Pointe Stars

Arthur Mitchell on "Agon": "My Skin Color Against Hers, It Became Part of the Choreography"

Arthur Mitchell. Photo by Eileen Barroso, Courtesy Columbia University.

When American Ballet Theatre soloist Calvin Royal III and New York City Ballet soloist Unity Phelan burst into the opening diagonal of George Balanchine's Agon on Monday, they had reason to be nervous. Sitting in the downstage corner of Columbia University's Miller Theater—precisely where they'd need to spot their pencil turns—was Arthur Mitchell, the Dance Theater of Harlem co-founder and longtime director who originated the male role at NYCB in 1957. It was a rare and exciting moment of the future meeting the past. (Royal later described the experience as "surreal.") The two dancers, who had been coached by former NYCB principal Heather Watts, gave an electric and intense performance. Afterwards, Mitchell turned to the audience from his blue leather chair and smiled. "I would say it's in good hands."


Royal III and Phelan performing "Agon" during the Vail Dance Festival. Photo by Erin Baiano, Courtesy Vail Dance Festival.

Their appearance was part of "An Informal Performance on the Art of Dance," an evening directed by Mitchell to celebrate both his legacy and the Arthur Mitchell archive at Columbia's Rare Book and Manuscript Library. (The first exhibition featuring Mitchell's donated archives will be on display at Columbia's Wallach Art Gallery January 13–March 11, 2018.) A slew of guest artists came together for the program, which included works by Balanchine, Alvin Ailey and Mitchell himself (including his South African Suite and Rythmetron).




Alvin Ailey American Dance Theater member Ashley Mayeaux in Mitchell's "South African Suite." Photo by Eileen Barroso, Courtesy Columbia University.

Mitchell, 83, sat onstage throughout, giving fascinating commentary on each work. For instance, Balanchine's choice to pair Mitchell with Diana Adams, a white woman, in Agon was intentional. "My skin color against hers, it became part of the choreography," Mitchell said. He recalled how Balanchine, knowing how controversial the interracial pas de deux would be at the time, told him, "This is the hardest thing I've ever done…everything has to be right."



Many of the evening's dancers had studied under Mitchell. Alvin Ailey American Dance Theater's Ashley Mayeaux, Akua Noni Parker and Michael Jackson, Jr. got back into ballet mode for the evening, while ABT corps member Erica Lall tried her hand at Balanchine in The Four Temperaments. The Washington Ballet's Brooklyn Mack showed off his thrilling pyrotechnical skills in variations from Diana and Actaeon and Le Corsaire. Bad Boys of Dance's Rasta Thomas and Jamal Story, a former dancer with Complexions and on Broadway, each gave solo tributes to Mitchell, with Thomas calling him "the greatest teacher and mentor of my life." And former DTH and Ailey star Alicia Graf Mack returned to perform Balm in Gilead, a prayerful solo Mitchell created on her at the age of 18.


Brooklyn Mack in the variation from "Diana and Actaeon." Photo by Eileen Barroso, Courtesy Columbia University

Afterwards, all the dancers joined Mitchell onstage for a Q&A. At one point, two DTH students asked if discrimination was still a problem in the ballet world. "It's not completely a thing of the past," said Brooklyn Mack. "But in confronting it, the most important thing is to let art speak for itself, because it transcends. As artists, we have a huge responsibility to push our art forward and not stay silent."

New York City Ballet in Marc Chagall's costume designs for Balanchine's "Firebird."

I am a self-confessed costume nerd who really needs little persuasion to travel nearly 3,000 miles to see a costume exhibition—which is what I did when I set off for California for the new exhibition at Los Angeles County Museum of Art: Chagall: Fantasies for the StageChagall: Fantasies for the Stage. I knew Marc Chagall primarily for his sumptuous blue swirling paintings featuring violin-playing goats, his incredible ceiling at the Paris Opéra's Palais Garnier, and murals at the Metropolitan Opera House in New York City, so I was intrigued to see his work with ballet.

Marc Chagall (1887–1985), was born Moishe Zakharovich Shagal in Belarus. He later moved to St. Petersburg, Russia, to study art, apprenticing under famed Ballets Russes designer Leon Bakst. Chagall's work in ballet and opera, however, did not begin until he and his wife Bella arrived in the U.S. as World War II refugees in 1941.

Chagall: Fantasies for the Stage, adapted from an earlier exhibition at the Montreal Music of Art and curated by Yuval Sharon and Jason H. Thompson, is an exciting opportunity to see 41 costumes and nearly 100 designs. But it is the costumes that really steal the show. You won't see any tutus here, but instead amazing, almost cartoon-like realizations of Chagall's artwork. LACMA's exhibition runs through January 7, 2018. For those of you who can't make the trip like I did, here's a rundown of highlights.

