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Pittsburgh Ballet Theatre and Milwaukee Ballet Showcase Choreography by Company Dancers

Pittsburgh Ballet Theatre: New Works choreographers (from left): Cooper Verona, William Moore, Amanda Cochrane, Yoshiaki Nakano and Julia Erickson. Photo by Duane Rieder, Courtesy PBT.

This spring, Milwaukee Ballet and Pittsburgh Ballet Theatre are each putting on programs composed entirely of choreography by company dancers. February 8 marks the premiere of Milwaukee Ballet's MXE Milwaukee Mixed, featuring pieces by Garrett Glassman, Timothy O'Donnell, Isaac Sharratt, Nicole Teague-Howell and Petr Zahradnícˇek. On March 16, Pittsburgh Ballet Theatre: New Works opens with ballets by Amanda Cochrane, Julia Erickson, Yoshiaki Nakano, Jessica McCann, William Moore, JoAnna Schmidt and Cooper Verona.

For MB artistic director Michael Pink, the idea was inspired by the success of the company's biennial Genesis: International Choreographic Competition. "Because of the competition, our audiences have really embraced the idea of seeing new work," says Pink. And he's taking creativity to the next level; each choreographer is working with local musicians. While O'Donnell and Zahradnícˇek already hold the title of resident choreographer, the program will also showcase three lesser-seen artists. "These choreographers aren't just step arrangers," says Pink, "but people who have a voice."


PBT artistic director Terrence S. Orr says that the inspiration for the company's program came from the dancers themselves. He sought out those who had been choreographing for PBT's school or working on their own projects outside of the company. Orr believes that the chance to create for their peers will provide tremendous growth for the dancers. "It's important to have the main classics," says Orr, "but the only thing that's going to sustain ballet is fresh new choreography that represents our time."

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via Instagram, Thaler Photography

Having danced with New York City Ballet, Béjart Ballet and the Alonzo King LINES Ballet, Aesha Ash undoubtedly inspired more than a few future ballerinas during her 13-year professional career. But now that she's retired, she's found a way to reach even more young girls, particularly those who live in inner-city neighborhoods, after founding The Swan Dreams Project.

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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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Photo via @isabellaboylston on Instagram.

From baking to leotard design, we love seeing dancers' passions outside of the studio. This week, American Ballet Theatre principal Isabella Boylston revealed herself to be an avid reader. She posted a photo on Instagram from her dressing room on the company's tour stop in Lincoln, NE, posing in her black swan tutu with a book in hand and the following caption:

"Hey guys!🚨🚨 Who wants to join my book club? The first book will be THE LEFT HAND OF DARKNESS by Ursula K Le Guin. I've always been a huge bookworm, and would love to connect with you guys over some great books! I was thinking we can do an Instagram live in a couple weeks and people can comment in to discuss.😃 📚 🐛 any suggestions on what the next book should be?"

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Viral Videos
Debra Austin in "Giselle."

Whenever Debra Austin jumped, she soared—and not only onstage. Invited by George Balanchine to join New York City Ballet at age 16, she was the first African-American woman to enter the company (where she eventually rose to soloist). She later joined Zurich Ballet, returning to the U.S. to accept a principal contract with Pennsylvania Ballet in 1982—a groundbreaking milestone for a black dancer outside of Dance Theatre of Harlem at the time. In this clip from a 1987 production of Giselle, her beautifully pliant feet and effortless ballon shine through the fuzzy video quality. In her Act I variation, the classical, understated purity of her port de bras belie the sheer technical strength of her attitude pirouettes and hops on pointe. Then watch, at 4:00, how she appears to fly through the air as a spectral wili, only to rise ever so delicately for a series of fluttering ronds de jambe en l'air.

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Health & Body
All photos by Jayme Thornton, modeled by Kailei Sin of The School at Steps.

During class, you're tuned in to every aspect of your dancing. But when the day is over, you may be tempted to head home and skip out on a proper cooldown. Don't: Going from grand allégro to a full stop is hard on your muscles. Bené Barrera, an athletic trainer who works with Houston Ballet, says, "If you're doing an end-of-day cooldown, you're going to need at least 20 minutes. That allows the muscles to calm down." And your body should notice the difference: "You'll have less trigger-point pain later, and your soreness might reduce a bit." A proper cooldown may even help you sleep better.

But post-class stretching isn't about sitting in a straddle. "As a dancer, you're never truly isolating one area," says Barrera. Your cooldown should mimic that. "You want to cover the whole body altogether. You don't want to just stretch one muscle group."

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News
Garrett Anderson. Photo Courtesy Ballet Idaho.

Big news in Boise: Ballet Idaho has announced that Garrett Anderson will succeed Peter Anastos as the company's next artistic director, starting in July. Anderson, who had an extensive dance career as a soloist with San Francisco Ballet and Royal Ballet of Flanders, and later danced with Hubbard Street Dance Chicago, has a special connection with Ballet Idaho's home city. He performed with the Trey McIntyre Project in 2011 and later as a guest artist with Boise-based LED, a music, film and dance collaborative. Anderson has also served as the chair of the Dance Department at New Mexico School for the Arts in Santa Fe.


Members of Ballet Idaho in "A Midsummer Night's Dream." Photo by Mike Reid, Courtesy ballet Idaho.

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Ballet Stars
Kyle Froman

"I'm all about comfort and easy clothing because I'm always on the go," Jasmine Perry says. But that doesn't keep the Los Angeles Ballet company dancer from looking stylish. Favoring dresses and athleisure wear, Perry also prefers classic lines and neutral colors like white, black, navy and gray, which are easy to mix and match. The finishing touch: a pair of sneakers from her extensive collection. "I had ankle surgery four or five years ago, so I need a good walking shoe," she explains. "I have a ton of Nikes and running sneakers from Brooks for when I've had a long day at work and need something that feels like clouds on my feet."

But in the studio, you won't find any of the yoga pants or loose-fitting T-shirts she loves so much. "I don't actually have that much attire for layering," Perry says of her strictly leotards-and-tights class style. "It doesn't get that cold here," she explains. "I have a few legwarmers and things for when I'm rehabbing an injury, but they're not part of my daily attire."

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