News

ABT Is Getting Serious About Female Choreographers

Claudia Schreier has been commissioned to choreograph on the ABT Studio Company next season. Here, with Ballet Academy East students. Photo by Rosalie O'Connor, courtesy Schreier.

American Ballet Theatre is putting more women in charge of its ballets.

Today, artistic director Kevin McKenzie announced that the company is launching a multi-year initiative called the ABT Women's Movement.

ABT will hire at least three female choreographers each season. The idea is that, in general, one woman will create a new ballet for the main company, one will make a work on the Studio Company, and one will workshop with dancers from either group for a choreographic residency without the expectation of a final product.

Lauren Lovette, choreographing here in the NYCB studios, created a ballet on ABT Studio Company last year. Photo by Erin Baiano, courtesy NYCB.

The launch will be celebrated this October during ABT's Fall Gala. That program will be devoted entirely to work by women: a premiere by Michelle Dorrance, Lauren Lovette's Le Jeune for the ABT Studio Company and Twyla Tharp's iconic In The Upper Room, which has been in ABT's rep since 1988.

Keep reading at dancemagazine.com.

Ballet Training
Kali Kleiman performing at YAGP's New York Finals. VAM Productions, Courtesy YAGP.

As someone who has judged many ballet competitions, I've had the opportunity to see some breathtaking contemporary solos that combine fantastic technique with well-conceived choreography. Yet it's often hard for us judges to see the artistic intention behind these solos the way we can when watching a classical variation. For one thing, we're simply more familiar with classical ballet's repertoire and characters. But also, when a contemporary solo is just a string of one trick after another, or only delivers one emotion (such as overwrought angst), we don't get to see any artistic depth.

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Francisco Estevez, Courtesy Colorado Ballet Academy

When you're looking for a ballet program to take you to the next level, there are a lot of factors to consider. While it's tempting to look for the biggest name that will accept you, the savvy dancer knows that successful training has more to do with the attention and opportunities you'll get.

We put together a few of the most important things for dancers to look for in a summer or year-round training program, with the help of the experts at Colorado Ballet Academy:

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Ballet Stars
Elle Macy in Benjamin Millepied's Appassionata. Angela Sterling, Courtesy PNB.

Cross-training misconceptions: Before Elle Macy became an apprentice with Pacific Northwest Ballet, she was apprehensive about cross-training. "I was warned that it might bulk you, or not to do certain activities because they could potentially injure you." But a stress fracture in her foot changed her perspective. Unable to bear much weight, Macy reluctantly tried stationary biking at her physical therapist's suggestion. "What I learned is that you're not going to get injured from being on an elliptical for 20 minutes or by taking a Pilates class," says Macy. Today, it's not uncommon to find the soloist training on the elliptical, doing ankle stability exercises, using the Pilates reformer or taking a hot yoga class.

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Courtesy School of Pennsylvania Ballet

While many of us are deep in Nutcracker duties, The School of Pennsylvania Ballet director James Payne has been looking further ahead, finalizing preparations for the school's summer intensive programs. In January, he and his staff will embark on a 24-city audition tour to scour the country for the best young dancers, deciding whether or not to offer them a spot—maybe even a scholarship—in the school's rigorous 5-week intensive focused on high-caliber ballet instruction. Though he'll be evaluating aspirants, he urges that as a student, you should be equally selective in choosing programs that could galvanize your training—and possibly even your career.

We got Payne's advice on strategizing your summer intensive plan before the audition cycle kicks in:

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