Company dancers share a special bond with their artistic directors. For years, even decades, they spend every moment trying to impress that one person at the front of the room—and benefiting from that person’s mentorship. When a director leaves, it can seem like the world has been turned upside down.

With a change of the guard imminent at Miami City Ballet (founding director Edward Villella will leave at the end of the 2013 season), another group of dancers is about to face the upheaval that follows a leader’s departure. The new director will have his or her own taste in dancers and repertoire, and a particular vision for the company—one that might have little to do with his or her predecessor’s.
But while a change of leadership can make you feel suddenly vulnerable, it’s also an opportunity. The reevaluation process isn’t a one-way street: It’s a chance for you to reassess your place in the company, too. It can be the push you need, either to rededicate yourself to the path you’ve been following or to be proactive about finding a new one. And whether you end up staying with the company or leaving, you’ll get to work with a new person who will stretch and challenge you in different ways.

What Does the New Director Want?
So what can you expect when a new director takes over? “It can be tricky,” says Ashley Wheater, who took the helm of The Joffrey Ballet in 2007. “I started by meeting with each of the dancers, telling them about myself and my vision.” Listen closely to the new director; it can help you decide for yourself whether the company will still be a good fit for you.

Director-dancer chemistry can be difficult to decode. But nearly every director is looking for dancers who are hard workers. If you think you’d like to stay with the company, make a point of showing the new director your dedication. Wheater spent his first year at The Joffrey assessing the company, and disciplined dancers quickly rose to the top of his list. “I started to look at their work ethic, and eventually it all became transparent,” he says.

Even the smoothest transitions have their bumps, so you should expect some upheaval. Under Wheater, The Joffrey’s company roster changed significantly. “I got flack, especially from the press,” Wheater remembers. But the decisions, he emphasizes, were professional, not personal—an important, albeit difficult, thing for dancers to keep in mind. Today, half of the company is made up of new hires. “I did not come to drill an army,” Wheater says, “but to further an artform.”

If You Leave
If you thrived under your old director but have trouble seeing eye to eye with the new one, it might be time to move on. Amy Fote, who danced with Milwaukee Ballet for 14 years, chose to leave her longtime home after Michael Pink came on as artistic director in 2002. He had a new vision for the company and she felt the tone changed quite a bit. (“He has a strong personality,” she says.) She wasn’t enjoying the work anymore, and realized MB was no longer the right fit.

If you decide to leave—or are let go, as several of the MB dancers were—take advantage of a chance to plan your next step. Are you looking for a company that resembles your former home in size and repertoire, or do you want to make a bigger change? Are you willing to accept a demotion or a lower salary at a company that will give you the artistic opportunities you want?

Craving a change, Fote knew that she needed a place where she could rediscover her love of dance. “I was wavering between trying for Houston Ballet or the Royal New Zealand Ballet—or retiring,” she says. After much deliberation, Fote joined Houston Ballet in 2005. She took a demotion to first soloist in the process, but felt the diverse repertoire at HB was worth it. In Houston, Fote found herself busy learning a number of ballets, with less rehearsal time and higher expectations. She flourished in the fast-paced environment. And she worked well with artistic director Stanton Welch, who eventually promoted her to principal.

Even if the circumstances of your departure are less than ideal, try not to burn bridges. “Michael and I ultimately parted on a good note, which was important to me,” Fote says. “I was even invited to MB to dance in a gala a few years ago.”

If You Stay
If you decide that you’d like to stay on under the new director, you can do more than just hope he’ll choose to keep you. Make your feelings known. Set up a meeting to discuss your interest and the reasons you would do well under his leadership.

For Sarasota Ballet principal Kate Honea, the transition from Robert de Warren to Iain Webb in 2007 brought much trepidation. “I didn’t want to leave—I knew this was my home,” she remembers. “But I was nervous. I was used to Warren; I was so comfortable. And I worried that Iain wouldn’t like my style.” Honea’s fears were assuaged after she arranged a meeting with Webb. “He was very positive about me,” she says. “He was also full of great ideas. Because he wasn’t a choreographer, he had plans to bring a lot of work to the company, including ballets by Ashton and Balanchine. I was excited by that.”

Even if you and your new director do reach an agreement, there will be an adjustment period, which is often as challenging as starting over at a new company. Honea remembers being surprised by the sea of new faces that appeared at SB after Webb took over. “They were all younger than I was,” Honea recalls. “I had to step up my game.” With Webb’s rank-blind casting style, Honea often found herself in the first cast for one role and the third for another. “The whole environment was different. I had to get used to sharing a role, which was new for me.” And Webb demanded a different style of dancing, as well. “I had to learn to use more of my body, especially for the new Ashton repertoire,” she says. “I needed to bend more and use my épaulement.”

Give yourself time to adjust to the new situation, and embrace it as a chance to grow. Honea doesn’t regret her decision. “Iain pushes me in a different way.”



























popular
Pittsburgh Ballet Theatre's 'The Nutcracker.' Photo by Rich Sofranko

Catching a performance of The Nutcracker has long been a holiday tradition for many families. And now, more and more companies are adding sensory-friendly elements to specific shows in an effort to make the classic ballet inclusive to children and adults with special needs.

While the accommodations vary depending on the company, many are presenting shorter versions of the ballet with more relaxed theater rules. Additionally, lower sound and stage light levels during the performance, as well as trained staff on hand, make The Nutcracker more accessible for those on the autism spectrum and others with special needs.

