On Monday night, "Dance Against Cancer" raised over $25,000 for the American Cancer Society. The event, held at Manhattan Movement & Arts Center, was co-produced by Daniel Ulbricht, whose mother is currently battling uterine cancer. It featured several of Ulbricht’s fellow New York City Ballet dancers, along with "So You Think You Can Dance" star Alex Wong and members of Keigwin + Company, Lar Lubovich Dance Company and more. The evening was driven by a strong sense of purpose: We learned during an introductory film that each participant had been touched by cancer in some way.
Senior editor Jenny Stahl recently called New York City Ballet principal Daniel Ulbricht "Superman," and I can't think of a better way to describe the phenomenally talented dancer and teacher, who seems to be everywhere at once these days. (We recently posted a poll asking who your favorite dancer-teacher was, and Ulbricht cleaned up.)
In the past few weeks, I've been lucky enough to film the photo shoots of two very lovely dancers: National Ballet of Canada corps member Adji Cissoko, and American Ballet Theatre principal Veronika Part. On the surface, these ballerinas could not be more different.
For the past four decades, the Prix de Lausanne has introduced the world to the next generation of ballet stars. Alessandra Ferri, Leanne Benjamin, and Julie Kent all first broke through in the prestigious competition. This year, the Prix is launching a new master class series to offer students across the globe a chance to learn from a former winners.
I was pretty excited for my first Philadanco show on Friday evening, never having seen the company before, but always hearing great things about them. On the program were Christopher Huggins' "Bolero", Jawole Willa Jo Zollar's "By Way of Funk", Ray Mercer's "Guess Who's Coming To Dinner", and Huggins' "Enemy Behind The Gates". I could go on and on about how great the dancers were, and how balletic the movement was. Anybody could have seen that these dancers have very solid ballet training that they maintain constantly. In fact, much of the dancing (though non in poin
A ballet class is a ballet class is a ballet class…or at least that’s what I was trying to convince myself before my Boston Ballet company audition at the School of American Ballet. Despite the reminder from friends that I do pliés and tendus practically every day,e and that this day was no different, the atmosphere and my nerves made me feel as if even turnout was something foreign to me.
Now that Nacho Duato is at the Mikhailovsky, his former junior troupe, Spain's Compañia Nacional de Danza 2, is singing a swan song for his choreography: the young contemporary ballet dancers are currently dancing in one final tour of Duato's works. This weekend, they're performing at The Skirball Center in New York City.
After receiving the Youth Grand Prix Award in Youth America Grand Prix's Los Angeles Regional, I was already looking forward to New York. The environment in New York was so inspiring. After a few days my time came to perform in the Junior Women's Contemporary category. It all happened so fast: One moment I was doing my hair, the next I was warming up backstage and then I was performing in front of some of the most recognized people in the dance world. Pretty soon I was panting off stage.
Last Saturday, I went to see the Merce Cunningham Dance Company in Nearly Ninety, and I was pretty blown away. During the 80-minute piece, the dancers' energy never flagged or faded, and the ever-shifting patterns onstage continuously delighted my eye. Cunningham's choreography is in some ways so very abstract and stark, but in others, it reminded so much of modern dance's classical roots.