Newly promoted soloist Lawrence Rines in Mikko Nissinen's The Nutcracker. Liza Voll, Courtesy Boston Ballet.

Boston Ballet Just Promoted 7 Dancers

Boston Ballet announced some happy news this morning: seven dancers have been promoted! The company named three to soloist and four to demi-soloist for the 2019-20 season. "I am excited to see how they continue to grow as dancers in the upcoming season with its versatile and challenging repertoire," says artistic director Mikko Nissinen in a statement. So, who are these lucky dancers? Read on to find out.


Chyrstyn Fentroy to Soloist

Fentroy and Roddy Dobble in William Forsythe's Pas/Parts. Rosalie O'Connor, Courtesy Boston Ballet.

Chyrstyn Fentroy has been catching our eye since her early career as a leading dancer with Dance Theatre of Harlem. When she joined Boston Ballet's corps in 2017, she told us she wanted to expand her repertoire at a larger company and refine her technique. It hasn't taken her long to make an impression—Fentroy was promoted to demi-soloist this season and recently had a featured role in the world premiere of William Forsythe's Playlist (EP).

Lawrence Rines to Soloist

Rines (center) in Wayne McGregor's Chroma. Rosalie O'Connor, Courtesy Boston Ballet.

Philadelphia-native Lawrence Rines trained at the Rock School for Dance Education and the School of American Ballet. He's spent his entire 10 year career at Boston Ballet, joining Boston Ballet II in 2009 and the main company in 2011. He was promoted to second soloist in 2017. We're excited to see his hard work and dedication to the company be recognized!

Addie Tapp to Soloist

Tapp in Jorma Elo's Creatures of Egmont. Igor Burlak, Courtesy Boston Ballet.

Tall and leggy Addie Tapp has made a swift ascent at Boston Ballet, joining the corps straight out of the School of American Ballet in 2014. She only spent two years as an artist (during which she was named one of Pointe's 2016 "Stars of the Corps") before being promoted to demi-soloist. A twice-named Princess Grace Award nominee, Tapp seems to have a bright future ahead.

Maria Álvarez to Second Soloist

Álvarez in Balanchine's Coppélia. Liza Voll, Courtesy Boston Ballet

You may recognize Maria Álvarez from Pointe's 2018 "Stars of the Corps" (what can we say—we know how to pick them!). Originally from Madrid, she joined Boston Ballet II in 2010 and the main company in 2012. Álvarez particularly excels in dramatic roles such as Romeo and Juliet's Lady Capulet and Madge from La Sylphide.

Dawn Atkins to Second Soloist

Atkins in George Balanchine's Chaconne. Liza Voll, Courtesy Boston Ballet.

In a 2017 Pointe story on setting smart dance goals, Dawn Atkins impressed us with her mature sense of perspective. To achieve one of her dreams—dancing in a William Forsythe ballet—she spent her free time studying his choreography and attended an Art Of workshop in Madrid to learn pieces of his repertoire and improvisation techniques. Atkins' prep work has paid off, not only in the company's recent Full On Forsythe program, but with her promotion to second soloist.

Emily Entingh to Second Soloist

Entingh performing at BB@Home. Sabi Varga, Courtesy Boston Ballet.

Emily Entingh trained in Southern California and at the Kirov Academy of Ballet in Washington, DC. She danced with Houston Ballet II for two years before joining Boston Ballet's second company in 2012. She was promoted into Boston Ballet in 2014. This season she's danced featured roles in the company's Full on Forsythe program and most recently as one of Swanhilda's Friends in Coppélia.

Matthew Slattery to Second Soloist

Slattery (center) in Jerome Robbins' Glass Pieces. Rosalie O'Connor, Courtesy Boston Ballet.

Matthew Slattery has spent his short career zig-zagging between hemispheres. Born and trained in Australia, Slattery moved to New York to study at the Joffrey Ballet School before joining Royal New Zealand Ballet under Ethan Stiefel. He then moved back to the U.S. to become a member of Boston Ballet in 2014 (whew!). With his recent promotion, it looks like he made the right move.

