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Lauren Fadeley on Her Move to Miami City Ballet

Fadeley in Pennsylvania Ballet's Giselle. Photo by Aleksander Iziliaev, Courtesy MCB.

In April, longtime Pennsylvania Ballet principal Lauren Fadeley made a surprising announcement: She was leaving the company to join Miami City Ballet as a soloist. Pointe spoke with Fadeley during her first rehearsals in the Sunshine State.

 

How did you decide on Miami City Ballet?

I grew up in Orlando, so I'd always been really interested in MCB--I actually auditioned here over 10 years ago. When I emailed Lourdes Lopez, she invited me to come for at least three days to get a sense of the company. The process was great: It felt like I was taking class with my friends as opposed to auditioning.

 

What have you been rehearsing?

Myrtha--which I've never done before--and also Giselle. I think I'm the only one who is rehearsing both. Being the new person, they're like, "Here. Let's test you out!" It's been funny because in Act II I have to remind myself which role I'm doing. But it's definitely helping with my versatility.

 

Any advice for dancers about embracing change?

When you look at my resumé, it seems like I'm a pro at change, but I actually despise it. For this last move, I was at a place where I could either give up and quit dancing or give it one last push and see if the right environment would help me flourish again. I'm doing everything scary all at once: moving, learning to drive again, doing a podcast. But knowing it's a growth experience helps. My advice would be to believe that you have confidence even if you don't. Just telling yourself you can do it will help you go far.

 

How did you get into podcasting?

I'd worked with Kimberly Falker before on her "Balancing Pointe" podcast. Once she found out I was coming to Miami, she thought I would be a great candidate to do my own. It’s cathartic for me. I almost feel like it’s like writing in a diary, but it’s out there for everyone to hear. It’s called “ReDiscovering the Dream," and it’s on the Premier Dance Network. It started when I was about to leave Philly, and right now, I'm talking about the day-to-day workings of being in Miami City Ballet and moving my whole life there.

 

Fadeley will make her Miami City Ballet debut in October, but you can stream her new podcast, "ReDiscovering the Dream" now.

 

For more news on all things ballet, don't miss a single issue.

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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."

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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!


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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).

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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.

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Through December 30

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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.

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