After nearly three decades at Miami City Ballet, George Balanchine's The Nutcracker demanded a makeover. Costumes and scenery, as artistic director Lourdes Lopez admits, were faded and frayed. To do justice to such a beloved ballet, she has partnered with The Music Center for a new production to debut in Los Angeles this December before brightening South Florida theaters.

Lopez entrusted husband-and-wife artistic team Isabel and Ruben Toledo with bringing The Nutcracker into high definition, drawn by both their sense of classicism and innovative creativity. The Cuban-American couple may work in different media—Isabel is a fashion designer, Ruben as a visual artist—yet as collaborators they flourish in stage work.


The Nutcracker, Isabel discovered, "is multilayered with visual symbols—and peels back like an onion. Each element impacts the entire composition." Her Sugarplum Fairy's silhouette retains a decorous formality with dashes of sparkle. As the designer believes, "fabric brings to the stage yet another performer—the dance of textile."

Scenic impact required meticulous research. Ruben relished not just the history of the ballet but also the qualities of a childhood dream. His favorite part? "The snow scene," he discloses. "Nature can be so awe-inspiring."


Miami inspired Ruben with its "light reflected off the magnificent ocean, the boomerang clouds mounting like palaces." In his vision, candy land is "a tropical paradise" where palm trees rise like confections in a pastry shop.

Enthused by this creative partnership as well as MCB's 2016 reimagining of Balanchine's A Midsummer Night's Dream in an underwater setting, Lopez promises, "This production will be riveting."

Ballet Stars
Karolina Kuras, Courtesy NBoC

It's hard to imagine the National Ballet of Canada without ballerina Greta Hodgkinson. Yet this week NBoC announced that the longtime company star will take her final bow in March, as Marguerite in Sir Frederick Ashton's Marguerite and Armand.

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Sponsored by BLOCH
Courtesy BLOCH

Today's ballet dancer needs a lot from a pointe shoe. "What I did 20 years ago is not what these dancers are doing now," says New York City Ballet shoe manager Linnette Roe. "They are expected to go harder, longer days. They are expected to go from sneakers, to pointe shoes, to character shoes, to barefoot and back to pointe shoes all in a day."

The team at BLOCH developed their line of Stretch Pointe shoes to address dancer's most common complaints about the fit and performance of their pointe shoes. "It's a scientific take on the pointe shoe," says Roe. Dancers are taking notice and Stretch Pointe shoes are now worn by stars like American Ballet Theatre principal Isabella Boylston, who stars in BLOCH's latest campaign for the shoes.

We dug into the details of Stretch Pointe's most game-changing features:

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News
Alice Pennefather, Courtesy ROH

You ever just wish that Kenneth MacMillan's iconic production of Romeo and Juliet could have a beautiful love child with the 1968 film starring Olivia Hussey? (No, not Baz Luhrmann's version. We are purists here.)

Wish granted: Today, the trailer for a new film called Romeo and Juliet: Beyond Words was released, featuring MacMillan's choreography and with what looks like all the cinematic glamour we could ever dream of:

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Viral Videos

What do Diana Vishneva, Olga Smirnova, Kristina Shapran and Maria Khoreva all have in common? These women, among the most impressive talents to graduate from the Vaganova Ballet Academy in recent years, all studied under legendary professor Lyudmila Kovaleva. Kovaleva, a former dancer with the Kirov Ballet (now the Mariinsky), is beloved by her students and admired throughout the ballet world for her ability to pull individuality and artistry out of the dancers she trains. Like any great teacher, Kovaleva is remarkably generous with her wealth of knowledge; it seems perfect, then, that she appears as the Fairy of Generosity in this clip from a 1964 film of the Kirov's The Sleeping Beauty.

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