Nevada Ballet Theatre in Balanchine's "Slaughter on Tenth Avenue." Photo by Virginia Trudeau, Courtesy NBT.

Onstage This Week: A New "Red Shoes," Ballet AZ Prima Retires, Robbins 100 at NYCB, and More

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

New York City Ballet's Jerome Robbins Festival Opens with World Premiere by Justin Peck

This week marks the start of NYCB's Robbins 100 festival, running May 3-20, celebrating the centennial of choreographer Jerome Robbins. The company will dance 19 Robbins' ballets as well as a world premiere by resident choreographer Justin Peck inspired by Robbins and set to a score by Leonard Bernstein. The centennial of Bernstein, Robbins' longtime collaborator, will also be celebrated this year. This striking trailer offers glimpses of some of Robbins' most beloved ballets, including Fancy Free and The Cage.

World Premiere at Royal Winnipeg Ballet

The Canadian company closes its season May 2-6 with a mix repertoire program headlined by Mauricio Wainrot's Carmina Burana. The program also includes George Balanchine's Serenade and a world premiere by former RWB dancer Phillipe Larouche titled For Bye and About. Larouche's work is set to excerpts of Beethoven's Symphony No. 4 and utilizes an all-male cast.

Nevada Ballet Theatre Presents a World Premiere by Matthew Neenan

NBT's Ballet & Broadway program runs May 5-6 and features Christopher Wheeldon's Carousel (A Dance), Balanchine's Tarantella and Slaughter on Tenth Avenue, and a world premiere by Matthew Neenan titled Until December to a score by Michael Torke. In the below behind-the-scenes video, Neenan discusses his new ballet, and what it's been like to work again with Roy Kaiser, NBT's new artistic director. Kaiser was formerly the artistic director of Pennsylvania Ballet, where Neenan is the choreographer in residence.

New Ballet Based on The Red Shoes at Diablo Ballet

Everyone's favorite classic ballet movie is back on the stage May 4-5. The California-based company's Celebrated Masters program features the world premiere of Robert Dekker's The Red Shoes, set to a score by Philip Glass with costumes by celebrity fashion designer Cassidy Haley (known for his work with pop stars such as P!nk and Fergie). The program also includes an excerpt from Val Caniparoli's Stolen Moments and Lew Christensen's Four Norwegian Moods.

Ballet Arizona Bids Farewell to Principal Dancer Natalia Magnicaballi

After a 16-year tenure, principal Natalia Magnicaballi will take her final bows with the company on May 6 at the close of its All Balanchine program, opening May 3. Magnicaballi was also a principal with The Suzanne Farrell Ballet, and feels at home in Balanchine ballets. For her final performance, she'll dance The Siren in Prodigal Son and The Sleepwalker in La Sonnambula, which is one of her signature roles.

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Left to right: Dance Theatre of Harlem's Daphne Lee, Amanda Smith, Lindsey Donnell and Alexandra Hutchinson in a scene from Dancing Through Harlem. Derek Brockington, Courtesy Dance Theatre of Harlem

Dancers Share Their Key Takeaways After a Year of Dancing on Film

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#TBT: Mikhail Baryshnikov in "Fancy Free" (1981)

In Jerome Robbins's 1944 ballet Fancy Free, three sailors on leave spend the day at a bar, attempting to woo two young women by out-dancing and out-charming one another. In this clip from 1981, Mikhail Baryshnikov, who was then both the artistic director of American Ballet Theatre and a leading performer with the company, pulls out all the stops to win the ladies' affections.

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Bethany Kirby, Courtesy Tulsa Ballet

An Infectious-Disease Physician on What Vaccines Mean for Ballet

As the coronavirus pandemic grinds into its second year, the toll on ballet companies—and dancers—has been steep. How long before dancers can rehearse and perform as they once did?

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But what would it mean for 100 percent of a ballet company to be vaccinated? Tulsa Ballet artistic director Marcello Angelini is about to find out—and hopes it brings the return of big ballets on the big stage.

"I don't think companies like ours can survive doing work for eight dancers in masks," Angelini says. "If we want to work, dance, and be in front of an audience consistently and with the large works that pay the bills, immunization is the only road that leads there."

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