The Joffrey Ballet and University of California—Berkeley's Cal Performances have joined forces on a five-year residency series that offers the public in-depth, behind-the-scenes access to the art of ballet. The first installment runs Nov. 13–19 with repertory classes taught by Joffrey dancers, a panel discussion and open rehearsals as well as performances in Zellerbach Hall November 17–19.
"There is so much interesting work happening, and we want to share it," says Joffrey artistic director Ashley Wheater, whose Bay Area ties go back to his days as a San Francisco Ballet principal dancer and ballet master. He has slated Justin Peck's In Creases, Annabelle Lopez Ochoa's Mammatus, the West Coast premiere of Alexander Ekman's Joy and Joffrey ballet master Nicolas Blanc's Encounter for this year's bill.
Joffrey Ballet dancers in rehearsal for Alexsander Eckman's "Joy." Photo by Todd Rosenberg, Courtesy Cal Performances.
For some of us, every day feels like World Ballet Day LIVE. But the official event takes place on Thursday, October 5, with a free 22-hour live-stream relay showcasing The Australian Ballet, Bolshoi Ballet, The Royal Ballet, National Ballet of Canada and San Francisco Ballet. Each will welcome the world into company classes, rehearsals and behind-the-scenes extras.
Wearing leggings and a puffy vest as she works in one of The Royal Ballet's light-filled studios, Charlotte Edmonds could pass for a corps de ballet member. Instead, she is choreographing on them, creating dynamic, ballet-based contemporary dance in her role as the company's first-ever Young Choreographer.
"At the Opera House you have dancers who have 20 years more experience," she says. "I bow to their experience, but I also try to hold the room. It is sometimes quite nerve-racking! But it is always exciting."
Edmonds' uncanny instincts for choreography and leadership were already apparent at age 11, when she was a first-year student in the Royal Ballet School's Lower School—and a finalist in its competition for the Ninette de Valois Junior Choreographic Award. She got her first professional commission at age 16, and was barely 19 when Royal Ballet director Kevin O'Hare named her the inaugural recipient of the company's Young Choreographer Programme. The paid position provides her with studio space, access
to dancers and the mentorship of renowned choreographer Wayne McGregor.
Photo by Alice Pennefeather, Courtesy ROH
Natasha Sheehan was already creating buzz when she debuted as a San Francisco Ballet corps member in December 2016. Then just 17 years old, the 5' 1" phenom had been promoted directly from her trainee class—and had just won the 2016 Erik Bruhn Prize, besting a cadre of international professionals.
At the Bruhn competition, Sheehan and SFB principal dancer Angelo Greco mesmerized in Foragers, a contemporary work created by Myles Thatcher, and danced a transcendent Giselle Act II pas de deux. "You could hear a pin drop in the auditorium," says SFB artistic director Helgi Tomasson, who has kept an eye on her since she entered the SFB School at age 11. "Her work is very articulate, very beautiful. But she is also mature beyond her years."
Julian MacKay was born to be a pioneer. Growing up amid bison and hot springs in Montana, he developed a sense of adventure that came in handy when, at age 11, he entered the Bolshoi Ballet Academy in Moscow.
"It was this guinea-pig experiment," the Bozeman native remembers. "No American had ever gone so young." In 2015 he became the first American to graduate from the school with a full Russian diploma, having completed the lower and upper ballet division—at the top of his class—and passed all his academics in Russian, which he had learned to speak fluently within his first year.
Then in May 2016, MacKay became the youngest-ever soloist at the Mikhailovsky Ballet in St. Petersburg. He soon debuted as the slave in Le Corsaire, the Bronze Idol in La Bayadère and James in La Sylphide, roles that showcased his clean technique and lofty jumps.
Most vacations don’t turn into the job of a lifetime. But that’s exactly what happened when Jahna Frantziskonis took company class at San Francisco Ballet in the spring of 2015.
“I had never been to San Francisco or seen the company besides on video,” explains Frantziskonis, 23. She had come to the city to visit her younger brother, Elias, an SFB School student at the time. “He said, ‘Just come, take a class, see what happens.’ ” Less than a week after she got back to Seattle, where she was a second-year corps dancer at Pacific Northwest Ballet, she had received an invitation to join the SFB corps.
