Animal roles might not typically be what dancers dream of performing…but they're oh-so-fun to watch. You can't help falling under their spell (and perhaps aspiring to dance one someday). Here's a round-up of some of our favorite furry and feathered roles.
Run. Dance in a circle. Pretend to be a rabbit. It might sound like a creative movement combo, but don't let that fool you. The role of Peter Rabbit in Sir Frederick Ashton's The Tales of Beatrix Potter requires fierce technique—not to mention the ability to project personality while wearing an animal head and fur suit.
Who do you turn to for halftime entertainment during a quartet of fairy variations? Dancing lizards, mice and a frog of course! This charming quintet of creatures light up the stage in David Bintley's Cinderella.
Any ballet lover has seen a blurry film of the incomparable Anna Pavlova dancing "The Dying Swan," but there isn't much other footage out there to attest to the great ballerina's talent. That's all about to change. On February 6, the Library of Congress and Milestone Films are releasing the newly restored version of Lois Weber's 1916 film The Dumb Girl of Portici on DVD and Blu-ray, starring none other than Pavlova.
Weber was a pioneer filmmaker, directing an estimated 135 silent films over the course of her life. She died in 1939 at age 60. Though women couldn't yet vote, they thrived in the movie industry. And, as New York Times critic Manohla Dargis puts it, "Weber thrived above all others... yet, like most female directors of that era, she faded into obscurity." The Dumb Girl of Portici was one of Universal's most expensive films to date, featuring an enormous cast and ambitious sets. Weber adapted the film from Daniel Auber's 1829 opera La Muette de Portici, which Pavlova had starred in on stage with the Boston Opera Company. The opera tells the story of Fenella, a mute (dumb was a contemporary synonym) fisher-girl living during the Spanish occupation of Naples in the mid-17th century, who is seduced and abandoned by a Spanish nobleman.
"The Bell Telephone Hour" TV program broadcasted performances of world-class music, opera and ballet to millions of Americans throughout the 1960s. Many of the dance world's biggest stars frequently appeared on the program. In a 1961 Shakespeare special, New York City Ballet principals Violette Verdy and Jacques d'Amboise danced the title characters in Romeo and Juliet by choreographer Donald Saddler.
Although this version lacks some of the emotional intensity of other renditions, watching these legendary dancers perform together is a treat. Their duet is accompanied by Shakespeare's "Sonnet No. 18," bringing to mind contemporary choreographic endeavors involving spoken word in place of music. Verdy dances with an openness and grace that contrasts d'Amboise's more stoic, commanding presence. At 3:00, he sweeps Verdy off her feet and above his head in one fantastic fell swoop. Their duet is followed by an acrobatic fight scene and a stunt-filled sword fight in which both Mercutio and Tybalt are killed. When Romeo disappears after the fight, Verdy shows us Juliet's despair in a dramatic pantomime ending. Happy #ThrowbackThursday!
Alena Kovaleva may look young, but at our photo shoot we quickly learned that the Bolshoi Ballet corps member is wise beyond her years. Since joining the company in 2016, Kovaleva has shone in a series of sophisticated leading roles; the long, leggy dancer debuted in Balanchine's "Diamonds" Just three weeks after her arrival and showcased her flawless Vaganova training as Odette/Odile in Swan Lake last fall.
Gelsey Kirkland and Mikhail Baryshnikov in The Nutcracker are simply iconic—two of the world's most celebrated dancers in the world's best-loved ballet. Starring as Clara and the Prince in American Ballet Theater's 1977 made-for-television film, these two superb talents bring both technical and dramatic brilliance to the ballet's culminating scene.
In this version, which Baryshnikov himself choreographed, Clara and the Prince dance the grand pas de deux. He also mixes up the order so that the variations and coda precede the adagio. The clip begins with the tail end of Kirkland's variation, followed by a flawlessly danced coda. Baryshnikov, looking debonair in all white, flies in his jumps, rebounding off the floor like a spring, and Kirkland's impressive diagonal at 0:43 boasts triple fouetté turns.
The mood changes when Drosselmeyer, played by Alexander Minz, arrives in the first chords of the adagio to usher Clara away from her dreamland. In a pas de trois, Clara is torn between her beloved godfather and her prince, reluctant to choose between childhood and the promise of her dreams. In her gauzy nightgown, the delicate Kirkland is ethereal and waif-like as she is promenaded and passed in the air between her partners. She and Baryshnikov make a tender couple and in the end, as she chaînes into his arms, it is clear that she longs to stay with her prince. Happy #ThrowbackThursday!
Can't get enough Nutcracker? Don't fear. Tween clothing brand Justice has just released a web series called "Finding Clara," which follows four young dancers cast as Clara in BalletMet's production of The Nutcracker. The first three episodes are available on YouTube, and the final installment will be released on Friday, December 22. Each video is about 20 minutes long.
Justice is headquartered in Columbus, Ohio, the home of BalletMet, leading to an easy collaboration. The company gave Justice exclusive and uninhibited access to everything behind the scenes, from auditions to rehearsals to performance. Part of Justice's mission is to empower young girls and spread positive messages, and they have a huge video collection. This isn't their first foray into ballet—earlier this fall they created a series of ballet video tutorials. A representative from Justice told us that the goal of the new series is to give "a real-life snapshot of the heart and soul these girls put into their Nutcracker performance—the rehearsals, overcoming challenges, celebrating wins and the bonds of friendships made."
The four Claras—Alaina Kelly, Molly Rainford-Dreibelbis, Lauren Grace Onderko and Isabelle Lapierre—range in age from 10-13, and their positive, excited energy is clear throughout the series. The issues that they deal with such as balancing schoolwork and rehearsal, managing jealousy and competition with their peers, and maintaining a healthy lifestyle despite busy schedules will feel familiar to dancers of all ages. So over your holiday break, cozy up with some hot chocolate and dive into the world of "Finding Clara."
Check out the trailer below, followed by the first three episodes:
Our company's Nutcracker was choreographed by Sir Peter Wright, and it's very traditional. We usually only have two weeks to prepare after the end of the autumn season, so my partner and I start going over the grand pas de deux on our own time before rehearsals start. I like to do my own research through social media or by watching how other company dancers interpret the role, drawing from what I like best and trying to apply that to myself. I also video my rehearsals and later critique them, to try to get my performance up to another level.
There are a ton of different kinds of toe pads out there, and even more opinions about them. It's all about finding the perfect balance between control and comfort. Master pointe shoe fitter Josephine Lee of the California-based The Pointe Shop reviews five different types of pointe shoe toe pads.