August/September 2016


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  • Call Board: August/September 2016

    NYCB’s Gala Features Choreography by Women, Company Dancers It’s been five years since a female choreographer premiered a work ... More »

  • Studio to Street: James Whiteside

    When it comes to style, James Whiteside likes to push the limits. “Conforming isn’t really my thing,” says the ...

  • Dancer Spotlight: Carolyn Judson

    They say injury can be a great teacher: When Texas Ballet Theater dancer Carolyn Judson was sidelined with a ...

  • Maintaining Motivation

    Coming home from my summer intensive was such a letdown. How can I carry my summer inspiration into the ... More »

  • Inside Noelani Pantastico’s Dance Bag

    You’d be hard pressed to find a pair of ballet slippers in Noelani Pantastico’s dance bag. Instead, you’ll find ... More »

  • Poise and Polish

    What a difference four years have made for Hannah O’Neill. In 2012, as a foreign dancer on a temporary ...

  • 2016 Stars of the Corps

    Every corps de ballet has a few bright standouts. Here are 10 young dancers on the rise. Norika Matsuyama ... More »

  • The Quest for Confidence

    Today, she’s a confident Miami City Ballet soloist, but Emily Bromberg wasn’t always so self-assured. As a teenager, she ... More »

  • Shine Bright

    Let shades of turquoise, amethyst, ruby and emerald add sparkle to your back-to-class fashion. All photos by Nathan Sayers. ...

  • Make the Most of Your Turnout

    Think fast: Would you like a few more degrees of turnout? If your answer is a resounding “yes” (perhaps ...

  • Extreme Stretching

    It’s a familiar sight on Instagram: A dancer lounges casually in an oversplit, drinking her morning coffee. One foot ... More »

  • Dream Role: Swanilda

    In Balanchine’s comedic Coppélia, San Francisco Ballet’s Frances Chung brings out Swanilda’s playful side. All of Swanilda’s actions come ...

  • Having It All

    Kevin Irving is a man of eclectic tastes. It showed in Oregon Ballet Theatre’s 2015–16  season, which opened with ...

  • The Actor’s Edge

    Five years after joining American Ballet Theatre, corps member Zhong-Jing Fang sustained a serious ankle injury. Not one to ...

  • An Inner Spark: Reverence with Megan Fairchild

    New York City Ballet principal Megan Fairchild brings lessons from Broadway to her performances. You took a year off ...

Latest Posts


Gregory Batardon, Courtesy Prix de Lausanne

The 2021 Prix de Lausanne Prepares for a Year Like No Other

In an ordinary year, early February marks an exciting time in the ballet world: the return of the prestigious Prix de Lausanne competition. But this is no ordinary year, so this is no ordinary Prix. Due to the pandemic, the 2021 edition will run from January 31 to February 7, completely via video.

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Photo by Ximena Brunette

Inside Washington Ballet Artist Ashley Murphy-Wilson's Dance Bag

Ashley Murphy-Wilson, an artist at The Washington Ballet, is all about making things personal. Well, personalized, that is. "My best purchase ever was a label maker," she says. "Everything I own is labeled. My phone charger is labeled. My roller is labeled. Everyone knows: If I leave something in the studio, I'm coming back for it—because my name is on it."

The TWB dancer adds a personal touch to almost everything in her dance bag, be it with her label maker, her "signature" leopard print legwarmers or her bedazzled (yes, we said bedazzled) booties. It's the mark of an experienced dancer; Murphy-Wilson, now in her sixth season at TWB after 13 years with Dance Theatre of Harlem, knows better than to let her belongings get lost to the dance studio "black hole" effect.

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Charlene Gehm MacDougal as Lead Nursemaid in Petrushka. Photo by Herbert Migdoll

In Memoriam: Joffrey Dancer Charlene Gehm MacDougal, 69

Former lead dancer with The Joffrey Ballet, Charlene Gehm MacDougal died of ovarian cancer on January 10 at her home in New York City, age 69.

Gehm illuminated the inner life of each of the varied characters in her extensive repertoire. Whether she was the gracious hostess in George Balanchine's Cotillon, the riveting Lady Capulet in John Cranko's Romeo and Juliet, or in the tumult of William Forsythe's Love Songs, she drew the viewer's eye and heart to the essence of the role.

As Forsythe puts it: "Charlene was certainly one of the most elegant dancers I have had the privilege to work with. Her striking countenance flowed into her work and, joined with her wicked sense of humor and intelligence, created thoughtful, mesmerizing and memorable art."

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