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Meet the First Black Dancer to Play Marie in New York City Ballet's "Nutcracker"

For any young dancer performing in The Nutcracker, Marie (aka Clara, depending on the production) is a dream role. But Charlotte Nebres, who will be playing Marie in New York City Ballet's Nutcracker this year isn't just bringing her own dream to life—she's also making history.

Charlotte is the first black dancer to ever perform the role of Marie in NYCB's production of George Balanchine's The Nutcracker, which dates all the way back to 1954. Charlotte was, of course, hugely excited to perform the role of Marie, but, according to the New York Times, when her mother told her that she was the first black dancer cast in the role, she said "Wow. That seems a little late."


In fact, the lead children's cast of NYCB's production is remarkably diverse this year. Marie is also played by Sophia Thomopoulos, who is half-Korean, half-Greek, and the two Nutcracker princes are played by Tanner Quirk, who is half-Chinese, and Kai Misra-Stone, who is half-South Asian.

Charlotte told the NYT she's especially excited about the impact her dancing could have. "There might be a little boy or girl in the audience seeing that and saying, hey, I can do that too," says Charlotte.

Merde, Charlotte!

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Courtesy Hollywood Vibe

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While dancers all over the world are sharing the heartache of canceled classes, shows, and projects, our hearts hurt especially hard for a group of dancers we at Dance Spirit couldn't admire more: comp and convention kids. Determined to challenge your artistry and learn from cutting-edge faculty, you dancers normally brave crowded ballrooms and nonstop schedules all year long. But just because you might not be in one of those crowded ballrooms for a while doesn't mean that part of your dance life has to grind to a halt.

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"Improvisation can be uniquely healing if you give yourself time to listen to your body without judgement," says Troy Ogilvie, who teaches improvisation classes at renowned institutions like SpringboardX and Peridance in New York City. "It allows us to interact with our surroundings and emotions more directly."

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A Letter from the Editor in Chief

Hi, dance friends. It is a strange time to be a person in the world, and an especially strange time to be a dancer. As the dance community faces the coronavirus crisis, a lot of you are coping with closed studios, canceled performances and competitions, and a general sense of anxiety about how your world will look going forward.

Yes, dancers are super resilient, and there's been a lot of inspiring community-building happening. #LivingRoomDances and Instagram dance parties and virtual ballet classes with the pros are wonderful. Dance can, and should, be a bright spot in the darkness. But that weird, empty feeling you have? It might be grief. The loss of the certainty of daily class, the loss of the promise of that big end-of-year performance—that's real. The dance studio has always been a safe place; it's especially hard not to have that outlet now, when you need it most.

We're here for you. We—and our friends at Dance Magazine, Pointe, Dance Teacher, The Dance Edit, and Dance Business Weekly—are doing our best to document the hurdles facing the dance industry, and to advocate for dancers in need. We're developing more online content that will help you maintain and improve your technique while you're at home, and process the mental and emotional fallout of all this upheaval. (You can keep up with the latest stories here.) And we're still making our print magazine. We have issues planned and shot, full of great dance stories and beautiful photos. We're not going anywhere.

We want to hear from you. Talk to us. Or dance to us. Or both. We won't stop moving, and you shouldn't, either.

Margaret

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