NYCB's Fall Gala-Slash-Fashion Show
For the past few years, New York City Ballet galas have been alllll about fashion, showcasing not only dance premieres but also custom-made costumes by some of the world's top designers. Last night's fall gala was no exception: We got three premieres (by Troy Schumacher, Liam Scarlett and Justin Peck) and four sets of new designer costumes (by Carolina Herrera, Thom Browne, Sarah Burton and Mary Katrantzou).
We also got the one and only SJP in this AMAZING gown by Katrantzou—let us take a moment to soak in its gorgeousness:
Photo Evan Agostini/Invision/AP
These galas raise interesting questions about the relationship between dance and dance costuming. While costumes can make or break a ballet (more on that in our November costume issue!), normally, the choreography comes first, and the clothing later on. At these galas, though, it seems like the costumes are frequently the starting point, with choreographers shaping their visions around the designers'. And I think sometimes that can make things trickier than usual.
Case in point: Corps dancer Schumacher's premiere, Clearing Dawn. Schumacher has his own company, BalletCollective, which has been getting kind of fantastic reviews, so I was excited to see this piece, his first for NYCB. And the opening moment didn't disappoint: The five dancers shuffled onstage in hugely oversized overcoats—which, in a beautifully surreal twist, rose from their shoulders and ascended to the rafters, where they hovered for the rest of the ballet. Their disappearance revealed Browne's schoolgirl-chic costumes—classically Browne-esque shrunken jackets and pleated skirts and knee shorts—and the contrast was kind of delightful: Immediately, we saw the dancers as children, free from the weight of adult responsibilities...or, you know, something along those lines. The problem was that the schoolkids theme seemed to bog Schumacher down. While there were some spectacular daredevil passages for Ashley Bouder (goodness, that girl is ALWAYS on fire) and Andrew Veyette, things got real literal, real quick: We saw playground fights and anything-you-can-do-I-can-do-better showdowns straight out of Matilda. I think Schumacher has a good choreographic mind—it just might be the kind of mind that works better when left to its own devices. (I can't wait to see what he's cooking up for his own company, which has a performance in NYC at the end of October.)
Claire Kretzschmar in costume for Clearing Dawn (photo Erin Baiano/style.com)
Liam Scarlett's Funérailles—a pas de deux for my favorite ballet couple, Tiler Peck and Robert Fairchild—also took a lot of cues from its Burton costumes. But Scarlett was able to mesh the choreography and the design in a way that allowed both to shine. Maybe that's because Burton gave him truly gorgeous costumes to work with: a strapless brocaded ballgown with a huge ombré skirt for Peck, and a matching coat for Fairchild. Immediately things felt very bodice-rippy, very Interview with the Vampire, and Scarlett crafted a dark, seductive pas de deux that amplified the gothic mood. Unsurprisingly, Peck and Fairchild danced the heck out of it, and their natural chemistry made the whole thing delicious.
Tiler Peck in costume for Funérailles (photo Erin Baiano/style.com)
Justin Peck hasn't made a bad ballet yet—and that's saying a lot of a 27-year-old who's choreographed more than 20 ballets. This is a guy who's established a distinct choreographic language, but that language seems to take on a different accent in each piece. We've seen him as a playful experimenter in Year of the Rabbit, a dry analytic in In Creases, an epic poet in the 40-minute Everywhere We Go. Last night's premiere, Belles-Lettres, showed him as a swooning romantic—who knew? Katrantzou's appliquéd costumes made the women into 1920s nymphs and the men into harlequins, and Peck responded with a parade of pas de deux that swung from soft and tender to violently passionate. Anthony Huxley, the only man not coupled up, became a kind of court jester, or maybe a narrator—a vaguely tragic outsider, in any case, wishing for a love of his own. And framing all that romance was Peck's signature geometry—abstract daisy chains and kaleidoscopic patterns that lent a bit of coolness to a piece that could easily have overheated. It was an enchanting ending to a mixed-bag of a night.
Lauren Lovette in costume for Belles-Letres (photo Erin Baiano/style.com)
Successful or not, partnerships between choreographers and fashion designers are always fascinating to see in action—and NYCB's on-it media department made a lovely video documenting the collaborative process for this gala. Take a look!
Get in, losers. We're going to Broadway.
