New York City Ballet fired principal dancers Amar Ramasar and Zachary Catazaro on Saturday. Both had initially been suspended until 2019 for engaging in "inappropriate communications," while principal Chase Finlay, who was the instigator of those communications, resigned. (Although, in a statement on Saturday, NYCB made it clear they had decided to terminate Finlay prior to his resignation.)
"Every time I see a little girl in a tutu or with her hair in a bun on her way to ballet class, all I can think is that she should run in the other direction," she said, "because no one will protect her, like no one protected me."
It was quite a statement, and it got us thinking. Of course, it's heartbreaking to imagine the experiences that Waterbury lists in the lawsuit, and it's easy to see why this would be her reaction.
But should aspiring ballet dancers really "run in the other direction"? Were her alleged experiences isolated incidences perpetuated by a tiny percentage of just one company—or are they indicative of major problems in today's ballet culture within and beyond NYCB's walls?We reached out to a variety of authorities in the field to hear their reactions to her statement.
New York City Ballet will be three male principals short this season. Due to "inappropriate communications," Amar Ramasar and Zachary Catazaro have been suspended without pay until 2019, and Chase Finlay has resigned, effective immediately, according to The New York Times. (Finlay's name has already disappeared from the company roster on nycballet.com.)
A statement from the NYCB board chairman said they received a letter from someone outside of the company "alleging inappropriate communications made via personal text and email by three members of the company" that were "personal in nature." It added that the board's efforts to reach Finlay to even discuss the allegations were unsuccessful, which leads us to believe that it must have been quite a serious offense.
American Ballet Theatre is putting more women in charge of its ballets.
Today, artistic director Kevin McKenzie announced that the company is launching a multi-year initiative called the ABT Women's Movement.
ABT will hire at least three female choreographers each season. The idea is that, in general, one woman will create a new ballet for the main company, one will make a work on the Studio Company, and one will workshop with dancers from either group for a choreographic residency without the expectation of a final product.
Lauren Lovette, choreographing here in the NYCB studios, created a ballet on ABT Studio Company last year. Photo by Erin Baiano, courtesy NYCB.
The launch will be celebrated this October during ABT's Fall Gala. That program will be devoted entirely to work by women: a premiere by Michelle Dorrance, Lauren Lovette's Le Jeune for the ABT Studio Company and Twyla Tharp's iconic In The Upper Room, which has been in ABT's rep since 1988.
Conversations about body image in dance typically revolve around female dancers. For an obvious reason: It's usually women who are driven to dangerous means to reach the ideal "ballet body."
But they're not alone in the struggle. Former Twyla Tharp dancer Charlie Hodges recently told his own story during a TED Talk at California's ArtCenter College of Design.
He Experienced Shaming Almost As Soon As He Started Dance
Hodges began dancing at age 10. Shortly after, a teacher who noticed his talent told him that if he were serious, he'd need to lose weight. By age 12, Hodges started winning awards on the competition circuit—where one director told him, "You'll be unstoppable just as soon as you lose your baby fat."
Losing self-esteem, he went on a diet and lost 14 pounds. To this day, Hodges thinks that weight loss might have stunted his growth.
As a Professional, He Couldn't Escape His Body
At 18, Hodges won second place at the prestigious National YoungArts Week. But when he auditioned for 14 ballet companies that year, all 14 said no. One letter read, "We regret to inform you that we have absolutely no use for a body like yours in our company."
He eventually got a job at Sacramento Ballet, but continued to face challenges. When he was cast as the lead in Theme and Variations, the company needed to get special permission from the Balanchine Trust because he was so short. Critics consistently called him a fireplug and pointed out his unorthodox body.
American Ballet Theatre just announced that principal dancer Marcelo Gomes, who celebrated 20 years with the company this summer, has resigned.
Last Saturday, ABT learned of a "highly concerning" allegation of sexual misconduct by Gomes, related to an incident from approximately eight years ago. A press release from board chairman Andrew F. Barth says that the allegation did not involve any current or former company members, and didn't occur in relation to Gomes' employment with ABT. The company launched an independent investigation, and today, in light of that investigation, Gomes gave his resignation.
There's a surprising twist to Regina Willoughby's last season with Columbia City Ballet: It's also her 18-year-old daughter Melina's first season with the company. Regina, 40, will retire from the stage in March, just as her daughter starts her own career as a trainee. But for this one season, they're sharing the stage together.
Performing Side-By-Side In The Nutcracker Regina and Melina are not only dancing in the same Nutcracker this month, they're onstage at the same time: Regina is doing Snow Queen, while Melina is in the snow corps, and they're both in the Arabian divertissement. "It's very surreal to be dancing it together," says Regina. "I don't know that I ever thought Melina would take ballet this far."
Left: Regina and Melina with another company member post-snow scene in 2003. Right: The pair post-snow scene in 2017 (in the same theater)