it's pretty nifty!)
Can't make it to NYC for the premiere? Well, here's a little taste of Year of the Rabbit: a promo video featuring NYCB dancers Janie Taylor and Craig Hall doing some beautiful things on the beach. Enjoy!
Well, this brings class videos to a whole new level! Choreographer Phil Wright and dancer Ashley Liai have been together eight-plus years, but she was still in total shock when he proposed to her mid-dance at Millennium Dance Complex earlier this week. Why? Well, the whole thing was unbelievably perfect.
In the dance industry, dancers don't always have a say in what they wear on their bodies. This can get tricky if you're asked to wear something that compromises your own personal values. So what should you do if you find yourself in this sticky situation? We sat down for a Q&A with "Dancing with the Stars" alumn Ashly Costa to answer that very question. Here's what she had to say about the options dancers have surrounding questionable costumes.
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.