Last August, Louisville Ballet’s artistic and executive director Robert Curran met with an anonymous donor in New York. He came home with a check for one million dollars. His lips are sealed, but the donation bodes well for the ballet’s future under Curran, whose tenure only began in 2014.

In its nearly 65-year history, Louisville Ballet has experienced quite the evolution: It has transitioned from civic to professional company; is now housed in a spacious facility nestled between downtown and NuLu, the city’s nascent but thriving arts district; and has the nationally respected Adam Hougland as its principal choreographer. As the new director, Curran has already laid out bold plans to strengthen the company, including an expanded relationship with the Louisville Orchestra and a broadened repertoire.

Curran rehearsing company dancer Erin Langston (photo by Renata Pavam, courtesy Louisville Ballet)

Curran comes to Louisville after a career with The Australian Ballet, where he rose through the ranks to principal. After retiring from the stage, he worked as rehearsal director with Bangarra Dance Theatre (an indigenous Australian contemporary company) before applying to Louisville Ballet when previous artistic director Bruce Simpson announced his retirement. Though he was new to directing, Curran came with a management degree and minors in marketing, psychology and human resources in hand.

Last spring, Louisville Ballet presented its first program of work chosen by Curran, including the company premiere of Serge Lifar’s seldom performed Suite en Blanc; George Balanchine’s Square Dance, revived after falling out of the regular rep; and a new contemporary ballet, Lucas Jervies’ What Light Is to Our Eyes. The mix speaks to Curran’s wide-ranging vision. He has frequently said, “This is a ballet company,” but knows that troupes must reach forward and backward in the balletic tradition. He has described this as “a very careful balance between respect and irreverence.”

In person, Curran is a quiet but intense presence. However, company member Natalia Ashikhmina says that it’s in his nature to push. “As soon as you reach the goal that he gave you yesterday, he comes up with the next one,” she says. “I expect a certain level,” says Curran, adding that he doesn’t yell when a dancer disappoints him, but “I am confident in sharing that disappointment.”

Curran has exhibited a knack for simultaneously executing several points of his vision: focusing on the art form’s tradition, new work, sustainability and building connections within the Louisville arts scene. This season’s opener, Curran’s new staging of Coppélia, used traditional choreography in an innovative setting: Louisville’s Germantown neighborhood on the eve of World War I, with the set and backdrops designed by local artist Jacob Heustis.

Curran plans to expand the rep with more 19th- and 20th-century classics, as well as contemporary ballets. As with Coppélia, he’s keen on presenting unique versions of ballets, whether that means fresh designs, settings or other tweaks on classics. He promises Louisville audiences will see works by Balanchine—who had only an occasional presence before Curran’s appointment—every season. Case in point: A full Balanchine program is planned for the spring.

Curran is equally committed to his dancers. “I want a long-term chance to invest in each of the artists,” he says. “I don’t feel that 12 months is enough time to truly get to know what someone is capable of.” The ballet’s roster backs Curran up; it hasn’t changed since he signed on.

Ashikhmina adds that, in addition to being artistically supportive, the Louisville Ballet has a wonderful emotional environment. “What’s different about the company is this family is really friendly. People care about each other.” Ashikhmina’s husband, Philip Velinov, is also a member, and they have two children. The company also boasts a high number of dancers with college degrees or those who are currently working toward one.

Next up in March is (R)Evolution, a co-production with the Louisville Orchestra. Though the two organizations have consistently teamed up for Nutcracker, they now have the resources to work together throughout the season. The program, a triple bill by Hougland, including his Cold Virtues, a reinvented Petrouchka and a world premiere, hopefully signals more collaborations to come.

Whether the company is presenting classical or contemporary works, Curran is sure of one thing: “I am committed to the glamour of a night at the ballet,” he says, and it all starts with rigor in the studio.

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Angela Sterling, Courtesy of Pacific Northwest Ballet

Clear your schedule now for Monday, January 29th, 2:45PM (EST)/ 11:45AM (PST). Pacific Northwest Ballet will be live-streaming rehearsal from Kent Stowell's Swan Lake, straight from their Seattle, WA-based studios. To psych us up for their on stage performances February 2nd - 11th, PNB is letting us in on their Act II rehearsal.

From the corps of swans to Odette and Prince Siegfried's pas de deux, and the infamous four swans, this rehearsal is not to be missed. You can sign up now for a live-stream reminder on their site. In the meantime, we'll be brushing up on our Cygnets with this PNB sneak peek.