Congratulations to all!

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From left: Anthony Crickmay, Courtesy Dance Theatre of Harlem Archives; Courtesy Ballethnic

Lydia Abarca Mitchell, Arthur Mitchell's First Ballerina, Builds On Her Mentor's Legacy in Atlanta

It is the urgency of going in a week or two before opening night that Lydia Abarca Mitchell loves most about coaching. But in her role as Ballethnic Dance Company's rehearsal director, she's not just getting the troupe ready for the stage. Abarca Mitchell—no relation to Arthur Mitchell—was Mitchell's first prima ballerina when he founded Dance Theatre of Harlem with Karel Shook; through her coaching, Abarca Mitchell works to pass her mentor's legacy to the next generation.

"She has the same sensibility" as Arthur Mitchell, says Ballethnic co-artistic director Nena Gilreath. "She's very direct, all about the mission and the excellence, but very caring."

Ballethnic is based in East Point, a suburban city bordering Atlanta. In a metropolitan area with a history of racism and where funding is hard-won, it is crucial for the Black-led ballet company to present polished, professional productions. "Ms. Lydia" provides the "hard last eye" before the curtain opens in front of an audience.


For more than 25 years, coaching at Ballethnic has been a lifeline back to Abarca Mitchell's days with DTH. She had a stellar career, both with the company and beyond, but left the stage at age 30 after an injury sustained performing in Dancin' on Broadway. Her husband's job transferred them to Atlanta, where she transitioned to a full-time job as a medical transcriptionist while raising a family. Now retired from her second career, Abarca Mitchell continues to forward Arthur Mitchell's legacy, not only through coaching but also by building community among DTH alumni and writing her memoirs—a fairy-tale story of a child who came from the Harlem public-housing projects and became a trailblazing Black ballerina.

Abarca Mitchell grew up during the 1950s and '60s, the oldest of seven in a tight-knit family. She always danced, taking cues from Hollywood figures until a fourth-grade teacher saw her talent and encouraged her to seek formal training. The family couldn't afford ballet lessons, but Abarca Mitchell earned a scholarship to attend The Juilliard School's Saturday youth program, and later the Harkness Ballet's professional training program. But for all of those ballet classes, Abarca Mitchell never had the opportunity to see or perform in a ballet production. She didn't understand the purpose behind ballet's tedious class exercises.

When the fast-growing Harkness Ballet moved its scholarship students to the June Taylor Studio on Broadway, Abarca Mitchell remembers hearing live drumming, clapping and laughter coming from the studio across the hall. It was a jazz class taught by Jaime Rogers, who'd played Loco in the West Side Story movie. Abarca Mitchell started sneaking into Rogers' classes.

When Harkness informed her that her scholarship was exclusively for ballet, Abarca Mitchell left the program. She saw no future for herself in the white-dominated ballet world, and focused on academics during her last two years of high school.

At 17, Abarca Mitchell met Arthur Mitchell. He had made history as the first Black principal dancer with New York City Ballet, which he had joined in 1955, and had just begun to shape what would become Dance Theatre of Harlem when he hired Abarca Mitchell in 1968. Within a month, she was back on pointe. Within two months, she was performing in Arthur Mitchell's Tones. "I didn't even know what ballet was until I was onstage," Abarca Mitchell says. "All of a sudden, it was my heart and soul."

Arthur Mitchell made sure his dancers saw NYCB perform, and subsequently brought Balanchine's Agon, Concerto Barocco and other NYCB works into the DTH repertoire. "Physically and emotionally, I felt the connection of jazz in Balanchine's choreography," Abarca Mitchell says. "His neoclassical style was just funky to me. I could totally relate."

For the first time, Abarca Mitchell danced with people who looked like her and shared the same aspirations, she says, with a leader who "saw us through his eyes of love and achievement."

