Matthew Bourne's Swan Lake. Johan Persson, Courtesy The Kennedy Center.

Onstage This Week: NYCB Opens Its Winter Season, Matthew Bourne "Swan Lake" in DC, and More!

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


New York City Ballet's Winter Season Opens With Two All-Balanchine Programs

After a quick post-Nutcracker break, New York City Ballet is back. The company's winter season at Lincoln Center's David H. Koch Theater runs January 21–March 1. The first week alternates between two all-Balanchine programs. The first, titled Stravinsky & Balanchine, features Danses Concertantes, Monumentum pro Gesualdo, Movements for Piano and Orchestra and Stravinsky Violin Concerto. The second includes Allegro Brillante, La Source and Firebird.

Matthew Bourne's "Swan Lake" Tours to The Kennedy Center

Matthew Bourne's New Adventures is bringing its unconventional, gender-bending Swan Lake stateside. The first stop on the tour is Washington, DC's Kennedy Center, where the production will be seen for the first time. Catch Swan Lake January 21–26.

San Francisco Ballet's 2020 Season Opens With "Cinderella" 

San Francisco Ballet's 2020 season opens with Christopher Wheeldon's Cinderella, running January 21–26 at the War Memorial Opera House. This fairy-tale ballet, set to Sergei Prokofiev's classic score, comes to life with sets and costumes by Julian Crouch, projections by Daniel Brodie and puppetry by Basil Twist. Catch a glimpse in the season preview above.

Complexions Returns to The Joyce With a World Premiere 

Complexions Contemporary Ballet returns to New York City's Joyce Theater January 21–February 2 with two mixed-bill programs of works by co-artistic director Dwight Rhoden. The season also features a world premiere by Rhoden titled Love Rocks, set to the music of Lenny Kravitz.

Louisville Ballet Presents Five New Works at Choreographers' Showcase

January 23–26, Louisville Ballet fans can enter the creative process as part of the annual Choreographers' Showcase, an intimate look at new works. This year's program, set in the Louisville Ballet Studios, features works by five makers: guest choreographer Tommie-Waheed Evans, and company dancers Erica De La O, Jeremy Hanson, Minh-Tuan Nguyen and Ashley Thursby.

Royal Winnipeg Ballet Brings "The Wizard of Oz" to Ottawa

Septime Webre's flashy new The Wizard of Oz, which was coproduced last year by Colorado Ballet, Kansas City Ballet and Royal Winnipeg Ballet, is now heading down the yellow brick road to Ottawa. RWB brings the production on tour to Canada's National Arts Centre January 23–25.

Alonso King LINES Ballet Heads to Virginia

Alonzo King LINES Ballet tours to Virginia this week with Figures of Speech, King's full-length ballet based on the research of poet and activist Bob Holman, co-founder of the Endangered Language Alliance. Catch LINES at Richmond's Modlin Center for the Arts January 23, and in Fairfax at George Mason University on January 25.

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Peter Mueller, Courtesy Cincinnati Ballet

2020 Stars of the Corps: 10 Dancers Making Strides In and Out of the Spotlight

The corps de ballet make up the backbone of every company. In our Fall 2020 issue, we highlighted 10 ensemble standouts to keep your eye on. Click on their names and photos to learn more!

Dara Holmes, Joffrey Ballet

A male dancer catches a female dancer in his right arm as she wraps her left arm around his shoulder and executes a high arabesque on pointe. Both wear white costumes and dance in front of a blue backdrop onstage.

Dara Holmes and Edson Barbosa in Myles Thatcher's Body of Your Dreams

Cheryl Mann, Courtesy Joffrey Ballet

Wanyue Qiao, American Ballet Theatre

Wearing a powder blue tutu, cropped light yellow top and feather tiara, Wanyue Qiao does a piqu\u00e9 retir\u00e9 on pointe on her left leg and pulls her right arm in towards her.

