When it comes to otherworldly allure, few story ballets can rival Cinderella. Sergei Prokofiev's score haunts and enchants; the melodies mimic what one would expect from the imaginations of stars and fairies.
Watching the Royal Ballet is like staring at a Degas painting for two and a half hours. The company preserves, but it doesn't push and evolve. Still, it's pretty.
"When I was very young, back in Hungary in the ballet school, my teacher showed us a VHS with Julie Kent," Zoltan Boros, a dancer with Columbia Classical Ballet, said. "I didn't know her, and I didn't know much about ballet ( I was around 12), but I still remember how amazing she was."
When I think of a lake, I imagine its stillness and peace. Calm looms over a clear surface without tides. No matter if the wind shouts or murmurs, the water barely stirs. It's settled, unperturbed. It craves nothing but silence.
Diablo Ballet's 21st celebration performance series at the Del Valle Theatre in Walnut Creek, California was on May 6th and 7th. Dubbed Celebrated Masters, a series of single works by choreographers Robert Dekkers, Val Caniparoli, Troy McIntyre and Arthur Saint-Leon was presented.
She entered the stage to a roar of applause, pausing on the tips of her toes, exhaling and taking in the cavernous Metropolitan Opera House. Was this the title character Giselle, breathing in a new day and unaware of the tragic fate before her, or a veteran performer relishing her final moments?
The Lower East Side has always been a playground for oddballs, creative types who diverge from Manhattan's mold. It's a quirky neighborhood filled with idiosyncrasies and secrets stuffed in blocks and buildings. These days, south of Union Square is trending, a wonderland of bars, movie houses, and restaurants that offer a refreshing contrast to Midtown.
In retrospect, I do remember that when I used to pick my daughter up from dance class she was rarely, if ever, sweaty. Guess that should have been a red flag.
Okay, the biggest lesson I wish I knew at age 22 had to do with taking control of my own career. That means ownership of my own personal narrative, which has to do with personal branding and identity. Sure, that's a marketing-ish perspective, at odds with my nerdliness, but that's the human reality.
"There are times I will need ropes and ladders and caribiners and helmets just to climb down into myself." Madeline DeVries shatters into shards, tortured by music and memories. She crumbles as her eyes accuse.
In 1877, Thomas Edison invented the phonograph, the first device that could reproduce pre-recorded sounds. Before this, the only exposure people had to music was live, either in a recital hall or at home in a chamber music setting.
Both of my daughters had ballet lessons for a year or two when they were younger. But as I think back about it, I never saw a young boy in any of the practices or recitals.
I watch Dance Moms every week. In some ways it's a guilty pleasure, in others it's an opportunity for introspection on my own work as a dance instructor.
Ballet Hispanico's troupe is diverse to reflect "who we are as hybrids in the world." Pieces like Mancillas' are about what it means to be mortal and flawed, not what it's like to come from a specific race or ethnicity. The world isn't cookie cutter, and neither is Vilaro's company.
Isabella Boylston will be appearing in Theme and Variations, Sleeping Beauty, Swan Lake, Les Sylphides, La Bayadère and Giselle during American Ballet Theatre's spring season at the Metropolitan Opera House beginning May 11th and continuing through July 4th.