If you’ve been keeping up on developments in the ballet world, you’ve probably had cause to ask: Where are the female choreographers?

“I get asked to do interviews a lot because of that question,” says Emery LeCrone, a freelance choreographer and dancer based in New York City, “instead of just to talk about my work.”

The skewed ratio of male to female ballet choreographers has long been established, inspiring countless distraught—and necessary—conversations and articles (including in this magazine). The reasons for this imbalance—why more men than women are making work at top companies like New York City Ballet and American Ballet Theatre—run deep, rooted in an ethos of conformity that follows female dancers from their first ballet class to the white acts of Swan Lake. Men, being a rarer breed in ballet, tend to get more specialized treatment from a young age. And at the professional level, women often rehearse longer hours (think of all the story ballets with multiple scenes for the female corps), giving them less time, energy and mental space to make their own work.

Yet in addition to women like Crystal Pite, Jessica Lang and Aszure Barton—who have choreographed for the likes of Pacific Northwest Ballet, the Joffrey and ABT—a young crop of female ballet choreographers is steadily gaining recognition. Pointe talked with three up-and-coming artists—Gabrielle Lamb, Gemma Bond and LeCrone—about their artistic paths, current projects and how they balance their dual lives as choreographers and dancers.

Gabrielle Lamb
Gabrielle Lamb recalls a time, before she began to choreograph, when “improvisation” was a foreign concept. “I remember asking one of my colleagues, who was doing improv onstage, ‘What if you don’t know what to do next?’ ” she says.


At 39, having created pieces for Ballet Memphis, Milwaukee Ballet and Hubbard Street 2, among other companies, she’s put that question behind her. Since choreographing her first solo in 2003, while dancing with Les Grands Ballets Canadiens de Montréal, Lamb has discovered the delights of making in the moment. It was improvising that initially drew her to choreography. “I realized that maybe my body had ideas that my head didn’t understand,” says Lamb, who received a 2014 Princess Grace Award for Choreography. “There’s this spinal intelligence where certain things come from.”

Now she often begins a process by filming her own improvisations. “I’m interested in how energy flows through the body,” she says, “and how the body language we use everyday could be magnified or distorted into dance.” As a freelance artist, she devotes most of her time to choreographing on others, though she continues to stay active as a dancer. Through a New York City Center fellowship last year, she commissioned a solo for herself, by Adam Barruch, while also creating new work for a group of dancers she auditioned and hired.

Her advice to young choreographers? “Don’t feel like you have to have everything figured out before you start. I think that’s what held me back for so long. I didn’t understand that you have to start something without knowing where it will end.”

Upcoming project: A premiere for Royal Winnipeg Ballet’s Q Dance series, June 10–12.

Gemma Bond
Growing up as a student at The Royal Ballet School, Gemma Bond was, in her own words, “not very assertive”—except when it came to choreographing. Cast in her peers’ work for the school’s choreography competitions, she often found her 11-year-old self saying, “No, no, no—this way would be better.”


“I thought, I’m becoming one of those really annoying people,” she laughs, “so maybe I should just choreograph my own piece.”

That creative spark has flourished during her time at ABT, where she joined the corps in 2008. She has participated several times in The Innovation Initiative, a series for emerging choreographers organized by David Hallberg and Kevin McKenzie, in addition to making pieces for New York Theatre Ballet, Youth America Grand Prix and Intermezzo Dance Company, a fledgling troupe founded by ABT soloist Craig Salstein. Her latest accolade is a fellowship from the New York Choreographic Institute—“the most exciting thing that’s happened to me,” she says—which comes with space, time and a stipend to do whatever she pleases. She’s planning a ballet version of Shel Silverstein’s The Giving Tree, which she’ll unveil at an invite-only showing in April.

Bond, 32, describes herself as “very content to be in the corps de ballet.” She pushes harder for choreographic opportunities than she does for star roles, and while some dancers spend the off-season guesting with other companies, she spends hers in the studio. Despite flirting with contemporary moves, she always comes back to a more classical vocabulary. In that vein, she aspires to create a large-scale work for a female corps. “I’ve always been extremely proud of the corps de ballet,” she says. “I get very excited by dancing with my friends, when we’re bang-on and our lines are amazing. It’s an incredible feeling.”

Upcoming project: A new work for New York Theatre Ballet, June 18–20.


Emery LeCrone

At 28, Emery LeCrone has a chock-full resumé. Her crisp, geometrically inventive style has earned her commissions from Oregon Ballet Theatre, Colorado Ballet, Saint Louis Ballet, Charlotte Ballet, the National Choreographers Initiative, Juilliard and the Guggenheim’s Works & Process series, to name just a few. She also dances with the Metropolitan Opera, a steady gig that gives her both the stability and flexibility to choreograph.


The challenges LeCrone faces, she says, have more to do with being a freelancer than with being female. “I’m just trying to get consistent work, and that has nothing to do with whether I’m a woman or a man.”

LeCrone got an early start when, as a 19-year-old student at North Carolina Dance Theatre’s Chautauqua Summer Dance Festival, she was required to choreograph. Quite simply, she says, “I loved it.” Both she and Bond encourage young artists to generate as much work as possible—even if that means just noodling around in the studio and inviting friends to watch. “The number one thing is to keep making it and putting it out there, and things will happen,” LeCrone says.

