Not every male dancer gets to take on roles like Swan Lake’s Odette, and Giannina in a restaging of Jules Perrot’s The Naïad and the Fisherman. But Philip Martin-Nielson isn’t your typical performer.

Martin-Nielson is a leading dancer with Les Ballets Trockadero de Monte Carlo, the all-male troupe famous for its parodies of traditional ballets. Quite an accomplishment for someone who was once told he would never be capable of taking care of himself or living on his own.

Although you’d never know it by talking to him or watching him dance, Martin-Nielson has one of the most severe forms of autism. Diagnosed at age 3, he was unable to maintain eye contact or communicate and couldn’t bear to be touched.

But as he memorized and performed the dances he saw on “Barney and Friends,” he discovered that he could express himself through dance. After years of him begging, his mother signed him up for his first ballet class at age 6.

Martin–Nielson in Paquita (photo by Marcello Orselli, courtesy Les Ballets Trockadero de Monte Carlo)

His focus and attention during classes were qualities his mother had never seen before. She knew this was something he had to keep doing. With the help of his teachers, Martin-Nielson learned to carry the discipline he had acquired from ballet over into his academics and day-to-day life. His speech, reading and social skills improved dramatically, and he learned various social cues through movement and observing others in the studio.

“I was always teased and bullied for being different,” Martin-Nielson says. “But, when I was in a ballet class, the bullying, the teasing, the hurt feelings, none of that mattered.”

Teachers at his hometown dance studio in Cornwall, New York, thought his slight build, expressive presence and comedic flair were a perfect fit for the Trocks, so they introduced him to pointe at age 12.

It was Halloween, Martin-Nielson recalls. Armed with a pair of pointe shoes and a tutu, he walked into his first pointe class. “If you fall, you’re taking the shoes off,” his teacher warned.

But Martin-Nielson didn’t fall. Rather, he took to pointework right away. Years later, when he transferred to the School of American Ballet (where pointe is not offered for men), he would practice in his dorm room.

When he was 17, he auditioned for Trockadero. “I wanted to hire him immediately,” says Paul Ghiselin, the troupe’s ballet master. “He just has this natural ability and talent. He really pushes the vocabulary of ballet to its ultimate.”

The Trocks don’t hire dancers who haven’t finished high school, but they encouraged Martin-Nielson to come back once he graduated. He did, and officially signed on with them in September 2012. Now 21, he’s the youngest member of the company.

“The Trocks have given me some wonderful opportunities I never thought I would be able to experience,” Martin-Nielson says. Besides the chance to dance classical roles, he’s had the opportunity to travel, since the company performs all over the world.

Martin-Nielson hopes sharing his story will promote awareness of dance as a therapy for autism, so others like him can achieve their goals and realize their dreams. “If you have a passion, keep going for it and keep doing it to the best of your ability,” he says. “No matter how many times somebody tries to shut you down.”

Fun Facts

Pre-performance ritual: “Making sure my pointe shoes are clean and nice, and putting Band-Aids around the ribbons so they don’t come undone.”

Hidden talent: “I’m a costume designer. I can make anything out of any piece of fabric. And I love to do drag performances in the city!”

Guilty pleasure: “Watching Carol Channing.”

Dream role: “Kitri in Don Quixote. And it’s a role that I’m already working on in rehearsals.”

If you're in the NYC area and are in need of weekend plans, you might want to consider heading to the Film Society of Lincoln Center to see Jean-Stéphane Bron's documentary, The Paris Opéra. While the film was originally released in France this past spring, it just made its way to the US on October 18th, and it chronicles the 2015-2016 season at the Paris Opera.

Encompassing the entire institution (which was founded in 1669 by King Louis XIV!), dancers will particularly enjoy an inside look at the Paris Opéra Ballet—both in rehearsals and onstage. Most notably, Bron captures the then POB director Benjamin Millepied as he decides to leave his position with the company barely a year after his appointment.

Check out the full trailer below, and the Film Society of Lincoln Center's full listing of showtimes here.

Your Training
Thinkstock.

Bianca Bulle was always prone to ankle sprains. When she was 18, her recoveries became more complicated: She started experiencing Achilles tendonitis due to muscle weakness and fluid buildup in the ankle. "The last thing to get back to normal would be my Achilles, which was so incredibly tight and painful," says Bulle, now a principal at Los Angeles Ballet.

The Achilles is the body's largest tendon, attaching the bottom of the calf muscles to the back of the heel. It contracts and releases as you relevé and plié, as well as when you jump and even walk. Tendonitis, or inflammation, of the Achilles is one of the most frequently reported overuse injuries among active people, according to the American Physical Therapy Association. You'll know it by the pain or tightness at the back of the heel. If the condition gets bad enough, the tendon can rupture, which requires surgery to fix.

Achilles tendonitis is especially common among dancers on pointe, but it's not inevitable. With rest and proper conditioning, you can work to avoid it with careful technique and a commitment to cross-training.


