Amy Brandt, Editor in Chief

Amy has been the editor in chief of Pointe magazine since 2014, following a 19-year dance career. She danced professionally with the Milwaukee Ballet and The Suzanne Farrell Ballet, among others, and performed in honor of Ms. Farrell at the 2005 Kennedy Center Honors. While pursuing her college degree part-time, she began writing extensively for several dance publications, including Pointe's "Ask Amy" advice column. Amy graduated summa cum laude from Marymount Manhattan College with a BA in English and World Literatures, and currently serves on its advisory board. Before joining Pointe, she was an associate editor for Dance Teacher and Dance Magazine.


Raymond Mingst, Creative Director

Raymond E. Mingst is the creative director of Pointe Magazine and Dance Magazine. He has been recognized with numerous awards as an art and creative director. He is also an artist, writer and curator.

Emily Giacalone, Art Director

Emily Giacalone earned a BFA in Communication Design (majoring in Illustration) from Pratt Institute. She got her start in magazine design with George Magazine and has worked on a variety of publications including Vogue, Four Seasons, Show People, and Pilates Style. Emily is also the art director for Dance Teacher magazine.


Madeline Schrock, Managing Editor

A native of Floyds Knobs, Indiana, Madeline studied ballet at Southern Indiana School for the Arts and was later introduced to modern dance by Bill Evans. She received her BFA in Dance Performance and Choreography from Ohio University's Honors Tutorial College. As a dance videographer and editor, she has worked on projects for Bates Dance Festival and the Regina Klenjoski Dance Company in Southern California. She later served as a marketing and education manager for Lar Lubovitch Dance Company. Madeline is currently the managing editor of Dance Magazine and Pointe.


Marissa DeSantis, Assistant Editor

Marissa joins Pointe Magazine having worked as a beauty editor for publications like Teen Vogue and InStyle. She graduated from Rider University with a BFA in dance and journalism, training at the Princeton Ballet School during her studies. She has also danced with The Rock School and South Jersey Ballet Theater.


Chava Lansky, Assistant Editor

Originally from Amherst, MA, Chava graduated from Barnard College with a B.A. in Dance and a minor in English. She has worked for Jacob's Pillow Dance and the Bates Dance Festival, and held a fellowship in the Dance Division of the Library of Congress. Chava has performed works by Martha Graham, Mark Morris, Molissa Fenley, Patricia Hoffbauer, Joanna Kotze, Loni Landon and Kate Weare. She continues to create work and perform in the city, and is a member of DJM Dance Collective. Chava also reviews books for Paper Brigade literary magazine.

Cauthorn and Strongin, two to watch at SFB, in "Frankenstein." Photo by Erik Tomasson. Courtesy SFB.

Max Cauthorn was an on-the-rise corps member when he stepped into the title role of Liam Scarlett's Frankenstein last February; when the curtain came down, he was San Francisco Ballet's newest leading man. In his first full-length starring role, he carried the physically and emotionally demanding three-hour ballet with fluent technique and a natural charisma. But he didn't do it alone: In her own lead-role debut with SFB, soloist Lauren Strongin brought tenderness and steely integrity to Frankenstein's true love, Elizabeth.

Photo by Erik Tomasson, Courtesy SFB.

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Pointe Stars
Postelwaite and Pantastico's powerful reunion in "Cendrillon." Photo by Angela Sterling, Courtesy PNB.

Lucien Postlewaite's Prince was anything but charming last February in Pacific Northwest Ballet's production of Cendrillon, Jean-Christophe Maillot's contemporary take on the Cinderella story. He strutted and preened, egged on by his friends. But once this prince met Cendrillon at the ball, his egotism gave way to lyrical grace, from the curve of his neck through his elegant extensions. For her part, Noelani Pantastico embodied the role of Cendrillon, taking us on her journey from a lonely, unwanted stepdaughter to a lovestruck young woman. Both dancers glided through the technically demanding choreography, infusing it with heartfelt emotion. This may be a fairy tale, but the romance felt real.

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via Instagram

Usually, it's the jaw-dropping moments on the stage that leave us equal parts inspired and amazed. But National Ballet of Canada principal Svetlana Lunkina has us totally in awe of her behind-the-scenes routine. A 2015 Pointe cover star (and former Bolshoi dancer), Lunkina shares as many clips on Instagram of her classes and rehearsals as she does glam stage shots. Earlier this week, she shared her floor workout—and you have to see it to believe it.

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Your Best Body
Photo by Paul Kolnik, courtesy New York City Ballet.

This time of year, we're used to seeing dancers embodying the flavors of The Nutcracker's magical Land of Sweets. But the real-life equivalents of those seasonal treats are more than just holiday guilty pleasures, and have benefits that could help you get through a crazy month of performances. Here are a few reasons to indulge in the spices and flavors of the season—now, and all year long.

Peppermint

This powerhouse herb has an abundance of benefits to help you get through a busy performance season. It's been known to aid digestion and help calm anxiety, and one study found that inhaling its vapors may improve athletic performance. Smelling peppermint has also been found to increase focus. You don't just have to get it from candy canes: Try brewing a hot cup of peppermint tea between rehearsals, or to wind down after a long day.

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Richmond Ballet dancers show off two adoptable shelter dogs at its annual "Pupcracker." Photo courtesy Richmond Ballet

If you're looking to upstage Clara, there's no better way to do it than with a four-legged furry friend—especially when that furry friend is looking for its forever home. Cue Richmond Ballet: During its December 16 and 21 matinees, the company is teaming up with the Richmond SPCA to present the "Pupcracker," special Nutcracker performances featuring adoptable shelter dogs. Several pups make their stage debut during the party scene as the guests bring their family pets to and from the Silberhaus home. Audience members can then meet—and adopt—the dogs during intermission and after the performance. The SPCA even provides a crate, collar, leash and treats so that patrons can bring their new family members home after the show.


Audience members can meet and adopt featured dogs during intermission. Photo Courtesy Richmond Ballet.

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Videos
Rudolf Nureyev and Merle Park in "The Nutcracker" (1968). Photo by Donald Southern, Courtesy of the Royal Opera House Collections.

Given the thousands of incarnations The Nutcracker has undergone—from tiny-tot productions in small-town studios to grand modern classics—the ballet's Grand Pas de Deux from Act II has remained remarkably intact. With slight variations, most professional dancers have seen its familiar choreography at some point or another. Tchaikovsky's radiant score calls to mind elegant promenades, partnered penchées and slow, supported développés.

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Training
Photo by Taylor-Ferné Morris.

I have flatter feet and want to make them look better on pointe. Are there any special pointe shoes for my foot type? —Joana

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