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Septime Webre's New "Wizard of Oz" Premieres at Kansas City Ballet October 12

From left: Liang Fu, James Kirby Rogers, Amanda DeVenuta and Lamin Periera dos Santos. Photo by Kenny Johnson, Courtesy Kansas City Ballet.

"Toto, I've a feeling we're not in Kansas anymore," Dorothy famously announces in the beloved 1939 film The Wizard of Oz. Kansas City, Missouri, rather, is where audiences will find Dorothy this fall. October 12–21, Kansas City Ballet presents the world premiere of choreographer Septime Webre's The Wizard of Oz at the Kauffman Center for the Performing Arts. A joint production with Colorado Ballet and Royal Winnipeg Ballet, Webre's million-dollar-plus production pulls storylines from the familiar film as well as from L. Frank Baum's 1900 book The Wonderful Wizard of Oz. Special effects, including eye-popping projections, will help bring the story to life. "Monkeys will fly, munchkins will roam, and Dorothy, Toto and the gang will once again be following the yellow brick road to the Emerald City," says KCB artistic director Devon Carney.

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Are you a total bunhead who loves to write? You might be the perfect fit for Pointe. We're seeking an editorial intern who's equally passionate about ballet and journalism.

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Rachel Neville, Courtesy Ellison Ballet

If you've got your heart set on dancing for, say, San Francisco Ballet, you should attend a school that specializes in Balanchine, right? Not necessarily: It's actually a misconception that you have to train in a particular style or technique in order to pursue a career in that style. Ellison Ballet in New York City—which specializes in Vaganova technique—is living proof: Graduates of Ellison's year-round program and summer intensives go on to ballet companies that perform in a wide range of styles, and use what they've learned from Vaganova to land jobs.

Here are five reasons why studying Vaganova technique can actually make you a sought-after dancer for any number of ballet companies:

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Karina González in Ben Stevenson's Coppélia. Amitava Sarkar, Courtesy Houston Ballet.

Are you more of a Giselle or a Juliet?

I've always said that my favorite role is Juliet, because of her vulnerability and maturity throughout the ballet. But now that I've performed Giselle, I find her so incredibly enjoyable, from being a village girl who falls in love for the first time to the most tender, almost weightless dancing in Act II.

Are you more at home in the studio or onstage?

I love the time in the studio. The process of starting from zero to getting better each day is so rewarding. My favorite phrase in rehearsals is "Let's do it again, so I can sleep in peace tonight." I need to feel so comfortable in the studio so that when I am onstage there are no bad surprises.

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Dancers certainly don't need anyone to tell them how physical their profession is. But now, we have the data to prove it.

Researchers at InsuranceProviders.com analyzed data from the Occupational Information Network (O*NET), a national organization developed through support from the U.S. Department of Labor/Employment and Training Administration, to determine the 20 most physically demanding jobs in the country. They analyzed the level of strength, stamina, flexibility and coordination required for a host of jobs, and each category was assigned

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