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Tiler Peck in "Who Cares?". Photo by Paul Kolnik, Courtesy NYCB.

New York City Ballet principal Tiler Peck and Emmy-winning actress Elisabeth Moss (of Mad Men and Handmaid's Tale fame) may seem like unlikely friends, until you dig a little deeper into their backgrounds. Both attended Westside School of Ballet in Santa Monica and spent summers at the School of American Ballet in their youths. Moss and Peck's career paths diverged when the former fell in love with acting and Peck went on to study at SAB full time, eventually becoming the star we know today. Now, the pairs' artistic pursuits are uniting in an exciting new project.

According to Deadline.com, Moss will produce a documentary featuring Peck and her work curating BalletNOW, last summer's star-studded, critically acclaimed program at Los Angeles's Dorothy Chandler Pavilion. Peck was the first woman to lead BalletNOW's programming, and she brought together dancers from companies including The Royal Ballet, Miami City Ballet, American Ballet Theatre and the Paris Opéra Ballet, putting them on stage with tappers, clowns and break dancers (sometimes simultaneously).


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Looking for creative and healthy ways to get your pumpkin fix this fall? First, back away from the pumpkin-spiced latte—the season's unofficial drink is often laced with sugary syrup and comes with a complimentary mid-rehearsal crash. Instead, try these simple snacks with puréed pumpkin. It's high in beta-carotene, which converts to immunity-boosting vitamin A, and is a good source of vitamin K, iron and fiber. You can buy it canned or make the purée from a "sugar" or "pie" pumpkin (they're commonly available at grocery stores or farm markets).

Fruit-and-Spice Toast

- Spread purée onto whole-grain toast.

- Top with sliced pear.

- Add a dash of cinnamon.

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When Maya Plisetskaya first toured abroad with the Bolshoi Ballet, she stunned the world. Her dramatic and technical abilities were far beyond what anyone outside the Soviet Union had seen before. She quickly became an icon, symbolizing Russian ballet.

Plisetskaya was the perfect ballerina to play the Tsar Maiden in The Little Humpbacked Horse when choreographer Alexander Radunsky and composer Rodion Shchedrin recreated the classic Russian folktale in the 1960s. This vintage clip of the ballet offers a glimpse into an era gone by. Although ballet technique has advanced since then, Plisetskaya's performance is still electrifying. She is daring and agile in her manèges and fouettés, while she shows gentle purity and authentic emotion in the pas de deux with the wide-eyed Ivan. Even half a century later, this magnificent artist continues to transfix us with her radiant presence onstage. Happy #ThrowbackThursday!


Pointe Stars
P.O. Alienz in Lavender Leotard; Paulina Waski modelling a Kreature Kulture t-shirt. Photos Courtesy Paulina Waski.

Walk into any ballet class and you're bound to see a row of dancers clad in leotards patterned with dainty flowers and lace. But nearly three years ago, American Ballet Theatre corps dancer Paulina Waski wore a very different kind of leotard to class—and her colleagues loved it. Now an average day at ABT includes any number of dancers in leotards featuring angry aliens, detached eyeballs and grinning monsters.

"My dad, John, is an artist, and he draws all these crazy creatures," Waski explains. "One year he did what he called his paper plate project; he drew a new creature onto a paper plate every single day for 365 days. I thought, 'he should put one on a leotard!' He screen printed one onto one of my old leotards himself, and when I wore it to class everyone was wowed." And so, Kreature Kulture was born.


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Danny Rivera (left) is one of six students from San Juan who the Sarasota Cuban Ballet School is hoping to relocate so he can continue his training. Photo by Soho Images, Courtesy SCBS.


Many of us take our ballet training for granted. But for dancers living in Puerto Rico, which is still reeling from the devastating affects of last month's Hurricane Maria, pursuing a ballet career or simply taking class must now feel insurmountable. What do you do when Mother Nature not only destroys your dance studio, but your home and the majority of the city you live in? Priorities must shift to those of basic survival.

Now, the Sarasota Herald-Tribune reports that the Sarasota Cuban Ballet School is trying to help six Puerto Rican dancers resume their training. The students, whose studio in San Juan was badly damaged, had recently attended SCBS's summer intensive. School directors Ariel Serrano and Wilmian Hernandez have started a fundraising effort called "Sarasota And Puerto Rico Dance Together" to temporarily relocate the dancers. While they can easily offer them scholarships, Serrano and Hernandez must raise an additional $36,000 to provide housing, food and living expenses for one year. (SCBS has a dormitory for female students, but not for male students.)

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Videos
Photo by Nisian Hughes

Transform your next black-and-white tutu look with these on-trend details like mesh cutouts and lace sleeves. And checkout the behind-the-scenes footage from our tutu shoot, below.

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