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Rigorous program, check. Well-rounded technical training, check. Purposeful liberal arts curriculum, check. Study your craft abroad, check! If you are looking for all the above, the Joan Phelps Palladino School of Dance at Dean College truly has it all.

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Lopez in Circus Polka. Photo by Alexander Iziliaev, Courtesy MCB.

When Miami City Ballet artistic director Lourdes Lopez was a principal dancer at New York City Ballet, she missed her opportunity to honor Jerome Robbins onstage. "Every time there was a celebration for Jerry, I was either injured or had just retired," says Lopez. "I was never able to publicly thank him onstage for all that he taught us and the beauty he left us."

But when Lopez was planning MCB's Jerome Robbins Celebration for the 100th anniversary of the legend's birth, she saw an opportunity. She asked the Robbins Trust to allow her to perform the Ringmaster in Robbins' Circus Polka, a role the choreographer originated himself.

Keep reading at dancemagazine.com.

Summer Study Advice
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Videos are a great alternative when auditioning in person isn't possible. Here are some general guidelines for making a good impression.

1. Follow directions. Before filming, research what each school you're interested in requires. "It demonstrates your ability to follow instructions, and schools pay attention to that," says Kate Lydon, artistic director of American Ballet Theatre's summer intensives and the ABT Studio Company. "If the guidelines haven't been followed, your video might not be watched the whole way through." You may need to make multiple versions to accommodate different schools.

2. Videos should be no longer than 10 minutes. "Keep it short, simple and direct," advises Philip Neal, dance department chair at The Patel Conservatory and artistic director of Next Generation Ballet. "You have to be sensitive to how much time the director has to sit down and look at it." Barre can be abbreviated, showing only one side per exercise, alternating. Directors will be looking at fundamentals—placement, turnout, leg lines, stability—but don't ignore musicality or movement quality. Make sure music choices match combinations and are correctly synced in the footage.

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Career
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I want to be a professional dancer, but my parents won't listen. They either don't think I can do it (contrary to what my teachers have said) or they won't let me take the necessary steps to become a professional. Please help. —Audrey

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Videos

They say that pigeons mate for life—perhaps that's why these birds naturally symbolize the young lovers in Sir Frederick Ashton's The Two Pigeons. In these two clips from a 1987 performance in Pisa, Alessandra Ferri and Robert LaFosse—then stars with American Ballet Theatre and New York City Ballet, respectively—dance a rapturous pas de deux at the end of Act II. With tiny pricks of her feet and bird-like flaps of her elbows in Part 1, Ferri marks her anguish, thinking she's been abandoned for another woman. Later, both she and LaFosse grow more and more entangled as they reconcile, Ferri dancing with the passionate abandon she's famous for. I love how in Part 2 (0:20), they can't seem to get enough of each other as their necks arch and intertwine. At the end of the ballet, two pigeons fly in to perch symbolically on the chair—er, there's supposed to be two. It looks like one missed its cue at this performance! No matter—Ferri and LaFosse's dancing make it clear that these young lovers are meant to be together for life. Happy #TBT!

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Summer Study Advice
The author at 13, rehearsing at her home studio, Ballet Arts Theater, in Endicott, NY. Courtesy McGuire.

This story originally appeared in the December 2010/January 2011 issue of Pointe.

As a young student at a small ballet school in upstate New York, I was obsessed with getting into the School of American Ballet. From the age of 10, I entered class each day with the ultimate goal of studying at SAB dangling before me like a carrot on a stick. Every effort I made, every extra class I took was for the sole purpose of getting into what I thought was the only ballet school that really mattered.

I auditioned for SAB's summer program for the first time when I was 12. In the weeks that followed, I became a vulture hovering over my family's mail, squawking at my mother if the day's letters were not presented for my inspection when I walked through the door. The day the letter finally arrived, it was thin and limp. I cried for a week as I dealt with the crushing feeling of rejection for one of the first times in my life.

My mind filled with questions and self-doubt. What was wrong with me? Why wasn't I good enough? I figured I must be too fat, too slow, my feet too flat. I had worked so hard. I had wished on every fallen eyelash and dead dandelion in pursuit of my single goal, just to have a three-paragraph form letter conclude that I was a failure. For a while, I let myself wallow in the comfort of my resentment, content to believe that success should have come easily, and that to fall was the same as to fail.

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