Photo by Nathan Sayers for Pointe

ABT Announces Major Promotions

Following principal dancer Diana Vishneva's final bow with American Ballet Theatre and the news that principal Veronika Part's contract would not be renewed for another season, we were anxiously awaiting ABT's promotions for the 2017-2018 season. Ending our suspense, ABT's artistic director Kevin McKenzie officially announced that there would be three new female principals—Sarah Lane, Christine Shevchenko and Devon Teuscher—as well as one new male soloist, Calvin Royal III.


We couldn't be happier to see Lane's name leading the list, especially after such an amazing season. Having danced as a soloist with ABT since 2007, Lane premiered title roles in Giselle, Swan Lake and Alexei Ratmansky's new story ballet, Whipped Cream this past spring.

Shevchenko and Teuscher, who have been soloists since 2014, also had standout seasons. Schevchenko made her debut as Kitri in Don Quixote in May and Teuscher impressed in her debut as Odette/Odile in Swan Lake.

Devon Teuscher in Giselle. Photo: Gene Schiavone

Royal has been a member of the corps since 2011, and was named one of Dance Magazine's 25 to Watch in 2014. He's been featured in soloist roles for several years, including a standout in Ratmansky's Serenade after Plato's Symposium.

With the promotions taking effect on September 1, 2017, we can't wait to see these dancers take on new roles and reprise some of our favorites, too.

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Since joining NYCB in 2017, Mejia has had the chance to take on ballets ranging from Romeo + Juliet to Fancy Free to Kyle Abraham's hip-hop–infused The Runaway. Though he often finds himself the youngest person in the room, Mejia is rarely intimidated. He's been immersed in ballet since birth. His father, Paul Mejia, danced with NYCB in the 1960s, and his mother, Maria Terezia Balogh, danced for Chicago City Ballet and Fort Worth-Dallas Ballet. Both of Mejia's parents and his grandmother attended the School of American Ballet. Now, Mejia is quickly building on his family's legacy, creating buzz with his shot-from-a-cannon energy, rapid-fire footwork and charismatic charm.

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A Letter from the Editor in Chief

Hi Everyone,

These are challenging times. The social distancing measures brought about by COVID-19 has likely meant that your regular ballet training has been interrupted, while your performances, competitions—even auditions—have been cancelled. You may be feeling anxious about what the future holds, not only for you but for the dance industry. And that's perfectly understandable.

As you adjust to taking virtual ballet class from your living rooms, we here at Pointe are adjusting to working remotely from our living rooms. We've had to get a little creative, especially as we put our Summer Issue together, but like you we're taking full advantage of modern technology. Sure, it's a little inconvenient sometimes, but we're finding our groove.

And we know that you will, too. We've been utterly inspired by how the dance community has rallied together, from ballet stars giving online classes to companies streaming their performances to the flood of artist resources popping up. We've loved watching you dance from your kitchens. And we want to help keep this spirit alive. That's why Pointe and all of our Dance Media sister publications are working nonstop to produce and cross-post stories to help you navigate this crisis. We're all in this together.

We also want to hear from you! Send us a message on social media, or email me directly at abrandt@dancemedia.com. Tell us how you're doing, send us your ideas and show us your dance moves. Let the collective love we share for our beloved art form spark the light at the end of the tunnel—we will come out the other side soon enough.

Best wishes,

Amy

Bethany Kirby, Courtesy Tulsa Ballet

Ballet Company Costume Departments Jump Into Action, Sewing Masks for Coronavirus Aid

The novel coronavirus pandemic has forced ballet companies worldwide to cancel or postpone their seasons. But it's not just dancers and artistic staff that have found their work at a standstill. Costume departments, a vital component in bringing performances to life, have also hit pause. However, costume shops around the country, including Tulsa Ballet, Milwaukee Ballet and Miami City Ballet, have figured out a creative way to utilize their resources to give back to their communities during this challenging time. We touched base with Tulsa's team to find out what their experience has been like.

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