Meet the Editors

Amy Brandt, Editor in Chief

Nathan Sayers

A native of Libertyville, Illinois, Amy has been the editor in chief of Pointe since 2014. She danced professionally with the Milwaukee Ballet and The Suzanne Farrell Ballet, among others, performing a large repertoire that included 19th century classics and works by George Balanchine, Antony Tudor, Jerome Robbins and Alonzo King. Amy also performed in honor of Ms. Farrell at the 2005 Kennedy Center Honors. In 2009, she began writing Pointe's "Ask Amy" advice column. Amy graduated summa cum laude from Marymount Manhattan College with a BA in English and World Literatures in 2014, and she currently serves on the department's advisory board. She is also senior consulting editor for Dance Teacher. Contact her at: abrandt@dancemedia.com

Raymond Mingst, Vice President/Creative Director

Nathan Sayers

Raymond discovered his earliest dance inspiration in print in the photographs of Barbara Morgan, specifically her collaborations with Martha Graham. As an art and creative director he has been recognized with numerous awards. Raymond is an interdisciplinary artist, curator and cofounder of the contemporary art gallery Curious Matter. Contact him at: rmingst@dancemedia.com

Madeline Schrock, Senior Managing Editor

Jayme Thornton

A native of Floyds Knobs, Indiana, Madeline studied ballet at Southern Indiana School for the Arts and was later introduced to modern dance by Bill Evans. While completing her BFA in Dance Performance and Choreography at Ohio University's Honors Tutorial College, she was cast in a historical reconstruction of Alwin Nikolais' Noumenon celebrating the 100th anniversary of his birth. As an avid dance videographer and editor, she has worked on video projects for Bates Dance Festival and the Regina Klenjoski Dance Company in Southern California. She later served as a marketing and education manager for Lar Lubovitch Dance Company. She is currently the managing editor of Dance Magazine and Pointe. Contact her at: mschrock@dancemedia.com

Cadence Neenan, Senior Editor

Lucas Chilczuk

A native of Connecticut, Cadence studied ballet at the Performing Arts Center of Connecticut. While completing her B.A. in political science and English at Tulane University in New Orleans, Louisiana, she continued to study ballet with Diogo DeLima through the Newcomb Dance Program. Following her graduation from Tulane, Cadence accepted an internship at Pointe, and has been a member of the DanceMedia family ever since. She is currently a Senior Editor at both Pointe and Dance Spirit. Contact her at: cneenan@dancemedia.com

Lydia Murray, Associate Editor

Jayme Thornton

Lydia holds a B.A. in philosophy and an M.A. in integrated marketing communication from Marist College. As a student, she wrote about dance for the campus arts and entertainment magazine Generator Magazine and won the award of Crew MVP as an interviewer for the Marist Poll. In 2018, she served as an education intern at American Ballet Theatre. The following year, she became the intern program fellow/assistant to the deputy director at Jacob's Pillow, where she managed the intern program and coordinated the 2019 National Dance Presenters' Forum.

Lydia is a graduate of the Nutmeg Ballet Conservatory and attended summer intensives at Dance Theatre of Harlem and Ballet Hispanico. Contact her at: lmurray@dancemedia.com.

Latest Posts


Paul Kolnik, Courtesy NYCB

NYCB's Maria Kowroski Reflects on the Challenges, Joys and Mysteries of Balanchine’s "Mozartiana"

The first time I was called to learn Mozartiana, I didn't think I would actually get to do it. It's a coveted ballerina role in the company, and I was still early in my career. But I got to dance it once or twice, and then not again for many years. The ballet isn't in our repertoire that often, so each time we've performed it I've been at a different level as a person and as an artist.

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Getty Images

Ask Amy: How Can I Overcome My Fear of Pirouettes on Pointe?

I have a terrible fear of falling when doing turns on pointe. I sometimes cry in class when we have to do new turns that I'm not used to. I can only do bad singles on a good day, while some of my classmates are doing doubles and triples. How can I get over this fear? —Gaby

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xmb photography, Courtesy The Washington Ballet

The Washington Ballet's Sarah Steele on Her At-Home Workouts

Ballet at home: Since she's not preparing for any immediate performances, Steele takes ballet barre three to four times a week. "I'm working in more of a maintenance mode," she says, prioritizing her ankles and the intrinsic muscles in her feet. "If you don't work those muscles, they disappear really quickly. I've been focusing on a baseline level of ballet muscle memory."

What she's always working on: Strengthening her glute-hamstring connection (the "under-butt" area), which provides stability for actions like repetitive relevés and power for jumps. Bridges are her go-to move for conditioning those muscles. "Those 'basic food group'–type exercises are some of the best ones," she says.

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