I turned up one morning to watch Eddie Villella’s company class at Miami City Ballet, as I do most mornings when I’m in Miami, and there at the barre was a dancer I’d never seen before—a ravishingly beautiful girl with immense natural charm who was working as hard, or harder, than anyone else in the room. After watching her for 10 minutes I sidled over to Villella and whispered, “Who is that girl? She’s a star! Give her everything!”

 

He’s used to tolerating my enthusiasms, but it was also clear that he didn’t totally disagree, even though he wasn’t going to say so. Her name was Patricia Delgado, he told me. She was 17, and she was an apprentice at the company, where Villella is artistic director. When later in the day I said more or less the same thing to Linda Villella, Eddie’s wife, who runs the company’s school, she just laughed and said, “Wait till you see her sister, Jeanette. She’s just as good!” I didn’t believe it—until I saw Jeanette in action when she came along two years later.

 

The Delgado sisters are not only extraordinary dancers, they’re extraordinary young women: ballerinas without a trace of pretension, self-satisfaction or opportunism. The reason isn’t hard to find, once you know their parents. Millie (Migdalia) is a psychologist with a PhD from the University of Miami; Zeke (Ezequiel), with a bachelor’s of science in industrial engineering and a master’s in education, is a math teacher. Like their daughters, they’re both completely grounded—as far from traditional ballet parents as it’s possible to get. When Patricia said she wanted to go to ballet school, that was fine with them—and it would have been just as fine if she’d wanted to take up water-skiing or raise chickens.

 

The senior Delgados saw, and see, their job as being there to support and advise their girls (when asked). At a crucial moment when Patricia had to decide whether to focus on dancing or to pursue an academic path (she was always at the top of her class), they helped clarify her choices and stood back. Luckily, Patricia knew that deep down she wanted to dance–not to be a ballerina, not to be a star, but to dance. And Jeanette wanted to do whatever her big sister was doing–never in a spirit of competition but in emulation. “I’m so lucky,” she says, “to have my older sister as my best friend.”

 

Millie’s family emigrated to Miami from Cuba soon after Castro came to power, when some family property was nationalized. They never regretted it; there’s none of that nostalgia for the old days. The girls, of course, are Miami-born and bred, went to Miami public schools, and led normal young American lives—with friends, activities and, in Jeanette’s case, dates. Patricia’s first and only date was with Matthew, a boy she met in high school, and that was that—a year ago they were married.

 

There have been only two major obstacles in Patricia’s professional life. One was a serious injury that kept her offstage, her foot in a boot, for an entire season. The other was worrying whether Matt, who had a good job in New York, could find an equally good job back in Miami. The alternative was too painful to consider, but Patricia—the realistic daughter of realistic parents—had to consider it. Everyone breathed a lot easier when the job came through.

 

Leaving Miami City Ballet would have been an emotional disaster for Patricia (not a professional one; any ballet company would be happy to have her). “I feel like a deep-rooted part of Edward’s company, of the creativity here, of the family environment. This is my place.” Villella returns the feeling: “She’s a total dancer,” he says. “She can grow in every direction. And apart from her extraordinary abilities, she’s such a delightful personality—she lights up any room she’s in, be it class, rehearsal or onstage.”

 

Observing her progress these past 10 years, I’ve noticed that even other dancers who might be envious of what she’s achieved have nothing negative to say about her as a person, although for a while there were remarks about her “weak” feet. Needless to say, she worked on them obsessively, and a year ago had a difficult operation to relieve her of almost constant pain: A small extra bone—it’s called an os trigonum—was removed from her ankle. For the first time, she now feels absolutely free to dance full-out, to stretch her technique without fear of hurting herself. You could see the difference this past season: She was not only radiant, but at 27, she was finally fully secure.

