Blogs

No matter how beautiful they are, every dancer eventually takes a final bow. But what happens once they've given up performing?

 

In a previous blog, called "Tutu Torture", I wrote about how magical ballet costumes are, and how they are often the first things that make little girls (and sometimes boys) want to dance.  However, we love to wear them, and one of the things dancers love most about performing is, arguably, wearing a costume.  But what is it about costumes, anyway?  Why do we love them so much, even though they sometimes get in the way of our dancing? (Ahem, TUTUS, I'm looking at you).

 

In ballet, there's no such thing as perfection—especially when it comes to bodies. In our April/May issues we spoke to top dancers and directors about how shape and size affect their casting in Too Fat? Too Thin? Too Tall? Tall Short? "So You Think You Can Dance's" Melissa Sandvig opened up about being put on weight probation and being chided for eating a banana because it had too many calories.

As a dancer, it's easy to think that all you'll ever need is the music and the mirror. But in a career that depends on your body, you need to have a Plan B, no matter how talented you are.

 

On Monday night, "Dance Against Cancer" raised over $25,000 for the American Cancer Society. The event, held at Manhattan Movement & Arts Center, was co-produced by Daniel Ulbricht, whose mother is currently battling uterine cancer. It featured several of Ulbricht’s fellow New York City Ballet dancers, along with "So You Think You Can Dance" star Alex Wong and members of Keigwin + Company, Lar Lubovich Dance Company and more. The evening was driven by a strong sense of purpose: We learned during an introductory film that each participant had been touched by cancer in some way.

Senior editor Jenny Stahl recently called New York City Ballet principal Daniel Ulbricht "Superman," and I can't think of a better way to describe the phenomenally talented dancer and teacher, who seems to be everywhere at once these days. (We recently posted a poll asking who your favorite dancer-teacher was, and Ulbricht cleaned up.)

In the past few weeks, I've been lucky enough to film the photo shoots of two very lovely dancers: National Ballet of Canada corps member Adji Cissoko, and American Ballet Theatre principal Veronika Part.  On the surface, these ballerinas could not be more different.

 

For the past four decades, the Prix de Lausanne has introduced the world to the next generation of ballet stars. Alessandra Ferri, Leanne Benjamin, and Julie Kent all first broke through in the prestigious competition. This year, the Prix is launching a new master class series to offer students across the globe a chance to learn from a former winners.

 

I was pretty excited for my first Philadanco show on Friday evening, never having seen the company before, but always hearing great things about them.  On the program were Christopher Huggins' "Bolero", Jawole Willa Jo Zollar's "By Way of Funk", Ray Mercer's "Guess Who's Coming To Dinner", and Huggins' "Enemy Behind The Gates".  I could go on and on about how great the dancers were, and how balletic the movement was.  Anybody could have seen that these dancers have very solid ballet training that they maintain constantly.  In fact, much of the dancing (though non in poin

A ballet class is a ballet class is a ballet class…or at least that’s what I was trying to convince myself before my Boston Ballet company audition at the School of American Ballet. Despite the reminder from friends that I do pliés and tendus practically every day,e and that this day was no different, the atmosphere and my nerves made me feel as if even turnout was something foreign to me.