Sisters and New York City Ballet corps dancers Mary Thomas MacKinnon and Olivia MacKinnon. Courtesy Ezra Hurwitz.

This New Video Collab with Tiffany & Co. Features NYCB Dancers Dripping in Jewels

When Elle Decor approached Ezra Hurwitz to create a campaign with Tiffany & Co., the former Miami City Ballet dancer-turned-filmmaker knew just who he wanted to feature: the dancers of New York City Ballet.


Elle Decor was looking to develop organic sponsored content featuring the famous jewelry brand, and gave Hurwitz a huge amount of creative freedom in building a concept. "Tiffany & Co. had initially suggested something about featuring a modern family and highlighting unusual or progressive family units, and how that looks in their domestic spaces," says Hurwitz. "Having been a professional dancer, I felt that a company is very much like a family." Hurwitz decided to develop that idea on two levels: an imagined dream house in which dancers from NYCB all lived together, and individual family units that have developed within the company. His finished video, seen below, features nine current and former NYCB dancers, among them Troy Schumacher and his then-nine-months-pregnant wife Ashley Laracey (they welcomed their twin babies into the world last week), sisters and corps de ballet dancers Olivia MacKinnon and Mary Thomas MacKinnon, principal dancer Maria Kowroski and her four-year-old son Dylan, and former soloist and current ballet master Craig Hall and his husband, NYCB yoga teacher Frank Wildermann.

The film is accompanied by three stories published on the Elle Decor website on Korowski, Schumacher and Laracey, and Hall and Wildermann, featuring stills from Hurwitz's shoot. "The whole thing was about this domestic intimacy, and I wanted the dancers to be more than pretty faces," he says. "I was really happy that we could expand upon the visual story with these articles."

"Jovani Furlan just joined NYCB from MCB this fall," says Hurwitz. "It was fun to play with having Jovani be the outsider, coming into this house and interacting with them."

Courtesy Ezra Hurwitz

Filming took place over one day in Elle Decor's Manhattan apartment showroom, which came with its own set of challenges. "Shooting in lived spaces can be tricky, because you don't only need space for the talent, but twice as much space for the equipment," says Hurwitz. There was also the task of making all of the dancers—including the very pregnant Laracey and injured Jenelle Manzi—comfortable. Hurwitz brought Sara Mearns into the mix with the idea of shooting her in a bathtub while wearing diamonds. But he didn't realize that the showroom didn't have hot water. "She full on submerged into a cold plunge pool," he says. "She was totally game, so kudos to her." Hurwitz's partner, NYCB principal Gonzalo Garcia, was on set to wrangle Kowrowski's young son; the jewelry also came with its own babysitters. "There was security on set from Tiffany & Co. for the four plus million dollars worth of diamonds that we had," says Hurwitz.

"Jenelle (Manzi), who I grew up with at School of American Ballet, is about to launch her own food start-up called Get Golden," says Hurwitz. "For readers and viewers I think subtle references like that add texture and intrigue."

Courtesy Ezra Hurwitz

Nevertheless, Hurwitz was able to bring his dream to fruition. "The concept was a play on glamour and fashion but in a domestic space, with lots of quirky colors," he says. "I definitely wanted it to be less than realistic. Not dancers in their homes in their pajamas, but a fantasy of how we imagine them." That goal is more than evident in the images of the MacKinnon sisters sitting on a couch, dripping in jewels while sewing their pointe shoes, and Kowroski playing with her son in a red Valentino gown. To that end, Hurwitz titled the campaign Ballet Flat. "It's just a fun play on words," he says. "It was my fantasy of what a house of dance might look like."

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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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