When I became aware that Colombian-Belgian choreographer Annabelle Lopez Ochoa had choreographed an acclaimed ballet to Tennessee Williams' A Streetcar Named Desire, I was determined to meet her.
I'm happy she's found something she loves to do and that she does it well. I sit here, in this space because of her, dreaming of days that have past and wondering if this ship has sailed for me. And it's then that I wonder if I'm trying to be a stowaway on her ship.
A fixture in the dance and theater world for over six decades, de Lavallade helped pave the way for current stars like Misty Copeland and Michaela DePrince. In the clip below, I ask whether she carries any sentiments of resentment about the lack of opportunity for black dancers when she came up as opposed to today.
The two works contrasted and complemented each other as duel statements on Chinese culture by Chinese artists of different eras, and offered a suggestion of the future artistic trajectory of the company.
Watching Misty get filled up with emotion about her promotion at her press conference brought tears to my own eyes. I replayed the joy of her accomplishment in my own heart and head all week. All I could think about is that her spirit of perseverance is what I desire for everyone to have to towards their goals and dreams, including my own.
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.