Pittsburgh Ballet Theatre's performance will take place on Tuesday, December 26th, and they are one of the pioneer companies in presenting sensory-friendly performances of The Nutcracker (their first production was in 2013). PBT also offers sensory-friendly versions of Jorden Morris' Peter Pan and Lew Christensen's Beauty and the Beast throughout the year.

See our list of sensory-friendly performances, and check out each site for all of the details regarding their offerings.

Keep reading... Show less
Your Best Body
Pilates hundred intermediate set-up, modeled by Jordan Miller. Photo by Emily Giacalone.

The Pilates hundred is a popular exercise used by many dancers for conditioning and warming up, but it's also one of the most misunderstood. Pumping your arms for 100 counts sounds simple enough, but it requires coordinated breathwork, a leg position that suits your abilities and proper alignment. Marimba Gold-Watts, who works with New York City Ballet dancers at her Pilates studio, Articulating Body, breaks down this surprisingly hard exercise. When done correctly, the benefits are threefold: "If you're doing it before class," she says, "the hundred is a great way to get your blood flowing and work on breath control and abdominal support all at once."

To Start

Lie on your back with knees bent and feet on the floor. Nod your chin toward the front of your throat, and reach your fingertips long.

Keep reading... Show less
Pointe Stars

At just 16 years old, the Bolshoi Ballet's Maria Alexandrova already had the makings of a great artist. In this variation from Coppélia, she portrays the carefree Swanilda with blithe, youthful ease.

When she bounds on stage in her perky pink tutu, you immediately notice her legs–they just go on forever. In the first sequence of steps she keeps her jetés and développés low, but then the phrase repeats and she lets her gorgeous extensions fly. She sails through Italian fouettés and whirls around in piqués en manège that get faster and faster. While she nails all the virtuosic movement, Alexandrova also pays beautiful attention to detail throughout the variation. Even the simplest steps become something exciting, like her precise pas de bourrées beginning at 1:03 that sing with musicality.

Swanilda has been one of Alexandrova's signature roles throughout her career. For a fun side by side, watch her perform the same variation almost 20 years later in this video. Although Alexandrova formally retired from the Bolshoi in February, she still performs frequently in Moscow and internationally as a guest artist. Happy #ThrowbackThursday!


Pointe Stars
Ingrid Silva and her dog, Frida Kahlo. Photo by Nathan Sayers for Pointe.

You're probably already following your favorite dancers on Instagram, but did you know that you can follow many of their dogs, too? We rounded up some of our favorite dog-centered accounts and hashtags to keep you pawsitively entertained (sorry, we can't help ourselves).

Cora and Maya (American Ballet Theatre's Sarah Lane and Luis Ribagorda)

Sarah Lane and Luis Ribagorda's pups Cora and Maya update their profile pretty frequently. Often accompanying Lane to the ABT studios, they can also be seen using tutus or piles of pink tights as dog beds.

Keep reading... Show less
Pointe Stars
Vladislav Lantritov and Ekaterina Krysanova in "Taming of the Shrew." Photo by Alice Blangero, Courtesy Bolshoi Ballet.

If you haven't checked your local movie listings yet for this weekend, hop to it. The Bolshoi Ballet in Cinema series and Fathom Events is broadcasting a performance of Jean-Christophe Maillot's The Taming of the Shrew to theaters nationwide on Sunday, November 19. (To see if it's playing near you and to purchase tickets, click here.) While the rest of the Bolshoi's cinema season features 19th- and 20th-century classics, The Taming of the Shrew gives audiences a chance to see the revered Moscow company in a thoroughly modern, 21st-century take on Shakespeare's famous play.

Aside from a limited run in New York City this July, American audiences have had little exposure to Maillot's 2014 production. To learn more, check out these two exclusive, behind-the-scenes webisodes below. Principal dancer Ekaterina Krysanova, who stars as the hotheaded Katharina, gives an intimate play-by-play of two major scenes in Act I. The first is her fiery rejection of three potential suitors (who all would prefer to marry Katharina's younger sister Bianca).

The second scene breaks down Katharina's first encounter with Petruchio (danced by the larger-than-life Vladislav Lantritov), the only man who seems to be able to challenge her. Here, too, we see the shrew's heart start to soften. (Don't miss her time-stopping attitude turn at 4:27.)

The Bolshoi Ballet in Cinema Series continues through June; for more details on upcoming screenings, click here.

popular
Smuin Ballet dancers Erica Felsch, Rex Wheeler, Mengjun Chen and Tessa Barbour in "White Christmas," choreographed by dancers Ben Needham-Wood and Michael Smuin. Photo by Keith Sutter, Courtesy Smuin Ballet.

Nutcracker-ed out? Or just can't get enough holiday ballets? These unique Nutcracker interpretations and non-Nutcracker productions will make your season bright.


The Hip Hop Nutcracker

Through December 30

Tchaikovsky's masterful Nutcracker score isn't just for classical ballet…

Hip Hop + a live DJ + an electric violinist unite in The Hip Hop Nutcracker, currently touring the U.S.

Familiar characters such Drosselmeyer, the Nutcracker, Mouse King and Marie (here called Maria-Clara) dance through an updated New York City storyline with choreography by Jennifer Weber, artistic director of the Brooklyn-based theatrical hip hop company Decadancetheatre.

Premiered in 2014, The Hip Hop Nutcracker is produced by New Jersey Performing Arts Center.

Keep reading... Show less

Sponsored

Videos

Sponsored

mailbox

Get Pointe Magazine in your inbox

Sponsored

Win It!