Boston Ballet School pre-professional students. Photo by Igor Burlak Photography, Courtesy Boston Ballet.

What Causes It?

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New York City Ballet in Marc Chagall's costume designs for Balanchine's "Firebird."

I am a self-confessed costume nerd who really needs little persuasion to travel nearly 3,000 miles to see a costume exhibition—which is what I did when I set off for California for the new exhibition at Los Angeles County Museum of Art: Chagall: Fantasies for the Stage. I knew Marc Chagall primarily for his sumptuous blue swirling paintings featuring violin-playing goats, his incredible ceiling at the Paris Opéra's Palais Garnier, and murals at the Metropolitan Opera House in New York City, so I was intrigued to see his work with ballet.

Marc Chagall (1887–1985), was born Moishe Zakharovich Shagal in Belarus. He later moved to St. Petersburg, Russia, to study art, apprenticing under famed Ballets Russes designer Leon Bakst. Chagall's work in ballet and opera, however, did not begin until he and his wife Bella arrived in the U.S. as World War II refugees in 1941.

Chagall: Fantasies for the Stage, adapted from an earlier exhibition at the Montreal Music of Art and curated by Yuval Sharon and Jason H. Thompson, is an exciting opportunity to see 41 costumes and nearly 100 designs. But it is the costumes that really steal the show. You won't see any tutus here, but instead amazing, almost cartoon-like realizations of Chagall's artwork. LACMA's exhibition runs through January 7, 2018. For those of you who can't make the trip like I did, here's a rundown of highlights.

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Tiler Peck in "Who Cares?". Photo by Paul Kolnik, Courtesy NYCB.

New York City Ballet principal Tiler Peck and Emmy-winning actress Elisabeth Moss (of Mad Men and Handmaid's Tale fame) may seem like unlikely friends, until you dig a little deeper into their backgrounds. Both attended Westside School of Ballet in Santa Monica and spent summers at the School of American Ballet in their youths. Moss and Peck's career paths diverged when the former fell in love with acting and Peck went on to study at SAB full time, eventually becoming the star we know today. Now, the pairs' artistic pursuits are uniting in an exciting new project.

According to Deadline.com, Moss will produce a documentary featuring Peck and her work curating BalletNOW, last summer's star-studded, critically acclaimed program at Los Angeles's Dorothy Chandler Pavilion. Peck was the first woman to lead BalletNOW's programming, and she brought together dancers from companies including The Royal Ballet, Miami City Ballet, American Ballet Theatre and the Paris Opéra Ballet, putting them on stage with tappers, clowns and break dancers (sometimes simultaneously).


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Your Best Body

Looking for creative and healthy ways to get your pumpkin fix this fall? First, back away from the pumpkin-spiced latte—the season's unofficial drink is often laced with sugary syrup and comes with a complimentary mid-rehearsal crash. Instead, try these simple snacks with puréed pumpkin. It's high in beta-carotene, which converts to immunity-boosting vitamin A, and is a good source of vitamin K, iron and fiber. You can buy it canned or make the purée from a "sugar" or "pie" pumpkin (they're commonly available at grocery stores or farm markets).

Fruit-and-Spice Toast

- Spread purée onto whole-grain toast.

- Top with sliced pear.

- Add a dash of cinnamon.

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Pointe Stars

When Maya Plisetskaya first toured abroad with the Bolshoi Ballet, she stunned the world. Her dramatic and technical abilities were far beyond what anyone outside the Soviet Union had seen before. She quickly became an icon, symbolizing Russian ballet.

Plisetskaya was the perfect ballerina to play the Tsar Maiden in The Little Humpbacked Horse when choreographer Alexander Radunsky and composer Rodion Shchedrin recreated the classic Russian folktale in the 1960s. This vintage clip of the ballet offers a glimpse into an era gone by. Although ballet technique has advanced since then, Plisetskaya's performance is still electrifying. She is daring and agile in her manèges and fouettés, while she shows gentle purity and authentic emotion in the pas de deux with the wide-eyed Ivan. Even half a century later, this magnificent artist continues to transfix us with her radiant presence onstage. Happy #ThrowbackThursday!


Pointe Stars
P.O. Alienz in Lavender Leotard; Paulina Waski modelling a Kreature Kulture t-shirt. Photos Courtesy Paulina Waski.

Walk into any ballet class and you're bound to see a row of dancers clad in leotards patterned with dainty flowers and lace. But nearly three years ago, American Ballet Theatre corps dancer Paulina Waski wore a very different kind of leotard to class—and her colleagues loved it. Now an average day at ABT includes any number of dancers in leotards featuring angry aliens, detached eyeballs and grinning monsters.

"My dad, John, is an artist, and he draws all these crazy creatures," Waski explains. "One year he did what he called his paper plate project; he drew a new creature onto a paper plate every single day for 365 days. I thought, 'he should put one on a leotard!' He screen printed one onto one of my old leotards himself, and when I wore it to class everyone was wowed." And so, Kreature Kulture was born.


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