Nikiya’s epic “death” solo at the end of La Bayadère’s second act is more than a test of stamina: It’s integral to the ballet’s plot. In it, Nikiya laments her doomed relationship with Prince Solor, rejoices upon receiving a basket of flowers she believes to be from him and collapses after being bitten by a … More »
The woman’s role in Jerome Robbins’ Afternoon of a Faun is surprisingly hard. The plot seems straightforward enough: two dancers happen upon each other in a studio. But the character, created for Tanaquil Le Clercq in 1953, oozes sensuality, innocence and vanity while responding—through the mirror—to her partner’s gaze. Here, Pacific Northwest Ballet soloist Kylee … More »
What better way to celebrate the 4th of July weekend than by revisiting classic ballets that have acted as pillars of American dance? The wider dance world beautifully represents the diversity and complexity of what it means to be American. Unfortunately, ballet’s contributions to national identity have historically been pretty narrow, reflecting youth and energy, and not much else.
The following is guest blog by New York City Ballet soloist (and February/March 2010 cover girl) Kathryn Morgan. Stay tuned for more posts from Kathryn!
While ballet dancers in sneakers performing a steamy duet in the middle of two abandoned train tracks may sound like something out of a game of truth or dare, it’s actually a scene in a new film being produced by New York City Ballet soloists Sean Suozzi and Ellen Bar. Based on Jerome Robbins’s NY … More »