Larsen in The Nutcracker (photo by Jana Carson, Courtesy OKC Ballet)

In her first season as a corps member with Oklahoma City Ballet, Devin Larsen stood among the 17 dancers who made the audience gasp as the curtain came up on Balanchine's Serenade. But her path to getting there would make anyone gasp.

At age 3, Larsen was diagnosed with epilepsy. She averaged 20 complex partial seizures per day, which eventually turned into the more serious kind, generalized tonic seizures, where she would fall and completely lose consciousness. “Your brain just shuts down," she says.

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Inside PT

(Photo by Kyle Froman for Pointe)

Don’t expect to catch Simone Messmer wearing a leotard—at least, not for company class. “Ballet class is for me,” she says. “It happens every day, so it turns into a major part of how you set yourself up for the day and how you’re feeling. I think it’s really important to take control of that.” In class, the Miami City Ballet principal prefers comfortable separates with clean lines and long sleeves. When it’s time for rehearsal, she’ll bring out her leotards and tights. “And I tend to bring the skirt or tutu that’s appropriate for the role. I try to start right away, to get a feeling for it,” she says.

Messmer, who joined MCB in 2015 after dancing with American Ballet Theatre and San Francisco Ballet, has been embracing her new home—and adjusting to Miami’s warmer climate. Lately, she gravitates towards looser, flowy pieces and lighter colors. “It’s a process after my New York garb for 13 years,” she says. “Everyone’s like, ‘You’re still all in black,’ and I’m like, ‘It’s all I own!’ ” Still, even amidst change, Messmer has a strong sense of who she is, and her style reflects that. “I think if the clothes are wearing you, it’s the wrong outfit,” she says. 

The Details—Street

Trench coat: “I’ve had a best friend in New York since I moved there. There were a couple years I lived with him and his parents, and that’s his father’s army trench.”

Sweater: “I have a favorite store in New York’s East Village, Tokio 7, which is a consignment store. It’s a hit-or-miss place, but you can get great stuff.”

Lanvin shoes: “These can dress up easily, especially post-theater.”

(Photo by Kyle Froman for Pointe)

The Details—Studio

RadetskyWear top: “I don’t do patterns. I think they’re distracting in the mirror. This is kind of as far as I go with them.”

Leggings: “When Twyla Tharp did Rabbit and Rogue for ABT, I was part of the group that created it with her. Norma Kamali did the costumes, and these are Norma Kamali leggings.”

Capezio pointe shoes: “They have been making me these pointe shoes for 10 years now.” Because of the humidity, Messmer goes through shoes more quickly in Miami.

Featured Article

Courtney Henry knew she wanted to dance for Alonzo King LINES Ballet while she was still a student in the Ailey/Fordham BFA Program. “I saw LINES perform at The Joyce Theater, and I was blown away, particularly by the women,” she remembers. “They were commanding and strong, even scary in how powerful they were. I was like, ‘I want to dance like that.’ ”

She did a 2009 summer program with LINES in San Francisco, then auditioned in 2011. In Henry, King saw an ideal artist for his contemporary ballet company. A lithe six feet tall, the 27-year-old dancer brings the intense physicality and sky-high extensions that King’s abstract choreography requires, but also the musicality and technical mastery that make his ballets so mesmerizing.

“Courtney’s palette is filled with myriad textures, surprise innovation and rhythmic manipulation,” says King, who choreographs to music ranging from Middle Eastern tabla to free jazz to Tchaikovsky. “She is hard to define outside of the word ‘brilliant.’ ” Yet, he says, in her fifth season “she has not even hit the turning point of her career in dance. She is traveling at mercuric speed, ascending toward what will be an astonishing career.”

For now, Henry is laser-focused on the demanding LINES schedule, with fall and spring home seasons bookending an average of 20 weeks of national and international touring every year. Her daily routine is designed to keep her relaxed, focused and physically ready. “Because I travel so much, it gets really hard on my system,” she says. “I’ve had to be more aware of my body and my health.” Whether she’s journaling or rolling out or sipping custom wellness teas, she tunes in to what she needs to feel healthy and creative.

On a picture-perfect Bay Area day, Pointe followed Henry to the LINES Dance Center, where the company rehearsed for its recent fall season in San Francisco and four months of touring from Moscow to Atlanta to La Rochelle, France.

(All photos by Kathryn Rummel)

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Featured Article

Griffith in rehearsal for Milwaukee Ballet's "Waltz of the Flowers" (photo by Timothy O'Donnell, courtesy Milwaukee Ballet)

Alana Griffith

Artist, Milwaukee Ballet

Favorite role: Clara

“Clara was my first soloist role and the first role I did where my character danced through the entire ballet. I liked playing with different ways of making her sweet and lovable or bratty and funny. Switching from Clara to the corps to divertissements makes the rehearsal process exciting and challenging.”

