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Two New York City Ballet Principals Suspended, Another Leaves

Chase Finlay as Apollo. Photo by Paul Kolnik, Courtesy NYCB.

New York City Ballet will be three male principals short this season. Due to "inappropriate communications," Amar Ramasar and Zachary Catazaro have been suspended without pay until 2019, and Chase Finlay has resigned, effective immediately, according to The New York Times. (Finlay's name has already disappeared from the company roster on nycballet.com.)

A statement from the NYCB board chairman said they received a letter from someone outside of the company "alleging inappropriate communications made via personal text and email by three members of the company" that were "personal in nature." It added that the board's efforts to reach Finlay to even discuss the allegations were unsuccessful, which leads us to believe that it must have been quite a serious offense.


Either way, the swift action taken on the part of NYCB is a clear sign of the changing company culture in the post-Peter Martins era. The dancers found out about the news on Monday, a day before they were due to start rehearsals. They were sent an internal memo from Jonathan Stafford, who's leading the interim leadership team while NYCB searches for Martins' successor.

In an Instagram post liked and commented on by many of the dancers, corps member Alexa Maxwell, Ramasar's girlfriend, shared lyrics from Carousel, which Ramasar is currently performing in on Broadway until it closes September 16.

Soloist Megan LeCrone also posted on Instagram about a weathering the storm, and "helping those that have fallen":

Joaquin De Luz reposted her photo and quote, adding, "And once again those who pay the price are the artists, the audience and our art form..."

Losing three leading men at once is likely to wreak havoc on casting for the season, which opens in just three weeks. Another principal will be lost when De Luz retires in October. But the unexpected openings may give rising male stars opportunities to step up. (Roman Mejia, anyone?)

One thing is sure: There will likely only be more changes ahead as the company finds new leadership and redefines its culture.

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Ross Brown, Courtesy RNZB

It's been several years since former Pacific Northwest Ballet star Patricia Barker took over leadership of the Royal New Zealand Ballet. In that time Barker and her husband, former PNB dancer Michael Auer, have had to acclimate themselves to a new country, a new hemisphere and a new culture.

She also noticed that RNZB had a different way of working when she took the helm in 2017. The company was then grappling with acccusations of abusive behavior and other workplace grievances by its former director, along with a few vocal New Zealanders with nationalistic agendas stirring up controversy. "The company was trying to lay low and let things blow over," she says. "You can never lay low; you just have to face your troubles head on."

Even though Barker says the turmoil had nothing to do with her, she took it on and moved the company forward by turning attention back on the art form, which she says is what matters most to audiences. And what matters to Barker with regard to that art form is creating more opportunities for female choreographers. So much so that the company's entire 2020 season will feature works choreographed by women.

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Courtesy Apolla

Ballet dancers today are asked to do more with their bodies than ever before. The physical demands of a ballet career can take an immense toll on a dancer's joints and muscles—subjecting them to pain, inflammation and an increased risk of injury. Considering all that is required of today's dancers, having a top-notch recovery regime is paramount.

Enter Apolla Performance Wear, which is meeting ballet's physical demands with a line of compression footwear that is speeding up the recovery process for professional dancers by reducing inflammation and stabilizing the joints.

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Eri Nishihara in Rex Wheeler's Symphonic Dances. Sarah Ferguson, Courtesy Richmond Ballet.

This is one of a series of stories on recent graduates' on-campus experiences—and the connections they made that jump-started their dance careers. Eri Nishihara graduated from University of Utah with a BFA in ballet performance in 2016.

As her time in high school drew to a close, Eri Nishihara knew she wasn't ready to dance professionally. She had seen dancers her age from other cities at summer intensives and didn't think that she was up to company caliber yet. "I didn't want to feel like I was having to keep up for a lack of training or experience, while adjusting to a new professional life," she says. Nishihara had trained with University of Utah professors in the past, through summer intensives at Ballet West, and felt that their teaching style would best prepare her for a future career.

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The Washington Ballet's NEXTsteps program opens this week. Here are company dancers Ashley Murphy-Wilson and Alexandros Papajohn. Procopio Photography, Courtesy The Washington Ballet.

Wonder what's going on in ballet this week? We've rounded up some highlights.

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