The School of American Ballet: Coming to a TV Near You
The School of American Ballet Spring Workshop, one of the dance world's most famous end-of-year performances, is almost like a rite of passage. Each year, SAB's most talented and advanced dancers are chosen to perform. Many of them go on to join major ballet companies nationwide—including New York City Ballet.
Addie Tapp, now in Boston Ballet, and Preston Chamblee, now an NYCB apprentice, in George Balanchine's Serenade at SAB's 2014 Workshop Performance (Paul Kolnik, courtesy Live From Lincoln Center)
Attending SAB's workshop is pretty darn cool, too. It's like witnessing a little slice of history—you're seeing prima ballerinas in the making, the stars before they become stars. Yet for those who don't live in NYC, chances to see the workshop performance are pretty rare.
Thankfully, that all changes next Friday, December 12*, when PBS' "Live From Lincoln Center" presents “Curtain Up: The School of American Ballet Workshop Performances.”
Taped this past spring, the TV special will show the entirety of the most recent SAB Workshop performance, which featured George Balanchine's Serenade and excerpts from his Coppélia, Swan Lake and Western Symphony. The program will also include rehearsal footage and interviews with dancers. And if this preview is any indication of what the whole 90 minutes will be like...I suggest you set your DVR now:
*Be sure to check your local listings for air dates and times, because not all PBS stations will be showing the special on the 12th. NYC's PBS station, for instance, won't air it until that Sunday, and Philadelphia's station isn't slated to show it until Thursday, December 18 at 3:30 pm. To find your local schedule, click here.
Much of Janelle Ginestra's career has been about helping others shine. She's dedicated herself to supporting and cheerleading her partner, WilldaBeast Adams; the emerging talents in their dance company, ImmaBEAST; and the countless dancers she inspires at master classes and conventions. Her YouTube channel has become a launching pad for young talents like "Fraternal Twins" Larsen Thompson and Taylor Hatala, thanks to viral videos featuring Ginestra's creative vision.
But Ginestra's a skyrocketing success in her own right—an in-demand choreographer, a social media influencer, and a dance entrepreneur, building a legacy one eight-count at a time. It's time for her turn in the spotlight. And she's more than ready. "I want to be a legend in whatever I do," she says. We'd argue that she already is.
Daphne Lee is a queen, and not just in the "OMG Girl Boss Alert" sense of the word. She's an actual queen—a beauty queen. Crowned Miss Black USA in August, she's been doing double duty as she continues to dance with the Memphis based dance company, Collage Dance Collective. Lee's new title has given her the means to encourage other black girls and boys to pursue their dreams, while also pursuing dreams of her own. The scholarship money awarded with the pageant title will assist her as she earns a Masters of Fine Arts degree at Hollins University.
When a choreographer finds a composer whose music truly inspires her, it can feel like a match made in dance heaven. Some choreographers work with the same composers so frequently that they become known for their partnerships. New York City Ballet soloist and resident choreographer Justin Peck, for example, has tapped composer Sufjan Stevens numerous times (last spring, the two premiered The Decalogue at NYCB, to rave reviews); L.A. Dance Project's Benjamin Millepied's working relationship with composer Nico Muhly has spanned a decade and two continents; and when tap dancer Michelle Dorrance premiered the first-ever Works & Process Rotunda Project, a site-specific work for New York City's Guggenheim Museum, last year, percussionist Nicholas Van Young was by her side as an equal partner. Successful collaborations require compatibility between artists, direct and honest communication, and flexible, open minds. But when the stars align, working with a composer can be extremely rewarding.
For ballerinas, it's the dream role to end all dream roles: Odette/Odile in Swan Lake, the type of part dancers spend years preparing for and whole careers perfecting. And it's a role that New York City Ballet principal Tiler Peck never thought she'd dance. Though Peck is one of the world's preeminent ballerinas, her short stature made Odette/Odile, typically performed by longer, leggier dancers, seem (almost literally) out of reach.
Then—surprise!—her name popped up on the cast list for NYCB's fall season run of Swan Lake.
Lani Dickinson's power, grace, and raw presence make her a standout with AXIS Dance Company, whose mission is to change the face of dance and disability by featuring a mix of disabled and non-disabled performers. Born in China, Dickinson was adopted by an American couple and started dancing at 8 in Towson, MD. She attended the Boston Ballet School for two summers, studied at the Idyllwild Arts Academy for the last two years of high school, and graduated with a dance degree from Alonzo King LINES Ballet's BFA program with Dominican University of California. In 2015, she joined AXIS and won a Princess Grace Award. Catch her this month during AXIS Dance Company's 30th-anniversary season—and read on for The Dirt!