Julie Kent working with students at ABT. Photo by Rosalie O'Connor, Courtesy ABT.

Our Favorite Pointe Stories of 2016

As the new year approaches, we here at Pointe took a moment to look back on some of the ballet stories we loved from 2016. Here are just a few of our (many) favorites!

“In Defense of Patience" (December/January): Julie Kent's heartfelt essay on embracing the unknown is the perfect anecdote to today's high-pressure, social media-driven world. Kent gently reminds us about what's really important as an artist: “The work is still the work, and at the end of the day, the work is what you have left, and is both your labor and your reward." —Amy Brandt, editor in chief

"Dateline Havana" (April/May): I love Quinn Wharton's photos for this feature, especially those of the National Ballet of Cuba's dancers rehearsing and taking class in the company's old studios. The story offered readers an exclusive look at Cuba's rich ballet tradition and how it may be becoming less insular. —Madeline Schrock, managing editor

“Her Time" (December/January): Ballet fans have long considered Stella Abrera a principal dancer and now that she has the official title, she's never looked better. It was our honor to put such a paragon of grace and determination on the cover of our biggest issue of the year. —Nicole Loeffler Gladstone, assistant editor

"Story Ballets for the 21st Century" (April/May): Hanna Rubin's thoughtful piece explored the unique challenges of choreographing a narrative for today's audiences, and some of the exciting things artists are doing—whether working with classic literature or creating completely original works. —Suzannah Friscia, assistant editor

“The Quest for Confidence" (August/September): Writer Gavin Larsen unpacked this complicated subject and explained that, just like technique, building and believing in your own confidence is something that takes practice." —Madeline Schrock, managing editor

“Taking the Lead" (June/July): This story talked to professional dancers who understand that you don't need to stand in the spotlight to be a leader. They're great role models for ballet students, who often worry that being a principal is the only way to matter in a company setting." —Nicole Loeffler Gladstone, assistant editor

"Finding Balance" (December/January): I loved following Alonzo King LINES Ballet's Courtney Henry through a typical day. I was inspired by the way she makes time to take care of herself, as well as her attitude in the studio: “If you don't believe in your awesomeness, who will? Ballet can be good at tearing you down, so it's a personal responsibility to lift yourself up." —Suzannah Friscia, assistant editor

“Semi-Pro Limbo" (April/May): With so few professional jobs available, many young dancers are moving from one second company to the next—and feel the clock ticking on their career. Writer Candice Thompson took a frank look at the anxious situation many entry level dancers face, and offers advice for those wondering how long to stick it out. —Amy Brandt, editor in chief

What were some of your favorite Pointe stories? Tell us in the comments section.

Latest Posts

Courtesy ABC

Dance Theatre of Harlem’s Alicia Mae Holloway Talks About Her Time on ABC's “The Bachelor”

Bunheads tuning in to the season premiere of ABC's "The Bachelor" on January 4 may have recognized a familiar face: Dance Theatre of Harlem's Alicia Mae Holloway, literally bourréeing out of a limousine to greet bachelor Matt James. While Holloway unfortunately didn't get a rose that night, she did thoroughly enjoy being the long-running reality franchise's first professional-ballerina contestant, as she told Pointe in a recent Zoom call.

Keep reading SHOW LESS

#TBT: Carla Fracci and Stephen Jefferies in "La Esmeralda" (1987)

Carla Fracci, a former principal dancer of La Scala Ballet in Milan, is among the rare class of ballerinas who continued to perform into her 50s and beyond. Romantic ballets were her calling card throughout her career. In 1987, when Fracci was 51, she was featured in a television special, dancing reconstructed 19th-century ballets in the style of historical ballerinas. In this clip of La Esmeralda from the program, Fracci and her partner Robert Jefferies, a former principal at The Royal Ballet, deliver an extraordinary performance, capturing the verve and spirit of their characters.

Keep reading SHOW LESS
Getty Images

Ask Amy: How Can I Make the Most of Performance Opportunities in a Pandemic?

My school is connected to a professional company that operates on a show-to-show basis. Students can audition for company performances when they're 15. My 15th birthday is in February, and I think that our directors are choosing people to participate in virtual performances based off of whether they have performed with the company before. This was supposed to be my big first year with the company, but COVID-19 has changed that. How do I make it known that I want to participate? Do you think I should wait until things are more normal? —Lila
Keep reading SHOW LESS

Editors' Picks