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The Jazzy Virtuoso: Tiler Peck's Dynamic Approach to Balanchine's "Who Cares?"

The Jazzy Virtuoso: Tiler Peck's Dynamic Approach to Balanchine's "Who Cares?"

by Julie Diana Hench | Nov 23, 2015 | Profiles, Technique

Carefree and confident, New York City Ballet’s Tiler Peck lights up the stage in “Fascinatin’ Rhythm,” one of the principal solos in Balanchine’s Who Cares? “It’s one of my favorites,” she says. “Every time I perform it, I feel like...
Julia Erickson on Mastering Nikiya's Beautiful Death Scene in "La Bayadère"

Julia Erickson on Mastering Nikiya's Beautiful Death Scene in "La Bayadère"

by Margaret Fuhrer | Sep 30, 2015 | Profiles, Technique

This story originally appeared in the October/November 2015 issue of Pointe. 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...
Lessons in Subtlety: Kylee Kitchens on Why "Afternoon of a Faun" Is Harder Than It Looks

Lessons in Subtlety: Kylee Kitchens on Why "Afternoon of a Faun" Is Harder Than It Looks

by Julie Diana | Jun 1, 2015 | Career, Profiles, Technique

This story originally appeared in the June/July 2015 issue of Pointe. 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,...
The Divine Huntress: Tamako Miyazaki's Secrets for Dancing "Diana and Actaeon"

The Divine Huntress: Tamako Miyazaki's Secrets for Dancing "Diana and Actaeon"

by Amy Brandt | Feb 10, 2015 | Career, Profiles

This story originally appeared in the February/March 2015 issue of Pointe. A frequent gala and competition showpiece, the variation from “Diana and Actaeon” is a thrilling technical beast. The Washington Ballet’s Tamako Miyazaki—whose performance as...
Queen of the Night: Ballet West's Christiana Bennett on the Mysterious Myrtha

Queen of the Night: Ballet West's Christiana Bennett on the Mysterious Myrtha

by Amy Brandt | Feb 1, 2015 | Career, Profiles, Technique

This story originally appeared in the April/May 2015 issue of Pointe. She’s Giselle’s anti-heroine: Myrtha, the cold-hearted spirit queen who leads the Wilis in nightly crusades against mortal men. With three back-to-back variations that involve a mix of...
Boston Ballet Principal Misa Kuranaga on Mastering Kitri's Spitfire Flair

Boston Ballet Principal Misa Kuranaga on Mastering Kitri's Spitfire Flair

by Amy Brandt | Nov 23, 2014 | Career, Profiles

This story originally appeared in the December 2014/January 2015 issue of Pointe. Don Quixote’s Kitri is one of the feistiest characters in classical ballet. Nowhere is that more clear than in Don Q’s gregarious first act. After an exhausting series of...
Forsythe Fierce: Amy Aldridge on Owning the Raw Athleticism of "In the middle, somewhat elevated"

Forsythe Fierce: Amy Aldridge on Owning the Raw Athleticism of "In the middle, somewhat elevated"

by Julie Diana Hench | Sep 30, 2014 | Career, Profiles

This story originally appeared in the October/November 2014 issue of Pointe. Created for the Paris Opéra Ballet in 1987, William Forsythe’s In the middle, somewhat elevated combines fierce attitude and athleticism with an edgy electronic score. Here,...
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