We're Even More Excited for Justin Peck's New Ballet After This Interview
The buzz is certainly building around New York City Ballet soloist/resident choreographer Justin Peck's new ballet, The Most Incredible Thing. To say we're excited for the premiere is an understatement—with every sneak peek of costumes, choreography and set design, the scale and detail of this production becomes more and more evident. And The New York Times' recent profile of Peck is adding to the anticipation.
Peck showing off some trademark moves (photos by Ryan Pfluger for The New York Times)
Not only are we treated to some lovely photographs of Peck, but some wonderful insight into the process of creating this ballet (and it's no secret we love us some behind-the-scenes details here at DS—check out our February issue for more on rehearsals for The Most Incredible Thing!). Highlights include Peck's explanation of how he often arrives at his choreography:
"[Peck's] system for making a ballet is self-taught. 'Probably nobody else does it the same way.' He spends a lot of time in the studio alone, developing movement on his own body. 'I want to make sure I’m thorough,' he said, 'going through a certain sequence then veering off in five directions to find the one that musically feels right. If you do that work, you can later act spontaneously with the dancers. You can go off the trail, because you know the trail.' ”
Check out the entire article here, and the trailer for The Most Incredible Thing below.
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."
"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.
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.
American Ballet Theatre principal Sarah Lane charms audiences with her bright energy and crisp technique. The San Francisco, CA, native first started dancing at age 4 at a local community center, and at age 7 started training in Memphis, TN, at the Classical Ballet Memphis. Her family later moved to Rochester, NY, where she continued studying at the Draper Center for Dance Education. In 2002, she was a YoungArts Foundation winner in dance, allowing her to become a U.S. Presidential Scholar in the Arts. She joined American Ballet Theatre as an apprentice in 2003, was made a soloist in 2007, and was promoted to principal last fall. Recently, she originated the role of Princess Praline in Alexei Ratmansky's Whipped Cream. Catch her later this spring during ABT's Metropolitan Opera season. —Courtney Bowers
You and I both know that dancing is the best thing since chocolate chip cookies! But its always nice when dance gets the recognition it deserves from non–dance-world peeps. That's why we did our own happy dance when we saw Shape magazine's article on how dancing can actually make you a better athlete.
When Ruby Castro became a Top 10 finalist on "So You Think You Can Dance" Season 13, she was a fresh, feisty new face to most at-home viewers. But in the dance world—particularly on the ballroom circuit—Ruby was already a household name. Miami-based Ruby grew up as a belle of the ballroom: Her parents, Manny and Lory Castro, are veritable superstars of the scene. They're the owners of Dance Town, an ultra-competitive studio in Doral, FL, and raised Ruby to follow in their furiously fast footsteps. Before she graced the "SYT" stage, Ruby had already been named a U.S. Junior Champion in Latin Ballroom, and competed on "America's Got Talent"—twice!
So, we know she's talented, we know she's versatile, we know she's stunning, and we know she can dance. But here's what you may not know about Ruby.
You know that thing when you're onstage at a competition and you catch your teacher unconsciously marking through every step of the choreography in the wings, just willing you and the rest of the group to dance perfectly?
Yeah—that happens in ice dancing, too. Case in point: the scene at the Olympic rink yesterday, as Canadian ice-dancing legends Tessa Virtue and Scott Moir skated their way to their third Olympic gold.
Obviously, their performance was all kinds of epic. But the off-ice "performance" given by their coach, Marie-France Dubreuil, was EVERYTHING.
Photo by Travis Kelley, courtesy Kathryn Morgan
In our "Dear Katie" series, former NYCB soloist Kathryn Morgan answers your pressing dance questions. Have something you want to ask Katie? Email firstname.lastname@example.org for a chance to be featured!
I want to dance in a ballet company, but I'm insecure about my body. I'm not skinny, and I don't think I ever will be, because that's just not the way I'm built. Please be honest with me: If I don't have the traditional ballet body, do I have a future in professional ballet?