 

Her range is already large. How many dancers go effortlessly from the “Man I Love” pas de deux in  Who Cares? to “Sanguinic” in The Four Temperaments to In the Upper Room? She’s classical—Swanilda, Kitri, eventually Giselle—and she’s down and dirty: the sexy lead in Paul Taylor’s Piazzolla Caldera. And surely she’ll be one of the Juliets in the company’s upcoming production of the John Cranko version of the ballet. She also hopes to push herself in the direction of the pyrotechnical Balanchine ballets like Ballo della Regina and Ballet Imperial—in a way, Jeanette’s turf. Usually, it doesn’t serve sisters well to work in the same company, but the Delgados’ dance temperaments are so different that there’s no problem. Jeanette has a thrillingly blithe propulsiveness and rock-solid technique. It’s Patricia’s refinement, repose and allure that instantly grab the audience’s attention, and hold it. In Miami City Ballet, there’s room for them both.

Although Patricia is such an integral part of the repertoire now, she remains eager and modest. “I’ve never thought of what I do as ‘a career.’ I’ve always only wanted to dance wonderful roles. And one of the great things about Miami is that we don’t perform anything but the best choreography: Balanchine, Taylor, Tharp (we had a fabulous time with her when she was down here creating Nightspot on us), Robbins, the classics. I just go on working on my feet, on my line, hoping like everyone else that I’ll be cast.”

 

As for Villella, he sees Patricia Delgado as a perfect example of how the institution he founded 25 years ago can function. “She comes from Miami. She came through our school. She quickly made a wonderful impression on us and on our audience—she was so appealing we almost had to hold her back. She never makes problems. She’s always ready, willing and more than able. If every ballerina had her talent, her temperament and her looks, the lives of artistic directors like me would be a cakewalk!”


Robert Gottlieb, former editor-in-chief of Simon & Schuster, Alfred A. Knopf and The New Yorker, is the author of George Balanchine: The Ballet Maker and is currently the dance critic for The New York Observer.

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Andrew Peasgood and Constance Devernay in "The Fairy's Kiss." Photo by Andy Ross, courtesy Scottish Ballet.

From now through January 15, Pointe is streaming Scottish Ballet in Sir Kenneth MacMillan's Le Baiser de la Fée (The Fairy's Kiss). This one-act ballet, based on the Hans Christian Andersen fairy tale "The Ice Maiden," was choreographed for The Royal Ballet in 1960. For more on the ballet's history and for behind-the-scenes footage, click here.

Synopsis

The Lullaby in the Storm
A mother with her child struggles through the storm. The Fairy with her attendants appears and pursues her. The Fairy separates the mother from her child. Passing villagers find the body of the mother, now dead, and guided by the Fairy, they find the child. The Fairy kisses him on the forehead. The villagers become frightened and taking the child with them, they run away.

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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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via YouTube

It's finally the weekend, and we're celebrating the best way we know how—a new ballet video. Juliet Doherty (who trained with San Francisco Ballet and Master Ballet Academy, and is set to star in the dance film, On Pointe), teamed up with Cartoon Network for her latest project.

"Cartoon Network contacted me about their show, Steven Universe, which was coming out with a new vinyl album of the soundtrack of the show," Doherty shared with Pointe. "They told me about one of the show's main characters named, Pearl, who is a strong-willed character but has the grace inspired by a ballerina."

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Mr. Jeremy FIsher, from Sir Frederick Ashton's "The Tales of Beatrix Potter."

Animal roles might not typically be what dancers dream of performing…but they're oh-so-fun to watch. You can't help falling under their spell (and perhaps aspiring to dance one someday). Here's a round-up of some of our favorite furry and feathered roles.

Bunny Hop

Run. Dance in a circle. Pretend to be a rabbit. It might sound like a creative movement combo, but don't let that fool you. The role of Peter Rabbit in Sir Frederick Ashton's The Tales of Beatrix Potter requires fierce technique—not to mention the ability to project personality while wearing an animal head and fur suit.


Four-Legged Interlude

Who do you turn to for halftime entertainment during a quartet of fairy variations? Dancing lizards, mice and a frog of course! This charming quintet of creatures light up the stage in David Bintley's Cinderella.

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Your Career
Photo Courtesy Barry Kerollis.

I was probably about 15 years old when the director of my local dance school, seeing my drive and ambition, asked me to work as a teaching assistant for one of the main ballet instructors. She asked to meet with me to discuss the details of my new job. She explained what my role was in the studio, expectations of me in the position and more. But as we approached the end of my meeting, I wasn't expecting the conversation to take the serious turn that it did.

