NYCB's Next Generation
Plus, the gala dinner setup was gorgeous! (photo via NYCB)
For ballet nerds like me, there are few things more exciting than watching young dancers develop into beautiful, authoritative artists. Last night, New York City Ballet's spring gala opened with a work that let some of my favorite rising stars prove just how much they've grown up.
That'd be Christopher Wheeldon's Soirée Musicale, an alternately elegant and playful little ballet that gives nearly every cast member a moment in the spotlight. And what a cast it was!
We got Brittany Pollack, Lauren Lovette, Taylor Stanley and Chase Finlay, recently-promoted dancers I've followed since their apprenticeships. And then there were the newbies I've just begun to pick out of the corps: Sara Adams, Harrison Ball, Indiana Woodward and Peter Walker. Nearly all of them are under the age of 25—many have only been in the company for a year or two—but they danced with the confidence of seasoned pros. A special highlight came toward the end: a poignant, romantic pas de deux for Lauren and Chase that signaled what might be the beginning of a beautiful partnership.
The gala was packed with many other fun treats too, of course. There was a second premiere by Wheeldon, a pas de deux in homage to Jerome Robbins' West Side Story danced by the sublime Tiler Peck and Robert Fairchild. There was the exhilarating nonstop acceleration of the final section of Robbins' Glass Pieces, featuring what seemed like the entire company. Queen Latifah stopped by to serenade Sterling Hyltin and Amar Ramasar as they glided through Balanchine's "The Man I Love" pas de deux from Who Cares?. And Ashley Bouder and Andrew Veyette had a jaw-dropping "anything you can do, I can do better" competition in the cheeky Stars and Stripes pas de deux.
But it was those young, newly-minted stars that stuck with me as I left Lincoln Center last night. In a gala that was all about high-wattage brilliance, they shone brightest.
Misty Copeland. Her name is synonymous with exquisite artistry and outspoken advocacy. And her visibility has made a huge impact on the ballet world. Ballet's relationship with race has always been strained at best, hostile at worst. But Copeland's persistent message and star quality have finally forced the ballet industry to start talking about racial diversity, inclusivity, and representation. "The rarity of seeing ourselves represented is sad," Copeland says. "The more we see every hue and body shape represented on the stage, the more possibilities young dancers feel they have for themselves."
Last month, we asked why there wasn't a Best Choreography category at the Oscars—and discovered that many of you agreed with us: Choreographers should definitely be acknowledged for their work on the super-dancy movies we can't get enough of.
Now, we're taking matters into our own (jazz) hands.
We've decided to create a Dance Spirit award for the best cinematic choreography of 2017. With your input, we've narrowed the field to four choreographers whose moves lit up some of the best movies of the year. Check out our nominations for best choreography below—and vote for the choreographer you think deserves the honor. We'll announce the winner on Friday, March 2.
Contemporary phenom Christina Ricucci has super-flexible hips, which means she can stretch her legs to unbelievable heights. But when she noticed herself making contorted positions in class, Ricucci realized she was approaching her extensions all wrong. "I went back to the basics in class, squaring my hips and using my turnout," Ricucci says. "I learned to create proper positions, rather than whacked-out versions of them."
Some dancers are so wonky they have a hard time supporting their high legs, while others struggle with limited flexibility. But no matter your facility, you can find a balance of stretch and strength to achieve your fullest range of extension. It's not about how high (or not) your legs can go: It's the quality of the movement, and how you get those legs up, that counts.
Yesterday, the dance community was heartbroken to learn that Jaime Guttenberg and Cara Loughran, both 14-year-old dancers, were among the 17 people killed on Valentine's Day in the shooting at Marjory Stoneman Douglas High School in Parkland, FL.
Once upon a time (until the 2014 Winter Olympics in Sochi concluded, to be exact), figure skaters had to compete to music without words. Before this rule change, a skater faced an automatic point deduction if the music even hinted at vocals. Understandably, there were *a lot* of Olympic programs skated to classical music, and you'd tend to hear the same music selections over and over and over.
There are plenty of current Olympic figure skaters who'd make beautiful dancers (first among them Adam Rippon, whose gorgeously choreographed long program won the internet, if not the gold). But today, as we wait for the women's figure skating competition to crown its new champions, we wanted to throw it back to one of the most beautifully balletic skaters of all time: Sasha Cohen.
The high-flying leaps of grand allegro are meant to be incredibly exciting. But at the end of an intense ballet class, when you're exhausted, it can be hard to give them the attention they deserve. Want to pump up your big jumps? Follow these 10 vital tips from Jennifer Hart, curriculum director and instructor at Ballet Austin.
"Whole, low-fat, or skim?" The question of which milk to drink has gotten a little more complicated lately, with a wide variety of nondairy milks popping up in grocery stores. To find out which ones are worth your milk money, we had registered dietitian Monika Saigal answer some FAQs.