Whether you’re or not planning a wedding, make sure to check out the October/November issue of Brides magazine for a seriously dance-inspired photo spread. The models? Six American Ballet Theatre dancers, all of who were engaged at the time of the shoot last spring (five have since gotten hitched).
Roberto Bolle's gala "Roberto Bolle and Friends" had its annual performance today, in Verona, Italy. The performance featured an outstanding cast of dancers, including American Ballet Theatre's Hee Seo, Cory Stearns, Daniil Simkin and Julie Kent, Boston Ballet principal Eris Nezha, Stuttgart Ballet principals Alicia Amatriain and Jason Reilly, and ABT corps member, Skylar Brandt.
Almost every professional dancer has paid her dues in the corps de ballet. It can be the most rigorous years of a dancer’s life, requiring strength and endurance to function as the backbone of the company. In this video of American Ballet Theatre’s Giselle, we experience one of the most difficult moments in a corps dancer’s repertoire. The cast sets the scene for Act II, clouding the stage with ominous white tutus and broken hearts.
Last night, I saw American Ballet Theatre in Frederick Ashton's Cinderella, a ballet that entered the company's rep just this season. Of course, you're at the theater to see the magical story of Cinderella and her prince unfold. And what magic it was! Julie Kent played an endearing, doe-eyed Cinderella and Marcelo Gomes was princely, as always. But in Ashton's version, the evil stepsisters—men dressed to the nines in corsets and wigs—dare I say it, stole the show.
This week, the Australian Ballet's Kevin Jackson will make his debut with American Ballet Theatre, dancing the familiar role of Des Grieux in Sir Kenneth MacMillan's Manon. Mr. Jackson's performance marks only the second time that a dancer from the Australian Ballet has guested with American Ballet Theatre. With his ABT debut around the corner (you can catch him on June 4th and June 6th), Mr. Jackson spoke to Pointe about interpreting the role of Des Grieux, partnering Xiomara Reyes, and the modern significance of the story ballet.
An integral portion of Le Corsaire’s first act is the Odalisque pas de trois—a dance by three slave girls whom the audience knows little about. Choreographed to a grandiose score, the Odalisque variations act as an interlude in the ballet's larger plot. Their precise and petite steps cater to the meekness and femininity of the role. This recording from 1999 showcases Gillian Murphy taking this character to a new level as a recently promoted soloist for the American Ballet Theatre.