“It was very unexpected,” she says, seeming to still marvel at the outcome nearly two years later. But artistic director Helgi Tomasson confirms that hiring her was no fluke. He immediately noticed three qualities every SFB dancer needs: stage presence, musicality and versatility. “I could see her fitting very well into the repertory we have, in the classical, neoclassic and contemporary,” he says of her accidental audition.
Frantziskonis proved him right. Her first season was filled with debuts, from the first cast of Mark Morris’ Drink to Me Only With Thine Eyes, to Prayer in Balanchine’s Coppélia, to her season-ending success as Olga in John Cranko’s Onegin. Throughout, she enchanted audiences with effortless turns and sprightly jumps, sensitive musicality and soubrette charm—not to mention enormous, expressive eyes that rival Audrey Hepburn’s.
While the roles were new to her, the spotlight was not. At PNB, she had already performed the principal pas de deux in Balanchine’s “Rubies,” the pas de trois in “Emeralds” and Cupid in Alexei Ratmansky’s Don Quixote, and created roles in Justin Peck’s Debonair and Twyla Tharp’s Waiting at the Station.
“It’s so natural for Jahna,” says PNB artistic director Peter Boal of her technique. “There are some people you like to take credit for having coached, but you realize that anyone could have done it—they were going to get there on their own.”
A Tucson, Arizona, native, Frantziskonis has been single-minded about ballet since her first toddler class at the YMCA. At age 5 she enrolled at Ballet Arts Tucson and trained with owner and former Cleveland Ballet principal Mary Beth Cabana, then finished high school in three years in order to train in PNB School’s Professional Division at 16.
“I always felt, from the very beginning, that she was very, very special,” recalls Cabana, who also trained PNB soloist Margaret Mullin and Houston Ballet demi-soloist Aaron Daniel Sharratt. “She showed a particular intelligence for ballet, and she was very open to expressing herself within her dancing. You could see that every fiber in her being really loved what she was doing.”
Frantziskonis credits Cabana with developing her solid technical base and her enthusiasm for risk-taking. “I’m not a very scared dancer, and I think that’s why. She just gave you the freedom to try.”
She also took a variety of classes, including tap, Fosse-style jazz and contemporary dance. A decade of piano lessons, first in classical and then in improvisational jazz, put musicality literally at her fingertips. “I can recognize structure in difficult pieces,” she explains. “Sometimes I’ll hear different notes, and I’ll base my musicality off of that.”
In spite of her skill and talent, the 5' 2 3/4" Frantziskonis had a sizable obstacle to overcome. “Around the time I started dancing on pointe,” she remembers, “teachers and peers started telling me that my height would hold me back from a professional career.” Discouraged but determined, she put in extra time with Cabana to refine her feet, strengthen her turnout and create the longest possible lines. “I really encouraged her to think about herself as if she was an Amazon, to dance really big and bold,” Cabana says. “And to understand that she had so many other qualities to be a wonderful artist.”
Boal noticed those qualities when Frantziskonis performed in the Professional Division recital. “How she held the stage, her presence—it made me do a double take,” he recalls. He took her under his wing, and the two became close as he cast and coached her in increasingly significant roles. “I really looked on Jahna from the very start as a future principal dancer with the company,” he says, so her departure was a shock.
By nature adventurous and curious, and hungry for new artistic opportunities, Frantziskonis was eager to take her chances on SFB. But she also felt a deep attachment to the director who had shaped her as a dancer. “I knew that Peter would change my mind if I told him that I had a job offer, because I love him,” she says. “But I decided this was an opportunity that I don’t know will ever come again.” So she signed her SFB contract before telling him of the offer.
“He took it well,” she recalls, “and then ended up calling me back into his office to tell me that he was really upset.” Boal was disappointed to lose such a promising dancer, but he also knows it’s the nature of the business. “Directors have to recognize that dancers call some of the shots, and that they have a voice and choices,” he says. “I love it when I’m included. But you want the best for somebody, and I’m happy for her success. It was the right decision.”
