Ballet Stars

See Every Dance Bag Essential for ABT's Devon Teuscher and Her Dog Riley

Photo by Kyle Froman

Peek inside Devon Teuscher's pointe shoes and you'll see a discreetly placed number. "I want to see how many shoes I go through in a year," says the American Ballet Theatre principal. "Last year it was close to 200 pairs." Teuscher keeps a Sharpie handy for this season's count in a small pouch containing other shoe accessories like ribbons and elastics. It's one of a handful of carefully organized pouches stored in her red mesh bag. "I'm definitely not a pack rat," she says of her no-frills style. Teuscher's bag came from Ascot + Hart, a California boutique that her sister introduced her to. "I love that it's breathable and lightweight and it can pack quite a bit. It's also easy to wash."


Teuscher shares her bag's real estate with Riley, her four-and-a-half-year-old cavalier poodle mix; his favorite rubber ball and leash lie alongside her hairpins and shoes. Two to three times a week, Teuscher brings Riley to work, where he's a big hit with the rest of the dancers. "I'll put his leash under my bag of pointe shoes and tie him up, and he'll just stay there. He also likes to sit on my tutus."

Photo by Kyle Froman

The Goods:
From left to right: Red mesh Ascot + Hart bag; scissors; ribbon; Metropolitan Opera House ID card; various pouches holding elastics, sewing tools and hair pins; lighter (for singeing ribbon edges); Sharpie; dental floss ("to sew with"); Riley's favorite blue ball; two pairs of ballet shoes; Bloch Alpha pointe shoes ("I've worn Alphas since I was 15"); Rumble Roller ("I always use this in the morning. I've tried others but I like the pressure points on this one"); dog leash; S'well water bottle.

Photo by Kyle Froman


Photo by Kyle Froman

The Conversation
Ballet Stars
Angela Sterling, Courtesy PNB

Your teacher at Central Pennsylvania Youth Ballet, Marcia Dale Weary, recently passed away. What impact did she have on you?

I feel deeply indebted to her. She shaped my life's course, and I know that were it not for her, I would not be living out my dream today. She led by example through her remarkable commitment to her work, as well as her genuine kindness and generosity.

You were a trainee with San Francisco Ballet. What was that experience like?

It was an exposure to different schools of thought. We were mostly in the full-lengths, and watching run-throughs of Sleeping Beauty and Don Quixote was revolutionary for me. But I was young and far away from home. That transition was hard. My body started changing. It wanted to be fleshy. Biology is cruel in that way. I desperately wanted to fit in, but it wasn't meant to be.

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The Royal Ballet's Vadim Muntagirov and Marianela Nuñez in La Bayadère. Photo by Bill Cooper, Courtesy ROH.

Do you ever wish you could teleport to London and casually stroll into The Royal Opera House to see some of the world's best-loved ballets? Well, we have a solution for you: The Royal Ballet's 2018-19 cinema season.

Whether live or recorded, the seven ballet programs listed below, streaming now through next October, will deliver all of the magic that The Royal Ballet has to offer straight to your local movie theater. Can you smell the popcorn already?

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Site Network
Left: Misa Kuranaga in The Veritginous Thrill of Exactitude. Gene Schiavone, Courtesy Boston Ballet. Right: Sasha Mukhamedov in Apollo. Altin Kaftira, Courtesy Dutch National Ballet.

San Francisco Ballet just announced some major news: longtime Boston Ballet star Misa Kuranaga will be joining the company as a principal dancer for the 2019-20 season, while Dutch National Ballet principal Sasha Mukhamedov has been hired as a soloist. They join a slew of newly promoted SFB principals and soloists, announced earlier this year.

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Ballet Stars
Xiao Nan Yu in company class. Aaron Vincent, Courtesy National Ballet of Canada.

On June 22, National Ballet of Canada principal Xiao Nan Yu will retire from the stage after 22 years with the company. Originally from Dalian, China, Yu studied at the Shen Yang School of Dance and the Beijing Dance Academy before coming to Canada's National Ballet School at age 17. She joined the National Ballet of Canada less than two years later, and was promoted to principal in 2001.

"She is a supreme dance actress with an innate ability to bring the audience into her world," says NBoC artistic director Karen Kain. "Nan has always brought such a calm confidence into the studio and has been a role model for so many dancers I will miss her generosity both inside the studio and out." We spoke with Yu as she prepared for her final week of performances. She opened up about her initial culture shock upon moving to Toronto, her thoughts on artistry and why she chose Hanna Glawari in The Merry Widow as her final role.

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