Adelaide Clauss and Tamás Krizsa perform Swan Lake's Act II pas de deux. Gene Witkowski, Courtesy The Washington Ballet.

2019 Stars of the Corps: The Washington Ballet's Adelaide Clauss

Watching Adelaide Clauss dance intoxicates the senses, a visual equivalent of a flower's perfume. This past spring, while performing Swan Lake's Act II pas de deux at a benefit in her hometown of Buffalo, New York, her melding of grace and technique revealed her to be an artist of great promise. Her delicately positioned arms and hands floated as if to frame the beauty of ballet itself. Clauss was in her element: "I really love the demands of classical adagio," she says.


Clauss (third from left) in Antony Tudor's Lilac Garden with The Washington Ballet. Theo Kossenas, Courtesy TWB.

Trained at Buffalo's Neglia Conservatory of Ballet, Clauss later studied at the American Ballet Theatre's Jacqueline Kennedy Onassis School and performed the role of child Clara in Alexei Ratmansky's The Nutcracker. After a year with ABT Studio Company, she joined the unranked Washington Ballet in 2016. The 21-year-old, who performs mostly ensemble roles, has nonetheless been featured as the Dark Angel in Balanchine's Serenade, the Snow Queen and Dewdrop in The Nutcracker, and the Lilac Fairy in The Sleeping Beauty. In 2018, artistic director Julie Kent chose her for a two-month dancer exchange with the Royal Danish Ballet. "She works with a lot of thought and consideration," says Kent. "Nothing is ever wasted information with Adelaide."

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Dean Barucija, Courtesy Lopes Gomes

Chloé Lopes Gomes Speaks Out About Racial Harassment at Staatsballett Berlin

In November, the French dancer Chloé Lopes Gomes went public with accusations of institutional racism against Staatsballett Berlin, first reported by the German magazine Der Spiegel. In the article, several anonymous dancers confirm her account. Lopes Gomes, 29, who trained in Marseille and at the Bolshoi Ballet Academy, danced for the Ballet de l'Opéra de Nice and Béjart Ballet Lausanne before joining Staatsballett Berlin as a corps de ballet member in 2018, under then co-directors Johannes Öhman and Sasha Waltz. After the company told her in October that her contract, which ends in July, would not be renewed, she shared her story with Pointe.


I didn't know I was the first Black female dancer at Staatsballett Berlin when I joined the company in 2018. I learned that from German journalists who came to interview me almost immediately. I grew up in a mixed-race family—my mother was French, my father from Cape Verde—and I was educated to believe that we all have the same opportunities.

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Kylie Jefferson (center, back) in "Tiny Pretty Things" (Sophie Giraud, courtesy Netflix)

Netflix’s “Tiny Pretty Things” Faces Ballet Stereotypes Head-On

The pilot of Netflix's dance-centric series "Tiny Pretty Things"—based on the YA novel by Sona Charaipotra and Dhonielle Clayton—will leave you breathless. It touches on, well, everything: love, murder, racism, competition, jealousy, girl cliques, sexual experimentation, eating disorders. And the intricate plot is propelled by equally breathtaking ballet sequences.

Here are the basics of that plot: The Archer School of Ballet is the premiere conservatory in Chicago. During the first three minutes of the episode (no spoilers!), star student Cassie Shore is pirouetting along the edge of the roof of the school when she's pushed off by a hooded man (Her boyfriend? A jealous lover? A ballet master or choreographer?) and dies. Neveah Stroyer, who'd previously been rejected from the school, is flown in from L.A. to replace her.

While the series can verge on melodrama—the pilot does open with a dancer being pushed off a roof, after all—its depiction of the finer details of the ballet world feels spot-on. That was paramount to the production team. "We wanted the dancers to feel represented in their athleticism, and in the sometimes ugly business of making something beautiful," says executive producer Jordanna Fraiberg. "The show encompasses the grit and sweat, before it's wrapped up in costumes and makeup."

Catch "Tiny Pretty Things" streaming on Netflix Monday, December 14.

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VAM Productions, Courtesy YAGP

Are You Competing for the Right Reasons?

As a 17-year-old student at The School of American Ballet, I had little awareness of ballet competitions—and to be fair, at that time (the early 1990s), there weren't very many. Youth America Grand Prix and its many spawns did not yet exist, and the famous international events like the Prix de Lausanne seemed highly elite and out of reach. But I did participate in one competition (similar to today's YoungArts), open to high school seniors, in which a fairly nonjudgmental system gave competitors level rankings instead of numerical scores. In other words, there was no single winner; the emphasis was on having an educational experience and interacting with peers from around the country.

Even so, it was still a competition, and although I rehearsed my variations diligently, when it came time to perform at the event, I felt drastically underprepared. Unsure of how to properly warm up, fuel and pace myself, I was blinded by insecurity among the other dancers, who seemed so confident and mature. I hadn't even considered my goal—why was I doing this? Needless to say, I did not dance my best and came home demoralized, mad at myself, regretful and slightly embarrassed.

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