Photo by Carlos Quezada, courtesy ABT.

American Ballet Theatre announced today that Brooklyn Mack, a former Washington Ballet star, will join the company as a guest for its spring season at the Metropolitan Opera House. Currently an in-demand international guest artist, Mack will dance in three performances of ABT's Le Corsaire this June.

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Photo by Carlos Quezada, courtesy ABT.

American Ballet Theatre announced today that Brooklyn Mack, a former Washington Ballet star, will join the company as a guest for its spring season at the Metropolitan Opera House. Currently an in-demand international guest artist, Mack will dance in three performances of ABT's Le Corsaire this June.

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Royal Winnipeg Ballet revived Lila York's adaptation of Margaret Atwood's The Handmaid's Tale earlier this month. Photo by David Cooper, Courtesy RWB

When American Ballet Theatre announced yesterday that it would be adding Jane Eyre to its stable of narrative full-lengths, the English nerds in the DM offices (read: most of us) got pretty excited. Cathy Marston's adaptation of Charlotte Brontë's classic novel was created for England's Northern Ballet in 2016, and, based on the clips that have made their way online, it seems like a perfect fit for ABT's Met Opera season.

It also got us thinking about what other classic novels we'd love to see adapted into ballets—but then we realized just how many there already are. From Russian epics to beloved children's books, here are 10 of our favorites that have already made the leap from page to stage. (Special shoutout to Northern Ballet, the undisputed MVP of turning literature into live performance.)


Northern Ballet in David Nixon's The Great Gatsby (F. Scott Fitzgerald)

Star-crossed lovers? Check. Wild party scenes? Check. The 1920s aesthetic is just bonus.

Dutch National Ballet in John Cranko's Onegin (Alexander Pushkin)

It's a novel in verse, but it still counts! Cranko's pas de deux work vividly paints the emotional turmoil of Pushkin's characters, such as this sequence in which Tatiana imagines being loved by the haughty Onegin.

The Royal Ballet in Liam Scarlett's Frankenstein (Mary Shelley)

It's spooky, it's sensational, it's a deep meditation on the nature of humanity—oh, and it's alive.

Northern Ballet in David Nixon's The Three Musketeers (Alexandre Dumas)

All for one and one for all! (And we're all in for this epic fight choreography the dancers took to a famous Abbey in their hometown of Leeds, England.)

Charlotte Ballet in Sasha Janes' Wuthering Heights (Emily Brontë)

The Brontë sisters had a knack for writing complex, tempestuous relationships—great fodder for pas de deux like this one.

The Washington Ballet in Septime Webre's Peter Pan (J. M. Barrie)

Sword-fighting, pirates, pixie dust and a ticking crocodile? This one simply flies off the page.

Hamburg Ballet in John Neumeier's Anna Karenina (Leo Tolstoy)

Some would argue that Tolstoy's epic is the greatest literature ever written, but you can't argue with the fact that the titular heroine is a deliciously complex character to tackle.

The Royal Ballet in Christopher Wheeldon's Alice's Adventures in Wonderland (Lewis Carroll)

Why is a raven like a writing desk? We still might not know the answer to Carroll's riddle, but we do know that Wheeldon's blockbuster production is so full of incredible moments (like Steven McRae stealing the show as a tap-dancing Mad Hatter) that we had trouble narrowing it down.

Atlanta Ballet in Michael Pink's Dracula (Bram Stoker)

There's a reason it seemed at one point like every ballet company in America had a production of Dracula in its repertoire.

Northern Ballet in Jonathan Watkins' 1984 (George Orwell)

Just in case the dystopian nightmare conjured by Orwell wasn't vivid enough in your own imagination.

Just for Fun
Nardia Boodoo (photo by Rachel Neville)

Watch Nardia Boodoo discuss her (classic) dance crushes and secret talents. Read about more up-and-coming black ballerinas here.

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Dancer to Dancer
Nardia Boodoo (photo by Rachel Neville)

"I had a unique path to dance," says Nardia Boodoo, a luminous, elegant apprentice with The Washington Ballet. She briefly studied ballet as a child, but didn't start serious training until she was 14 years old, attending Baltimore School for the Arts. "I didn't know what a pirouette was," she says. "I would wake up really early to stretch and remember my corrections." But, a focused student, she advanced quickly: Soon she was attending prestigious summer intensives, and she earned a spot in The Washington Ballet Studio Company in 2014. Now, Boodoo is working with her childhood idol, TWB artistic director Julie Kent, and dreams of someday dancing the title role in Giselle.

Boodoo is acutely aware of the power of representation. "It has only recently become OK to have a Misty Copeland," she says. "It's no longer socially acceptable to only have girls who look exactly the same, in any aspect of entertainment. But at the same time it feels like a trend, and I'm not a trend, I'm a human being." Boodoo wants to see genuine diversity, from top to bottom. "You need teachers and directors, ballet masters and répétiteurs," she says. "Diversity on every single level is progress."

Dancer to Dancer

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