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6 Toe Pads That Are Serious Pointe Shoe Game-Changers

Finding the right pointe shoe is hard enough. But as any serious ballet dancer can tell you, it's only half the battle. The padding you pair with your pointe shoes plays a big role in your ability to stay on your toes pain-free (or close to it) through classes and rehearsals. When Second Skin squares alone won't cut it, there's a new generation of toe pads to provide relief.


PerfectFit Inserts

Photo by Nathan Sayers

Chances are you've seen these pads (and the telltale blue putty that comes with them) on your Instagram feed. The completely genius PerfectFit inserts are actually customized molds that fill any spaces between your toes and your shoe vamp, and help reduce pressure on commonly irritated spots like bunions. Though they've only been around for a few years, PerfectFit pads have already gained a huge pro following, including New York City Ballet's Sara Mearns, Royal Danish Ballet's Holly Dorger and Los Angeles Ballet's Bianca Bulle.


Gaynor Minden Dancers' Dots

These tiny pink dots can be used on their own or in addition to your usual padding. Created to reduce irritation and blisters, the dots are made from hydrogel, which has a cooling effect on the skin and is actually popular in the medical field for its ability to serve as a hydrating barrier to wounds. You can buy 'em in bulk with their 90 piece jar, or test them out with their 20 piece packets (perfect for storing in your dance bag, by the way).


Pillows For Pointes Extra Long Gellows

The first ever toe pads specifically designed for dancers with longer toes (or bunions that need a little extra protection), Gellows' have extended sides that can be cut to perfectly fit your foot. Though they're made with a layer of gel between two layers of seamless sock material, they're still thin enough to let you feel the floor.


Capezio Pinky Pads

If it's your pinky toes that seem to take the brunt of your pointe work, consider these conical-shaped pads. Designed to slide right over your pinky toe (or really, any of your smaller toes), the polymer gel pad helps prevent blisters and corns.


Eurotard Fashion Lite Toe Pads


Eurotard's thinnest (and sparkliest!) toe pads, the Fashion Lites also include ventilated holes throughout to let your toes breathe. The flexible material stretches to cover your toes and bunions, and can be trimmed for a customized fit.


Grishko Mini Toe Pads

These colorful minis are designed to sit perfectly in the platform of your shoe, helping to absorb the shock of impact while you dance. Made of hypoallergenic medical-grade silicone, the flexible pads come in three sizes (small in pink, medium in light blue and large in white) to correspond to your pointe shoe size.

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After 25 Years, Victoria Morgan to Step Down as Cincinnati Ballet's Artistic Director

Last month, Victoria Morgan announced that she will step down as Cincinnati Ballet's artistic director at the conclusion of the 2021-22 season. The organization's board of trustees has formed a committee to conduct a national search for her replacement.

Prior to coming to Cincinnati Ballet in 1997, the Salt Lake City native was a principal dancer with San Francisco Ballet and Ballet West, as well as resident choreographer for the San Francisco Opera. She graduated magna cum laude from University of Utah, where she also earned her MFA, and has judged several international ballet competitions.

Entering her 25th and final season as director, Morgan has accomplished a lot at Cincinnati Ballet, not the least erasing the $800,000 in company debt she inherited at the outset of her tenure. To right the organization's financial ship she had to make tough choices early on—the first task the company's executive committee gave her was to release a third of the company's dancers. In her continuing effort to overhaul how the organization did business, in 2008 she became both the artistic director and CEO and set about building the company's now $14.5 million endowment. For the 2016–17 season, with the arrival of new company president and CEO Scott Altman, Morgan returned to being full-time artistic director and helped lead the realization of the organization's new $31 million home, the Margaret and Michael Valentine Center for Dance.

A champion of female choreographers, Morgan has also choreographed numerous ballets for the company, including world premieres of King Arthur's Camelot and The Nutcracker. She has also helped orchestrate several company collaborations, including 2013's Frampton and Cincinnati Ballet Live and joint productions with BalletMet.

Pointe caught up with Morgan to talk about her recent announcement.

Victoria Morgan is shown from the side standing on stage right, turning to smile at a line of costumed dancers to her left during bows. She wears a patterned green dress with chunky green high heels and holds a red rose in her hand.

Peter Mueller, Courtesy Cincinnati Ballet

Why leave Cincinnati Ballet now?

It's been an amazing run and I have seen it all. I am not sure where I would go from here. I also feel there is a required stimulus and infusion of new ideas and energy that always needs to be a part of a growing, evolving and exciting arts organization.

What made you happiest at Cincinnati Ballet?

The people, from the devotion of patrons and donors to learning from and feeling the pride in work from the staff. It has also been so satisfying for me to choreograph on and watch so many dancers evolve in their dance careers and lives.

Were there things you wanted to do for the company that you weren't able to?

There were other collaborations I wanted us to explore and choreographers I wanted us to work with. It takes quite an investment to make those happen.

Your legacy includes actively creating opportunities for female choreographers. What motivated that?

I started realizing, in a profound way, the gender inequities in our art form. Because I was in a leadership position, I thought I could do something about this and try to get to a 50-50 balance of male and female choreographers. It took a little time to find women to step forward, but it happened. Now there are many more prominent female choreographers, including our resident choreographer Jennifer Archibald, and I am proud of that.

If you could handpick your successor, what qualities would you look for?

Somebody creative, charged up, and who can be visionary. Someone who has had a high-level experience in our art form. A leader who is demanding but also kind and supportive, and who opens doors to find new ideas while still embracing Cincinnati Ballet's philosophies.

What do you feel will be one of the biggest challenges for the new artistic director?

The important cause of DEIA (diversity, equity, inclusion, accessibility). Whoever steps into that position has to have awareness of the culture of today's conversation.

Do you plan to keep choreographing?

I am not being proactive about it, but if the opportunity presents itself, it would be fun.

What's next?

I feel my next calling is bringing movement to the biggest segment of our population, baby boomers. I want to be part of an initiative that makes moving and wellness enjoyable and enlivens people.

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