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#TBT: Pointe Cover Stars Then & Now

Since 2000, megastars and budding ballet celebrities alike have graced the covers of Pointe. Take a walk with us down memory lane as we recall some of the biggest names from some of our earliest issues. Whether they continue to perform or have transitioned to a position at the front of the studio, these stars have real staying power.

Irina Dvorovenko and Maxim Beloserkovsky (May/June 2001)

Then: Pegged as "Ballet's Hottest Couple" on our cover, the duo had recently joined American Ballet Theatre as principals.

Now: Though both have retired from ABT, they run a summer intensive in New York City, give limited performances as guest artists and have even designed items, like ballet booties, for Bloch. Dvorovenko also had a major role in the Starz's ballet drama "Flesh and Bone."

Svetlana Zakharova (July/August 2001)

Then: Zakharova was a young principal with the Mariinsky Ballet.

Now: She's still tantalizing audiences with her breathtaking performances of ballets like Swan Lake—but with the Bolshoi Ballet. Last year, Zakharova also became a guest artist with Bavarian State Ballet.

Tamara Rojo (November/December 2001)

Then: The Spanish dancer was a leading performer with The Royal Ballet.

Now: If someone can do it all, it's Rojo. She's currently balancing dual roles at English National Ballet as artistic director and principal dancer. Pointe even named her performance with Irek Mukhamedov in Annabelle Lopez Ochoa's Broken Wings one of the Standouts of 2016.

Misty Copeland (February/March 2002)

Then: Way before Misty Copeland became a household name, she scored her first Pointe cover as a promising member of ABT's corps.

Now: As ABT's first female African American principal, she's an all-around ballet superhero. Copeland has catapulted ballet into the mainstream and has championed issues like having a positive body image and diversity in dance.

Jenifer Ringer (April/May 2002)

Then: a leading principal at New York City Ballet

Now: Ringer traded East Coast for West when she became the director of the Colburn Dance Academy in L.A. If you're not one of her lucky students, you can read about her perspective in her memoir, Dancing Through It: My Journey in Ballet. And, just last year, she also spoke to Pointe about how dancers can foster confidence.

Carlos Acosta (August/September 2002)

Then: The international ballet star had loads of fans at The Royal Ballet, but Big Apple audiences were also getting acquainted with him since he'd recently appeared as a guest with ABT.

Now: He's busy leading his own company, Acosta Danza, in his native Cuba.

Paloma Herrera (December 2002/January 2003)

Then: The Argentinian dancer was wowing New York audiences as a principal at ABT.

Now: Earlier this month, Herrera became artistic director of Teatro Colón’s ballet company in Buenos Aires. We can't wait to see what she does in her new position.

Ethan Stiefel (February/March 2003)

Then: Though he launched his professional career with NYCB, Stiefel was an ABT principal by the time he appeared on our cover.

Now: Stiefel had a short stint as artistic director of Royal New Zealand Ballet from 2011 to 2014, but now, he's focusing on choreographing. His first major choreographic commission will premiere in May at The Washington Ballet.

 

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

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Angela Sterling, Courtesy of Pacific Northwest Ballet

Clear your schedule now for Monday, January 29th, 2:45PM (EST)/ 11:45AM (PST). Pacific Northwest Ballet will be live-streaming rehearsal from Kent Stowell's Swan Lake, straight from their Seattle, WA-based studios. To psych us up for their on stage performances February 2nd - 11th, PNB is letting us in on their Act II rehearsal.

From the corps of swans to Odette and Prince Siegfried's pas de deux, and the infamous four swans, this rehearsal is not to be missed. You can sign up now for a live-stream reminder on their site. In the meantime, we'll be brushing up on our Cygnets with this PNB sneak peek.

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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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Lopez in Circus Polka. Photo by Alexander Iziliaev, Courtesy MCB.