Wanyue Qiao as an Odalisque in Konstantin Sergeyev's Le Corsaire

Gene Schiavone, Courtesy ABT

Joshua Guillemot-Rodgerson, Houston Ballet

Three male dancers in tight-fitting, multicolored costumes stand in positions of ascending height from left to right. All extend their right arms out in front of them.

Joshua Guillemot-Rodgerson (far right) with Saul Newport and Austen Acevedo in Oliver Halkowich's Following

Amitava Sarkar, Courtesy Houston Ballet

Leah McFadden, Colorado Ballet

Wearing a white pixie wig and a short light-pink tunic costume, a female ballet dancer poses in attitude front on pointe with her left arm bent across her ribs and her right hand held below her chin.

Leah McFadden as Amour in Colorado Ballet's production of Don Quixote

Mike Watson, Courtesy Colorado Ballet

Maria Coelho, Tulsa Ballet

Maria Coelho and Sasha Chernjavsky in Andy Blankenbuehler's Remember Our Song

Kate Lubar, Courtesy Tulsa Ballet

Alexander Reneff-Olson, San Francisco Ballet

A ballerina in a black feathered tutu stands triumphantly in sous-sus, holding the hand of a male dancer in a dark cloak with feathers underneath who raises his left hand in the air.

Alexander Reneff-Olson (right) as Von Rothbart with San Francisco Ballet principal Yuan Yuan Tan in Swan Lake

Erik Tomasson, Courtesy SFB

India Bradley, New York City Ballet

Wearing a blue dance dress with rhinestone embellishments and a sparkly tiara, India Bradley finishes a move with her arms out to the side and hands slightly flexed.

India Bradley practices backstage before a performance of Balanchine's Tschaikovsky Piano Concerto No. 2.

Erin Baiano, Courtesy NYCB

Bella Ureta, Cincinnati Ballet

Wearing a white dress with pink corset, Bella Ureta does a first arabesque on pointe in front of an onstage stone wall.

Bella Ureta performs the Act I Pas de Trois in Kirk Peterson's Swan Lake

Hiromi Platt, Courtesy Cincinnati Ballet

Alejándro Gonzales, Oklahoma City Ballet

Dressed in a green bell-boy costume and hat, Alejandro Gonz\u00e1lez does a saut\u00e9 with his left leg in retir\u00e9 and his arms in a long diagonal from right to left. Other dancers in late 19-century period costumes watch him around the stage.

Alejandro González in Michael Pink's Dracula at Oklahoma City Ballet.

Kate Luber, Courtesy Oklahoma City Ballet

Nina Fernandes, Miami CIty Ballet

Wearing a long white tutu and crown, Nina Fernandes does a saut de chat in front of a wintery backdrop as snow falls from the top of the stage.

Nina Fernandes in George Balanchine's The Nutcracker

Alexander Iziliaev, Courtesy Miami City Ballet

Evelyn Cisneros-Legate. Photo by Beau Pearson, Courtesy Ballet West

Ballet West Academy's New Director on Dream Building During COVID-19

Evelyn Cisneros-Legate is bringing her hard-earned expertise to Ballet West. The former San Francisco Ballet star is taking over all four campuses of The Frederick Quinney Lawson Ballet West Academy as the school's new director.

Cisneros-Legate, whose mother put her in ballet classes in an attempt to help her overcome her shyness, trained at the San Francisco Ballet School and School of American Ballet before joining San Francisco Ballet as a full company member in 1977. She danced with the company for 23 years, breaking barriers as the first Mexican American to become a principal dancer in the U.S., and has graced the cover of Dance Magazine no fewer than three times.

As an educator, Cisneros-Legate has served as ballet coordinator at San Francisco Ballet, principal of Boston Ballet School's North Shore Studio and artistic director of after-school programming at the National Dance Institute (NDI). Dance Teacher spoke with her about her new position, her plans for the academy and leading in the time of COVID-19.

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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.

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