Julia Guiheen is a dancer and writer from Morris County, New Jersey. She trained in ballet, jazz, and modern dance at Studio Allegro School of Ballet and is currently pursuing her BFA in dance and strategic communications at Butler University. During the summer of 2017, Julia worked at Pointe as an editorial intern.
Dancing with The Royal Ballet from 1992 until 2013, former principal Leanne Benjamin tackled just about every role in the classical gamut, from Juliet to Nikiya to Giselle. As the young and spirited Swanilda in this clip from Coppélia, Benjamin reveals that she has equal talent for the silly as the serious. Her comedic performance in Swanilda's doll dance is this role at its best.
In an effort to trick the scheming Dr. Coppelius and save her beloved Franz, Swanilda pretends she is the doll Coppélia come to life. As she begins to dance, Benjamin is stiff and mechanical one moment and then flopped over like a rag doll the next. Dr. Coppelius, played by character artist Luke Heydon, watches her enthralled and Benjamin's gaze is fixed in a plastic stare. But when the toymaker looks away, Benjamin's Swanilda breaks doll character and frantically tries to figure out an escape. Feebly, Dr. Coppelius tries to keep up with her. Although we feel some sympathy for the delusional old toymaker, we can't help laughing at Swanilda's antics. And that slap at 1:55? Gets us every time. Happy #ThrowbackThursday!
Throughout the year, ballet companies are celebrating what would be Jerome Robbins's 100th birthday. One of America's most prolific and versatile dancemakers, Robbins is often remembered for his choreography for Broadway musicals like West Side Story and Fiddler on the Roof. However, his ballets, from Fancy Free to Afternoon of a Faun, are equally iconic. One of his best-loved pieces, among dancers and audiences alike, is Dances at a Gathering, a lyrical ballet inspired by Chopin's piano compositions. The hour-long piece features 10 dancers, all dressed in different colors, who move in and out of solos, duets and group dances; it's a staple in company repertories around the world.
Alicia Graf Mack has consistently defied just about every limitation and expectation throughout her dance career. She was a leading performer with three incredible companies: Alvin Ailey American Dance Theater, from which she retired in 2016, Dance Theatre of Harlem and Complexions Contemporary Ballet. She also earned two college degrees in the midst of her performing career (from Columbia University and Washington University in St. Louis, no less) and has even written for Pointe, including our June/July 2014 cover story on Misty Copeland, Ebony Williams and Ashley Murphy. This week we're throwing it back to this wonder woman's 2004 performance of Robert Garland's Return with Dance Theatre of Harlem.
This week, young ballet dancers from across the globe have been studying and competing for coveted scholarships at the Prix de Lausanne. This infamous competition has been a launch pad for many of the ballet world's biggest stars. One such star is Royal Ballet principal Steven McRae, who was a prize winner in 2003 with these two outstanding performances in the finals.
While just a lanky 17 year-old in this clip, he nonetheless performs the virtuosic slave variation from Le Corsaire with aplomb. He brings impressive height and length to his jumps and conveys the character's pride and passion with intense eyes and a dramatically arched back in the final pose.
There are few opportunities as rewarding for a dancer as having choreography created on you. Sir Anthony Dowell, former principal and then artistic director of The Royal Ballet, is one of those rare few who had the chance to originate many roles throughout his performing career. Dowell was a particular inspiration for Sir Frederick Ashton; the choreographer created many roles for him, including original choreography for the Prince in The Royal Ballet's production of Sleeping Beauty. In this variation from Act II, Dowell comments on, and demonstrates, the unique sense of self-possession that comes with performing a specially-created role.
"The Bell Telephone Hour" TV program broadcasted performances of world-class music, opera and ballet to millions of Americans throughout the 1960s. Many of the dance world's biggest stars frequently appeared on the program. In a 1961 Shakespeare special, New York City Ballet principals Violette Verdy and Jacques d'Amboise danced the title characters in Romeo and Juliet by choreographer Donald Saddler.
Although this version lacks some of the emotional intensity of other renditions, watching these legendary dancers perform together is a treat. Their duet is accompanied by Shakespeare's "Sonnet No. 18," bringing to mind contemporary choreographic endeavors involving spoken word in place of music. Verdy dances with an openness and grace that contrasts d'Amboise's more stoic, commanding presence. At 3:00, he sweeps Verdy off her feet and above his head in one fantastic fell swoop. Their duet is followed by an acrobatic fight scene and a stunt-filled sword fight in which both Mercutio and Tybalt are killed. When Romeo disappears after the fight, Verdy shows us Juliet's despair in a dramatic pantomime ending. Happy #ThrowbackThursday!
Gelsey Kirkland and Mikhail Baryshnikov in The Nutcracker are simply iconic—two of the world's most celebrated dancers in the world's best-loved ballet. Starring as Clara and the Prince in American Ballet Theater's 1977 made-for-television film, these two superb talents bring both technical and dramatic brilliance to the ballet's culminating scene.
In this version, which Baryshnikov himself choreographed, Clara and the Prince dance the grand pas de deux. He also mixes up the order so that the variations and coda precede the adagio. The clip begins with the tail end of Kirkland's variation, followed by a flawlessly danced coda. Baryshnikov, looking debonair in all white, flies in his jumps, rebounding off the floor like a spring, and Kirkland's impressive diagonal at 0:43 boasts triple fouetté turns.
The mood changes when Drosselmeyer, played by Alexander Minz, arrives in the first chords of the adagio to usher Clara away from her dreamland. In a pas de trois, Clara is torn between her beloved godfather and her prince, reluctant to choose between childhood and the promise of her dreams. In her gauzy nightgown, the delicate Kirkland is ethereal and waif-like as she is promenaded and passed in the air between her partners. She and Baryshnikov make a tender couple and in the end, as she chaînes into his arms, it is clear that she longs to stay with her prince. Happy #ThrowbackThursday!
December is here and the holiday season—better known to ballet dancers as Nutcracker season—is in full swing. To celebrate, we're throwing it back to Patricia Barker and Wade Walthall as Clara and the prince in Pacific Northwest Ballet's 1986 Nutcracker: The Motion Picture.
In this reimagining of the ballet by PNB founding artistic director Kent Stowell and famed writer and illustrator Maurice Sendak, young Clara (played by Vanessa Sharp) defeats the multi-headed mouse king all on her own with a well-aimed, enchanted pointe shoe. She then follows her Nutcracker inside the shell of the mouse king's armor and ventures into an icy cavern. There she is transformed into an older version of herself, played by Patricia Barker. Clara emerges from the cavern to find that her Nutcracker has transformed as well, from a toy caricature into a handsome, mustachioed prince.