OK, not losers, actually—more like the bajillion die-hard fans of Tina Fey's 2004 cult hit Mean Girls, who've been wearing pink every Wednesday since a musical adaptation of the film was first teased back in 2013.
Now their world is like a cake filled with rainbows and smiles, because Mean Girls the musical, which had a trial run in Washington, DC, last fall, is set to open at Broadway's August Wilson Theatre April 8. And in a very grool twist, it turns out the show—with direction and choreography by Casey Nicholaw and a book by Fey herself—is delightfully dancey.
Principal Lloyd Knight has become a true standout in the Martha Graham Dance Company thanks to his compelling presence and dynamic technique. Knight, who performs leading roles in iconic pieces like Appalachian Spring and Embattled Garden, was born in England and raised in Miami, where he trained at the Miami Conservatory and later graduated from New World School of the Arts. He received scholarships to The Ailey School and The Dance Theatre of Harlem School in NYC and joined MGDC in 2005. Catch him onstage with MGDC during its New York City Center season this month. —Courtney Bowers
They say there's no "I" in "team"—and nowhere is that truer than the world of college dance teams, where precision reigns, uniformity is key, and a single misstep from any given "I" can cost a group a championship trophy. So it's unsurprising that securing a spot on one of the best dance teams in the country is no easy feat.
Members of these highly athletic teams rehearse for hours every week—on top of academic classes and commitments—and perform at football and basketball games, annual concerts, and nationally televised competitions (hi, ESPN). And "no I" rule notwithstanding, each of these top teams is made up of highly trained, highly technical, highly hard-core individuals, who come together to create a ready-for-victory pack.
These six teams aren't one-off success stories—they're consistently strong, and earn the top spots at major competitions like UDA and NDA nearly every year. Up for the challenge? Here's what to know before you go to auditions.
Today in Ballet Dancers Are Actual Superheroes news:
You've no doubt heard that the fabulous Alicia Vikander is playing Lara Croft in the newest iteration of Tomb Raider, which hits movie theaters this Friday. But while her training for the high-octane action role was crazy tough, she says, studying at the Royal Swedish Ballet School was far tougher.
In our "Dear Katie" series, former NYCB soloist Kathryn Morgan answers your pressing dance questions. Have something you want to ask Katie? Email email@example.com for a chance to be featured!
I'm a hip-hop and jazz dancer, and I want to get involved in the commercial-dance world. I've never studied ballet, but people keep telling me I "have to" take ballet classes if I want to make it professionally. Is that really true? My family has limited money for dance classes, and I have to be careful about how I spend it.
Everyone loves a good viral video, especially when there's dancing involved. And though many viral videos are contrived and created for the soul purpose of instafame, the story behind the latest video catching the eyes of millions—including Rihanna, super model Naomi Campbell, and Diddy—is even more unique because it features children who don't even know who those celebrities are.
A dance troupe in Nigeria has become the next internet sensation, thanks to their exuberant dancing and passion with which they perform. Their enthusiasm for dance is evident in every step and it's hard not to smile as you see these children (who range from ages 6 to 15) express pure joy in something as simple as dance. These nine kids are part of The Dream Catchers, an organization started by 26-year-old Seyi Oluyole, that gives impoverished children a place to live while teaching them how to dance.
For 16-year-old Amanda*, dance is everything: her passion, her escape from the daily grind, and her career goal. Her parents see things differently. "I have siblings who are active in sports," Amanda says, "and my parents would rather I play soccer or basketball. They don't see dance as something I can earn a stable living from in the future. They often tell me I should just quit."
Some parents aren't able to, don't know how to, or choose not to give you the kind of support you need to thrive in the studio. And when your parents are adding stress to your life, rather than alleviating it, there's a lot at stake. "Dancers who don't have the support of their parents might struggle with self-doubt," says Dr. Linda Hamilton, a former dancer with New York City Ballet and a clinical psychologist specializing in the performing arts, "while those whose parents are too involved can crack under the pressure." Whether your parents aren't there when you need them or they're always there, practically smothering you, try these tips to improve your situation.
On Friday night, the iconic RuPaul made history as the first drag queen ever to receive a star on the Hollywood Walk of Fame. And it didn't take long for the world's most fabulous RuPaul fan/one of our favorite human beings, Mark Kanemura, to commemorate his idol's accomplishment with—naturally—a WALK to end all walks.