David Hallberg, Fashionista

Ever since leaping over to the Bolshoi, David Hallberg has become bigger than ballet. First, it was Stephen Colbert dancing with him for late-night comedy. Now, the fashion world has fallen for Hallberg's compelling mix of classical elegance and peculiar eccentricities. The South Dakota native has played muse to the likes of Annie Leibovitz in Vogue, and he took up a 12-page feature in the latest issue of Carine Roitfield's splashy CR Fashion Book. in the Sunday Styles section this weekend, Hallberg tells The New York Times' Alex Hawgood, “I’ve always questioned the way dancers, myself included, must do the same role year in and year out. It’s important for me to be able to say to myself: ‘O.K., I don’t want to be a prince anymore. I want to put on a leather jockstrap and pose.’ ” He seems eager not only to break out of the prince roles that suit him so perfectly, but also to question what type of person a ballet dancer should be: “Many dancers are content with the repertoire they’re given. Others are dissatisfied but don’t know why. Then there are a few like me that are curious and grab at everything. Can that curiosity thrive in the ballet world or should it exist elsewhere? That’s the eternal question.”

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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

Creating dances specifically for film has become one of the most effective ways that ballet companies have connected with audiences and kept dancers employed during the pandemic. Around the world, dance organizations are finding opportunities through digital seasons, whether conceiving cinematic, site-specific pieces or filming works within a traditional theater. And while there is a consistent sentiment that nothing will ever substitute the thrill of a live show, dancers are embracing this new way of performing.

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

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Bethany Kirby, Courtesy Tulsa Ballet

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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.

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