by Nicole Loeffler-Gladstone | Jan 6, 2016 | Company Life
Zenaida Yanowsky in Will Tuckett’s Elizabeth (photo by Ilaria Martello) There are tutus. And then there’s everything else. How do you design period costumes that are 1) recognizable to the audience and 2) possible to dance in? For The Royal Ballet’s...
by Amy Brandt | Aug 20, 2014 | Ask Amy
My studio purchased practice tutus with seven stiff layers to use in a performance. Even after tacking the layers together, the tutus want to turn inside out when we leap and stay stuck upward. Do you have any advice? —Lisa If you’re going to use the tutus for a...
by Pointe Team | Nov 28, 2001 | Company Life
As I stood in Joyce SoHo’s rehearsal studio in New York clad in a black robe, cape, skull mask and six-inch platform boots, I tried desperately to steady myself in a wide second position as 12 “ghouls” crawled through my legs. Fighting with the...
by Pointe Team | Nov 28, 2001 | Company Life
Now that costume design runs the gamut from elaborately ornamented and bejeweled tutus and tunics to loincloths and skimpy combinations of see-through mesh and shreds of Lycra, being able to dance well in anything and everything takes some doing. But a costume is more...