Fishnets, gangsters, vaudeville and. . . Balanchine? One of these things may not seem like the others, but dancers know it’s a killer combination. The 1936 Broadway musical Rodgers & Hart’s On Your Toes combines all this, plus song-and-dance tap numbers, and it's currently being reprised at New York City Center May 8-12.
American Ballet Theatre is heading up to Harlem. The company just announced a new partnership with the Harlem School of the Arts. Starting this fall, all HSA dance faculty members will be trained in ABT's National Training Curriculum. JKO principal Franco De Vita will serve as an advisor and conduct master classes at the school throughout the year. The new ballet curriculum will be added to HSA's current classes in jazz, tap, modern, African and hip hop.
It's spring showcase season, and every student has the same fantasy: Being seen by a director, and promptly offered a contract. For Hannah Keene, that fantasy came true after she performed as a Boston Ballet trainee in the school's Next Generation concert last year. She shared her story with Pointe:
It's finally springtime! Which means it's the season for getting your fill of juicy, fresh fruit. Two of my favorites are blueberries and raspberries, both fantastic options for dancers. But I was curious: Which gives you more nutritional bang for your buck? In Pointe's April/May issue we broke down the details.
Walking may seem like the simplest moment you have on stage. But the way in which you take a step can reveal volumes about your character. In Pointe’s April/May issue, four dancers spoke with writer Joseph Carman about how they approach the walking and running in their signature roles. Here, Boston Ballet principal Erica Cornejo offers her take on Kitri’s steps.
What does it take to be a dancer with American Ballet Theatre? The company's dancers and staff tackled that question last night at the Guggenheim Museum's Works & Process program. “ABT dancers need to do it all,” said Kevin McKenzie in a video clip. “They need to have the ability to cross the borders of the stylistic demands of contemporary dance and ballet.”