Number of Nutcrackers per season: 17–18

Pre-Warm-Up

“In the morning I take a hot bath for 5–7 minutes as a way to pre-warm my muscles before class.”

Multitasking Tape

“If I have a quick change into pointe shoes, I rip a piece of soft, white tape off my toes and use it to hold my ribbons.”

Conjuring Calm

“I take a homeopathic supplement called Quietude, which helps me wind down after a show.”

Miranda Silveira in company class.
(photo by Erik Tomasson, courtesy SFB)

Miranda Silveira

Corps de ballet, San Francisco Ballet

Favorite role: Spanish

“It’s a very energetic and dynamic part, and there’s a lot of character dancing.”

Number of Nutcrackers per season: approximately 33

 Keep Toasty

“When I’m doing Maid or Party Parent in the Party Scene, I wear legwarmers under the long dress so I’m ready for Snow.”

Warm Toes

“I stick my pointe shoes under the heater at the theater to warm them up.”

Listen Closely

“Take advantage of the differences between each conductor by really listening to the changes in the music.”

Eva Burton (center) with the "Marzipan Shepherdesses" in Oregon Ballet Theatre's 2015 production of "George Balanchine's The Nutcracker" (photo by James McGrew, courtesy OBT)

Eva Burton

Company artist, Oregon Ballet Theatre

Favorite role: Sugar Plum Fairy

“I love that in George Balanchine’s The Nutcracker, the Sugar Plum Fairy does her variation at the beginning of Act II surrounded by the angels. Sharing the stage with young students reminds me that every audience is full of children who are seeing ballet for the first time.”

Number of Nutcrackers per season: 15–19

Time Your Hydration

“I drink water well before the show so I can stay focused but not have to go to the bathroom once I’m in costume.”

Pointe Shoe Prep

“I sew as many pointe shoes as possible before we even get to the theater.”

Check Off Christmas Shopping

“I do all of my Christmas shopping before Nutcracker!”

Grace in Tulsa Ballet's Snow scene (courtesy Tulsa Ballet)

Jennifer Grace

Demi-soloist, Tulsa Ballet

Favorite role: Maid of Honor, in “Waltz of the Flowers”

“In Marcello Angelini’s Nutcracker, the Maid of Honor is partnered by four different cavaliers, and it flows together beautifully. I wouldn’t say it’s easy to dance, but it’s very enjoyable.”

Number of Nutcrackers per season: 8

Soup-er Food

“Soup is my go-to meal. It keeps you hydrated and makes you feel full, but you can still move.”

Fresh-Faced

“I take my makeup off immediately after the show, wash my face as soon as I get home, and I don’t put any makeup on until I have to, the next night, so my skin has a chance to breathe.”

Salt Solutions

“Epsom salt baths help my muscles to recover from that feeling of lactic acid crunchiness.”

Mosher performs Spanish Chocolate at NBoC
(photo by Cylla von Tiedemann)

Tiffany Mosher

Second soloist, National Ballet of Canada

Favorite role: Bee, in “Waltz of the Flowers”

“Although it’s an extremely difficult and tiring role with a lot of jumping and quick movements, the fast-paced choreography makes it a joy.”

Number of Nutcrackers per season: 24

Get Rest

“We bring a blow-up mattress into the change room, to lie down between shows.”

Be a Team Player

“I always volunteer to do a new spot if someone gets sick or injured. Everyone will go to the wings to watch, and if you make eye contact onstage it’s fun!”

Balance Is Key

“Doing the same roles all the time works the same muscles. For example, the Snowflake choreography has a lot of quick footwork and relevés, so it’s taxing on our calves and ankles. To balance that I do lunges and squats with weights to engage my hamstrings, quads and glutes.”

Grant as Mother Ginger in PNB's George Balanchine's The Nutcracker (photo by Angela Sterling, courtesy PNB)

Joshua Grant

Soloist, Pacific Northwest Ballet

Favorite roles: Cavalier and Mother Ginger

“The Sugar Plum Fairy’s Cavalier is the most rewarding role because of the beautiful music, and Mother Ginger is an all-out hoot to perform.”

Number of Nutcrackers per season:  approximately 35

Natural Skin Care

“Coconut oil is an all-natural way to moisturize your skin. It doesn’t have to be refrigerated, so you can keep it in your makeup case.”

Advance Check-In

“I always check in with my partner before a pas de deux. Maybe my shoulder hurts that day or her shoes are more dead than usual.”

Hit Refresh

“It helps to step out of the theater, even if it’s just for lunch or coffee, especially on double show days.” P

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