Nothing, however, had prepared the admittedly starstruck Frantziskonis for dancing alongside idols like Maria Kochetkova, Yuan Yuan Tan, Frances Chung and Lorena Feijoo. “When I did Olga, Yuan Yuan was Tatiana,” she says. “I was preparing backstage and I had this moment of, Whoa, where are you right now?”
She’s learned to talk herself through those stressful moments, and adjusted to life in a larger company (PNB has 47 dancers, while SFB has 73). But learning the sheer volume of choreography can still feel overwhelming. SFB performs about 30 Nutcracker shows annually, followed by a five-month, eight-program season; 2017 brings three full-lengths and five mixed bills, including four world premieres.
“It’s known as the ‘SFB thing,’ ” she says of the company’s notoriously fast rehearsal process. She’s found that there’s no easy way to get all that rep in her body and mind: “You seriously just do it.”
Principal dancer Lorena Feijoo, who tends to keep an eye on Frantziskonis when teaching company class, has faith that she will meet the challenges, and master them. “Jahna has something you can’t teach,” observes Feijoo. “She is an artist.” Thinking back to last season’s principal role in Liam Scarlett’s dark, aggressive Fearful Symmetries, she says that “when Jahna walked onstage, she was on fire. It was like an explosion. For a corps member of that age to do that, it shows you that she’s a little ahead of the game.”
The next time Frantziskonis finds time for a vacation, she’d love to visit Elias in the Netherlands, where he is a trainee at Dutch National Ballet. But don’t expect another job change.
“I get to do what I love every day,” she says of life at SFB. “That’s my biggest goal: What’s making me happy, pursue it. Right now, ballet is really giving me that.”
Claudia Bauer is a dance writer and critic in the San Francisco Bay Area.
The West Coast Falls for Forsythe
After 40 years in Europe, choreographer William Forsythe recently put down stateside roots as a professor at the University of Southern California's new Glorya Kaufman School of Dance. USC is welcoming him with Fall for Forsythe, a monthlong festival that culminates October 21–23, when Pacific Northwest Ballet, San Francisco Ballet and Houston Ballet perform influential works at The Music Center's Dorothy Chandler Pavilion in Los Angeles.
“I can't wait to see the way each company dances his work," says SFB artistic director Helgi Tomasson, alluding to the unique blend of rigorous classicism and convention-flouting individuality Forsythe cultivates. SFB will perform Pas/Parts 2016, created on Paris Opéra Ballet in 1999 and extensively reworked on SFB's dancers.
Courtney Henry knew she wanted to dance for Alonzo King LINES Ballet while she was still a student in the Ailey/Fordham BFA Program. “I saw LINES perform at The Joyce Theater, and I was blown away, particularly by the women," she remembers. “They were commanding and strong, even scary in how powerful they were. I was like, 'I want to dance like that.' "
She did a 2009 summer program with LINES in San Francisco, then auditioned in 2011. In Henry, King saw an ideal artist for his contemporary ballet company. A lithe six feet tall, the 27-year-old dancer brings the intense physicality and sky-high extensions that King's abstract choreography requires, but also the musicality and technical mastery that make his ballets so mesmerizing.
“Courtney's palette is filled with myriad textures, surprise innovation and rhythmic manipulation," says King, who choreographs to music ranging from Middle Eastern tabla to free jazz to Tchaikovsky. “She is hard to define outside of the word 'brilliant.' " Yet, he says, in her fifth season “she has not even hit the turning point of her career in dance. She is traveling at mercuric speed, ascending toward what will be an astonishing career."
For now, Henry is laser-focused on the demanding LINES schedule, with fall and spring home seasons bookending an average of 20 weeks of national and international touring every year. Her daily routine is designed to keep her relaxed, focused and physically ready. “Because I travel so much, it gets really hard on my system," she says. “I've had to be more aware of my body and my health." Whether she's journaling or rolling out or sipping custom wellness teas, she tunes in to what she needs to feel healthy and creative.
On a picture-perfect Bay Area day, Pointe followed Henry to the LINES Dance Center, where the company rehearsed for its recent fall season in San Francisco and four months of touring from Moscow to Atlanta to La Rochelle, France.
(All photos by Kathryn Rummel)