Ballet Stars

#TBT: "The Red Shoes," Then and Now

Moira Shearer and Robert Helpmann in "The Red Shoes."

Black Swan wasn't the film industry's first ballet-themed psychological drama. In The Red Shoes (1948), theater and life conflate, with tragic results for the dancer caught in the middle. Unlike Black Swan, however, The Red Shoes starred a real life ballerina. Moira Shearer, then a leading dancer with Sadler's Wells Ballet (now The Royal Ballet) plays Victoria Page, a young prodigy who catches a Russian impresario's eye, joins his company and stars in a new ballet based on the Hans Christian Andersen fairy tale, The Red Shoes.

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In this clip from the dance sequences, the ballet character sees the infamous shoes at a carnival booth and immediately covets them. Shearer's skill as a dancer and actress are evident. Each twirl, reach and penché evokes her desperate longing. The shoemaker, danced with incredible precision by famous choreographer Léonide Massine, taunts the girl. When she finally leaps into the red shoes (with kitschy film effects), she forgets her partner completely. She dances with bounding energy, depicted by Shearer's crisp, light petit allégro. Later, it becomes clear that the shoes have a fatal sort of magic, both onstage and off.


Although Shearer shared roles with the likes of Margot Fonteyn at Sadler's Wells and even created the title role in Sir Frederick Ashton's beloved Cinderella, she is more well known for her acting career. The film itself, directed by Michael Powell and Emeric Pressburger, met with wild mainstream success. A 1993 Broadway version flopped, hard—it played only a handful of times and lost millions of dollars. But that didn't stop British choreographer Sir Matthew Bourne from putting his unique spin on The Red Shoes, a film he called a "Technicolor riot" in a Washington Post interview. Bourne is famous for revamping the classics, translating ballet into Broadway for Swan Lake, Sleeping Beauty and more. His Red Shoes had its American debut in Los Angeles last month and is currently at the Kennedy Center in Washington D.C. It will later make stops in North Carolina and New York, with exciting appearances by American Ballet Theatre's Marcelo Gomes and New York City Ballet's Sara Mearns. Happy #ThrowbackThursday!

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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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