When Miami City Ballet artistic director Lourdes Lopez was a principal dancer at New York City Ballet, she missed her opportunity to honor Jerome Robbins onstage. "Every time there was a celebration for Jerry, I was either injured or had just retired," says Lopez. "I was never able to publicly thank him onstage for all that he taught us and the beauty he left us."

But when Lopez was planning MCB's Jerome Robbins Celebration for the 100th anniversary of the legend's birth, she saw an opportunity. She asked the Robbins Trust to allow her to perform the Ringmaster in Robbins' Circus Polka, a role the choreographer originated himself.

Keep reading at dancemagazine.com.

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Videos are a great alternative when auditioning in person isn't possible. Here are some general guidelines for making a good impression.

1. Follow directions. Before filming, research what each school you're interested in requires. "It demonstrates your ability to follow instructions, and schools pay attention to that," says Kate Lydon, artistic director of American Ballet Theatre's summer intensives and the ABT Studio Company. "If the guidelines haven't been followed, your video might not be watched the whole way through." You may need to make multiple versions to accommodate different schools.

2. Videos should be no longer than 10 minutes. "Keep it short, simple and direct," advises Philip Neal, dance department chair at The Patel Conservatory and artistic director of Next Generation Ballet. "You have to be sensitive to how much time the director has to sit down and look at it." Barre can be abbreviated, showing only one side per exercise, alternating. Directors will be looking at fundamentals—placement, turnout, leg lines, stability—but don't ignore musicality or movement quality. Make sure music choices match combinations and are correctly synced in the footage.

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Career
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I want to be a professional dancer, but my parents won't listen. They either don't think I can do it (contrary to what my teachers have said) or they won't let me take the necessary steps to become a professional. Please help. —Audrey

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Videos

They say that pigeons mate for life—perhaps that's why these birds naturally symbolize the young lovers in Sir Frederick Ashton's The Two Pigeons. In these two clips from a 1987 performance in Pisa, Alessandra Ferri and Robert LaFosse—then stars with American Ballet Theatre and New York City Ballet, respectively—dance a rapturous pas de deux at the end of Act II. With tiny pricks of her feet and bird-like flaps of her elbows in Part 1, Ferri marks her anguish, thinking she's been abandoned for another woman. Later, both she and LaFosse grow more and more entangled as they reconcile, Ferri dancing with the passionate abandon she's famous for. I love how in Part 2 (0:20), they can't seem to get enough of each other as their necks arch and intertwine. At the end of the ballet, two pigeons fly in to perch symbolically on the chair—er, there's supposed to be two. It looks like one missed its cue at this performance! No matter—Ferri and LaFosse's dancing make it clear that these young lovers are meant to be together for life. Happy #TBT!

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Summer Study Advice
The author at 13, rehearsing at her home studio, Ballet Arts Theater, in Endicott, NY. Courtesy McGuire.

This story originally appeared in the December 2010/January 2011 issue of Pointe.

As a young student at a small ballet school in upstate New York, I was obsessed with getting into the School of American Ballet. From the age of 10, I entered class each day with the ultimate goal of studying at SAB dangling before me like a carrot on a stick. Every effort I made, every extra class I took was for the sole purpose of getting into what I thought was the only ballet school that really mattered.

I auditioned for SAB's summer program for the first time when I was 12. In the weeks that followed, I became a vulture hovering over my family's mail, squawking at my mother if the day's letters were not presented for my inspection when I walked through the door. The day the letter finally arrived, it was thin and limp. I cried for a week as I dealt with the crushing feeling of rejection for one of the first times in my life.

My mind filled with questions and self-doubt. What was wrong with me? Why wasn't I good enough? I figured I must be too fat, too slow, my feet too flat. I had worked so hard. I had wished on every fallen eyelash and dead dandelion in pursuit of my single goal, just to have a three-paragraph form letter conclude that I was a failure. For a while, I let myself wallow in the comfort of my resentment, content to believe that success should have come easily, and that to fall was the same as to fail.

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