In Abarca Mitchell's 30s, after a performing career that took her from DTH to the film version of The Wiz to Bob Fosse's Dancin' and beyond, her husband's job took their family to Atlanta. She soon connected with Gilreath and Waverly Lucas. The couple, also DTH alumni, were influenced by Arthur Mitchell's model when they founded Ballethnic, seeking to create access for dancers of all backgrounds to develop as classical dancers and perform a repertoire that represents the company's culturally diverse home city. Over time, Abarca Mitchell became a trusted advisor.

Abarca Mitchell goes in at least twice a year to coach Ballethnic's productions—such as Urban Nutcracker, set in Atlanta's historically Black Sweet Auburn neighborhood, and The Leopard Tale, which features the company's signature blend of classical pointe work with polyrhythmic dance forms of the African diaspora. These final rehearsals give Abarca Mitchell a way to fast-track the transfer of her mentor's values.

Two dancers in blue and black practice clothes and face masks, the woman in pointe shoes, pose together in a first arabesque tendu. Abarca Mitchell steps out of a mirrored pose as she adjusts the fingertips of the male dancer.

Lydia Abarca Mitchell works with Ballethnic's Calvin Gentry and Karla Tyson.

Courtesy Ballethnic Dance Company

She recalls that Arthur Mitchell taught his dancers to present themselves at their finest—to enter a room with their heads held high and shoulders back—and to dress, speak and walk with dignity and self-respect. He reminded them that they were pioneers and ambassadors for Blacks in ballet. As the company gained international stature—Abarca Mitchell was the first Black female ballerina to appear on the cover of Dance Magazine, in 1975—he insisted the dancers remain humble and in service to the greater mission. But he was also a taskmaster. "No nonsense, no excuses," Abarca Mitchell says. "There was no slack. If he was rehearsing something that you're not in, you'd better be on the side learning it."

"He didn't throw compliments around at all. You had to really kill yourself to get a smile from him." After a run-through, she says, "you didn't want to be singled out."

Abarca Mitchell takes a slightly different approach, though she doesn't compromise on the values her mentor instilled. When coaching large casts of all ages and different levels for Ballethnic, she has found ways to inspire people without tearing them down. She calls it a "tough love" approach.

"I've got to make them want to do it. I don't want to beat them into doing it," Abarca Mitchell says. "I tell them, 'You're here because you want to be, and because you auditioned and were accepted. Now, show me why I should keep you here.'"

"I tell them, 'I'm here to make sure you'll look good—you know: 'That looks fake. Let's make it look real. Think about what you're doing, so that it's not just a gesture.'"

Arthur Mitchell instilled this level of emotional honesty in his dancers, and it was key to the company's quick success. "We were bringing a thought forward," says Abarca Mitchell. "We were bringing a feeling forward, so that the audience could connect with us."

In addition to her position as rehearsal director for Ballethnic, Abarca Mitchell is today part of 152nd Street Black Ballet Legacy, a group of DTH alumni who seek to give voice to people responsible for the company's success in its early years. "It's incredible," she says, "how many people took something from DTH and applied it to their lives."

As Ballethnic prepares to co-host the International Association of Blacks in Dance Conference and Festival in January 2022, Abarca Mitchell hopes to help strengthen the network of dance companies associated with Ballethnic, such as Memphis' Collage Dance Collective. "The dream is for all of us to collaborate with each other," she says, "so that it becomes more normal to see a Black ballerina, so it's not just a token appearance."

Today's young dancers face different challenges from what Abarca Mitchell faced. She finds that they're more easily distracted, and sometimes act entitled, because they don't know or appreciate how hard earlier Black ballerinas like herself worked to clear a path for them. But what she's passing on will benefit them, whether they choose to pursue dance careers or become doctors, lawyers, professors or something else entirely. "The principles are the same," she says. "Work for what you want, and you will achieve it."

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