Members of Texas Ballet Theater. Photo by Steven Visneau, Courtesy TBT.

Onstage This Week: Texas Ballet Theater Presents a World Premiere, Colorado Ballet Tackles Tudor, and NYCB Takes DC

What's going on in ballet this week? We've pulled together some highlights.

World Premiere at Texas Ballet Theater

March 29-31 the Fort Worth-based company presents two works by artistic director Ben Stevenson, O.B.E., both named after the composers used. The first is Mozart Requiem and the second is a world premiere titled Martinů Pieces set to the music of the Czech composer Bohuslav Martinů. Stevenson was inspired to create Mozart Requiem after watching a mother speak about her son, who died as a soldier in Afghanistan but had dreamt of becoming a classical violinist. Watch Stevenson tell this touching story in the video below.

Colorado Ballet Closes Its 2017/2018 Season with a Bang

Colorado Ballet closes its season March 30-April 1 with Ballet Director's Choice, a diverse triptych of works including Antony Tudor's Pillar of Fire, Twyla Tharp's Brief Fling and Val Caniparoli's In Pieces. The company has posted a series of videos of Antony Tudor Ballet Trustees and former American Ballet Theatre principals Amanda McKerrow and John Gardner speaking about what makes Tudor's famous 1942 ballet so special.

New York City Ballet in Washington, DC

Fresh off their winter Lincoln Center season, NYCB heads to The Kennedy Center March 27-April 1 with two programs. The first is comprised of works by George Balanchine, Peter Martins and Justin Peck, featuring the DC premiere of Peck's Pulcinella Variations, the wildly-costumed piece that he made for the company's 2017 Fall Fashion Gala. The second program celebrates Jerome Robbins' centennial with three beloved pieces: Fancy Free, Glass Pieces and The Four Seasons. Can't get enough Robbins? The Kennedy Center released this glimpse of Ashley Bouder in the "Fall" section of The Four Seasons.

Latest Posts

Complexions Contemporary Ballet's Tatiana Melendez Proves There's No One Way to Have a Ballet Career

This is Pointe's Fall 2020 cover story. Click here to purchase this issue.

Talk to anyone about rising contemporary ballerina Tatiana Melendez, and one word is bound to come up repeatedly: "Fierce." And fair enough, that's a perfectly apt way to describe the 20-year-old's stage presence, her technical prowess and her determination to succeed. But don't make the mistake of assuming that fierceness is Melendez's only (or even her most noteworthy) quality. At the core of her dancing is a beautiful versatility. She's just as much at ease when etching pure classical lines as she is when boldly throwing herself off-balance.

"Selfish choreographer that I am, I want Tatiana to stay with Complexions for all time," says her boss Dwight Rhoden, Complexions Contemporary Ballet's co-artistic director and resident choreographer. "She has a theatricality about her: When the music comes on, she gets swept away." Not too shabby for someone who thought just a few years ago that maybe ballet wasn't for her.

Keep reading SHOW LESS
Erik Tomasson, Courtesy SFB

"My Plate Is Full": Sofiane Sylve on Her New Leadership Roles at Ballet San Antonio and Dresden Semperoper

Sofiane Sylve had huge plans for 2020: Departing her post as a principal dancer at San Francisco Ballet, she embarked on a multifaceted, bicontinental career as ballet master and principal dancer at Dresden Semperoper Ballett, and artistic advisor and school director at Ballet San Antonio—and then COVID-19 hit, sidelining performances and administrative plans at both companies. But ballet dancers are nothing if not resilient. In her new leadership roles, Sylve is determined to help shepherd ballet through this challenging time—and transform it for the better. Pointe caught up with her by phone while she was in Dresden.

Keep reading SHOW LESS
Erik Tomasson, Courtesy SFB

The Anatomy of Arabesque: Why Placement and Turnout Are Key to Achieving This Crucial Position

Audition for any school or company, and they'll likely ask for a photo in arabesque. The position not only reveals a great deal about a dancer's ability, but it is also a fundamental building block for more advanced movements, like penché or arabesque turn. Beyond technique, it can be the epitome of grace and elegance onstage, creating unforgettable images—just try to imagine Swan Lake or Balanchine's Serenade without an arabesque.

Yet many dancers are unsatisfied with their arabesque lines, and students frequently ask how to improve their extensions. (Social media posts of dancers with extreme flexibility don't help!) In an attempt to lift the back leg higher, dancers may sacrifice placement and unknowingly distort their position in the process. How can you improve the height of your back leg while maintaining proper placement and turnout? We talked to a few experts to better understand the science behind this step.

Keep reading SHOW LESS

Editors' Picks