Having made a lot of “15-minute concert dance and 5-minute pas de deux,” LeCrone wants to move toward creating longer works with larger casts. She also hopes to collaborate with a composer. While music is one inspiration for her, she gets most excited when talking about her dancers—their backgrounds, personalities, idiosyncrasies. “What inspires me most is being in the studio with them,” she says. “When I choreograph a piece, it’s about the people who are in it. It’s about how we relate as human beings.”

Upcoming projects: YAGP Gala, April 16; evening-length program for the Joyce Theater’s Ballet Festival, Aug. 13–14. P

Siobhan Burke writes about dance for The New York Times and Dance Magazine.

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Angela Sterling, Courtesy of Pacific Northwest Ballet

Clear your schedule now for Monday, January 29th, 2:45PM (EST)/ 11:45AM (PST). Pacific Northwest Ballet will be live-streaming rehearsal from Kent Stowell's Swan Lake, straight from their Seattle, WA-based studios. To psych us up for their on stage performances February 2nd - 11th, PNB is letting us in on their Act II rehearsal.

From the corps of swans to Odette and Prince Siegfried's pas de deux, and the infamous four swans, this rehearsal is not to be missed. You can sign up now for a live-stream reminder on their site. In the meantime, we'll be brushing up on our Cygnets with this PNB sneak peek.

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Rigorous program, check. Well-rounded technical training, check. Purposeful liberal arts curriculum, check. Study your craft abroad, check! If you are looking for all the above, the Joan Phelps Palladino School of Dance at Dean College truly has it all.

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Lopez in Circus Polka. Photo by Alexander Iziliaev, Courtesy MCB.

When Miami City Ballet artistic director Lourdes Lopez was a principal dancer at New York City Ballet, she missed her opportunity to honor Jerome Robbins onstage. "Every time there was a celebration for Jerry, I was either injured or had just retired," says Lopez. "I was never able to publicly thank him onstage for all that he taught us and the beauty he left us."

But when Lopez was planning MCB's Jerome Robbins Celebration for the 100th anniversary of the legend's birth, she saw an opportunity. She asked the Robbins Trust to allow her to perform the Ringmaster in Robbins' Circus Polka, a role the choreographer originated himself.

Keep reading at dancemagazine.com.

Summer Study Advice
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Videos are a great alternative when auditioning in person isn't possible. Here are some general guidelines for making a good impression.

1. Follow directions. Before filming, research what each school you're interested in requires. "It demonstrates your ability to follow instructions, and schools pay attention to that," says Kate Lydon, artistic director of American Ballet Theatre's summer intensives and the ABT Studio Company. "If the guidelines haven't been followed, your video might not be watched the whole way through." You may need to make multiple versions to accommodate different schools.

2. Videos should be no longer than 10 minutes. "Keep it short, simple and direct," advises Philip Neal, dance department chair at The Patel Conservatory and artistic director of Next Generation Ballet. "You have to be sensitive to how much time the director has to sit down and look at it." Barre can be abbreviated, showing only one side per exercise, alternating. Directors will be looking at fundamentals—placement, turnout, leg lines, stability—but don't ignore musicality or movement quality. Make sure music choices match combinations and are correctly synced in the footage.

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Career
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I want to be a professional dancer, but my parents won't listen. They either don't think I can do it (contrary to what my teachers have said) or they won't let me take the necessary steps to become a professional. Please help. —Audrey

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Videos

They say that pigeons mate for life—perhaps that's why these birds naturally symbolize the young lovers in Sir Frederick Ashton's The Two Pigeons. In these two clips from a 1987 performance in Pisa, Alessandra Ferri and Robert LaFosse—then stars with American Ballet Theatre and New York City Ballet, respectively—dance a rapturous pas de deux at the end of Act II. With tiny pricks of her feet and bird-like flaps of her elbows in Part 1, Ferri marks her anguish, thinking she's been abandoned for another woman. Later, both she and LaFosse grow more and more entangled as they reconcile, Ferri dancing with the passionate abandon she's famous for. I love how in Part 2 (0:20), they can't seem to get enough of each other as their necks arch and intertwine. At the end of the ballet, two pigeons fly in to perch symbolically on the chair—er, there's supposed to be two. It looks like one missed its cue at this performance! No matter—Ferri and LaFosse's dancing make it clear that these young lovers are meant to be together for life. Happy #TBT!

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Summer Study Advice
The author at 13, rehearsing at her home studio, Ballet Arts Theater, in Endicott, NY. Courtesy McGuire.

This story originally appeared in the December 2010/January 2011 issue of Pointe.

As a young student at a small ballet school in upstate New York, I was obsessed with getting into the School of American Ballet. From the age of 10, I entered class each day with the ultimate goal of studying at SAB dangling before me like a carrot on a stick. Every effort I made, every extra class I took was for the sole purpose of getting into what I thought was the only ballet school that really mattered.

I auditioned for SAB's summer program for the first time when I was 12. In the weeks that followed, I became a vulture hovering over my family's mail, squawking at my mother if the day's letters were not presented for my inspection when I walked through the door. The day the letter finally arrived, it was thin and limp. I cried for a week as I dealt with the crushing feeling of rejection for one of the first times in my life.

My mind filled with questions and self-doubt. What was wrong with me? Why wasn't I good enough? I figured I must be too fat, too slow, my feet too flat. I had worked so hard. I had wished on every fallen eyelash and dead dandelion in pursuit of my single goal, just to have a three-paragraph form letter conclude that I was a failure. For a while, I let myself wallow in the comfort of my resentment, content to believe that success should have come easily, and that to fall was the same as to fail.

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