"Now, Barry, I need you to be very, very careful about how you work with these young girls. Kids are sensitive and, especially considering that you are a man, if you correct them in a way that can be viewed as sexual by either a student or a parent, even if you didn't do anything, you could be jeopardizing your future as a teacher and in this field." The look on my face must have been utter shock; the prospect of losing my job or getting sued over sharing my artform had never crossed my mind. This forever changed my perspective on being a dance educator, and I still find myself overly cautious about the way that I work with my students today.

Unless you've been hiding underneath a holiday blanket, it has become abundantly clear that we are undergoing a massive cultural shift here in the States. It started in the entertainment industry, then shifted to major corporations. Sexual misconduct in the form of harassment and assault that had been swept under the rug for years is bubbling to the surface. Things began to boil quite quickly, and those interested in our performing-arts world were speculating that something was going to be brought up in our tight-knit community, especially considering the hands-on approach that teachers have with students, dancers have with other dancers and artistic staff has while coaching employees. I had to sit on my own hands for over a month, after I was given a heads-up that a major news publication was working on an exposé about Peter Martins and his many alleged abuses (which had been quietly circulating around our dance community for years).

Keep reading at dance-teacher.com.

Your Career
Erica Lall and Shaakir Muhammad in class at American Ballet Theatre's 2013 New York Summer Intensive. Photo by Rosalie O'Connor, Courtesy ABT.

This story originally appeared in the December 2013/January 2014 issue of Pointe.

When Pacific Northwest Ballet School student Madison Abeo was accepted into San Francisco Ballet School's summer session on a partial scholarship, she was thrilled. But then she added up the remaining cost for the program and realized she didn't have the funds. “I really wanted to go," she says, “but we just couldn't make the other half of it work."

Ballet training is expensive. For many families, a trip to a dream summer intensive simply isn't in the budget. SFB was $2,500 out of Abeo's reach. But she was determined. At the suggestion of her aunt, Abeo created a Facebook fan page where she asked for opportunities to babysit or perform odd jobs, and included a link to a PayPal account where friends and family could make donations. Two local dancewear businesses, Vala Dancewear and Class Act Tutu, offered to outfit her for fundraising photos, which a photographer took for her Facebook page for free. By June, Abeo had raised enough for tuition—plus plenty of pointe shoes.

Affording your dream intensive isn't as difficult as you might think. There are a surprising number of eager dance supporters out there. Case in point: On Kickstarter, dance projects have the highest success rate of any type of campaign, with dancers receiving over $4 million in donations through the site since it began. You can also apply for need- or merit-based grants and scholarships, either through your summer program or an outside foundation. Most dancers who want it badly enough can make it happen.


Madison Abeo with other Pacific Northwest Ballet School students in the 2013 School Performance of an excerpt from "Serenade," choreography by George Balanchine. Photo by Rex Tranter, Courtesy Abeo.

Take Your Cause to the (Online) Streets

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Your Career
In class at the Bolshoi Ballet Academy summer intensive. Photo by Gene Schiavone, Courtesy Russian American Foundation.

When Complexions Contemporary Ballet's summer intensive program director Meg Paul auditions students for its Detroit intensive, there's one thing that catches her eye for all the wrong reasons. "It's a real pet peeve of mine when a dancer keeps shifting her eyes to me during a phrase," she says. "It tells me that she's not fully invested in the movement, that she's more interested in being watched than in embodying the choreography."

Every summer intensive director has their own list of audition deal-breakers, but there are a handful of universal turnoffs to avoid. "Yes, we want the most talented students, but when talent is paired with a bad attitude or improper etiquette, it gives us pause," Paul says. While certain behaviors may seem minor, they can make all the difference when it comes time for scholarship offers or even acceptance decisions.

DEAL BREAKER #1: Not Presenting Yourself Professionally

An audition is a first impression, and you want to look your best. This begins with researching the specific intensive's audition requirements. "Our audition has a dress code, and we expect dancers to respect that," says Rina Kirshner, director of the Russian American Foundation's Bolshoi Ballet Academy programs. "We want dancers to stand out through hard work and talent, not brightly colored leotards or flowers in their hair."

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