Onstage This Week: From "Serenade" to "Swan Lake" to #instaballet

Following a week filled with Valentine's Day-inspired romantic ballets including Romeo and Juliet, Cinderella and Giselle, this week brings a varied mix of repertory from San Francisco Ballet, New York City Ballet and American Ballet Theatre (currently on tour in Chicago), as well as Pittsburgh Ballet Theatre's Swan Lake and Eugene Ballet's collaboration with local band Pink Martini.


San Francisco Ballet

San Francisco Ballet's program entitled Bright Fast Cool Blue is at the War Memorial Opera House through February 24 and features works by George Balanchine and Benjamin Millepied, as well as the SFB premiere of Justin Peck's Rodeo: Four Dance Episodes. The photos that the company has been posting of Balanchine's Serenade are absolutely gorgeous. From February 17-25 the company is also presenting Distinctly SF Ballet. This trio of works by artistic director Helgi Tomasson, Val Caniparoli and Myles Thatcher were all created for SFB. You can check out the program's trailer below.


American Ballet Theatre

After stops in Washington, DC, Detroit and Lincoln, NE, American Ballet Theatre's national tour continues at the Harris Theater in Chicago from February 21-25. Presenting eight works over just five days, this program feels like an ABT tasting menu, with audience favorites by Jessica Lang, Jerome Robbins, Christopher Wheeldon, Alexei Ratmansky, Antony Tudor and Benjamin Millepied, as well as the Don Quixote pas de deux. From this live stream with Isabella Boylston and James Whiteside to this preview of Christine Shevchenko's incredible Black Swan fouettés, ABT's social media presence while on tour has been on point(e).


Pittsburgh Ballet Theatre

Can't get enough Valentine's Day? Pittsburgh Ballet Theatre's Swan Lake is running through February 25 at the Benedum Center. PBT corps dancer Emily Simpson took over the company's Instagram during the production's opening weekend; you can check out her peek behind-the-scenes here.


New York City Ballet

Following a 12-show run of Romeo + Juliet, the remainder of New York City Ballet's winter season alternates between two programs, both opening on February 24. The first program, Stravinsky & Balanchine, pays tribute to the fruitful collaboration between the famed choreographer and composer, and features such NYCB classics as Agon and Symphony in Three Movements. The second, Here/Now, includes works by Benjamin Millepied, Nicolas Blanc, Justin Peck and Alexei Ratmansky, all created within the last eight years. Sara Mearns describes her solo in Ratmansky's Namouna, A Grand Divertissement as "the hardest two minutes she's ever performed." Check out her narration below.


Eugene Ballet

Following its premiere in Eugene, OR, last weekend, Eugene Ballet brings its new program in collaboration with the Portland-based band Pink Martini to Corvallis, OR, on February 21 and then to Salem, OR, on February 23. The program will open with Val Caniparoli's Tutto Eccetto il Lavandino (Everything But the Kitchen Sink) and then progress to a work titled Sympathique with music by Pink Martini, choreographed by company artistic director Toni Pimble, company dancer Suzanne Haag and Sarah Ebert. The work is part of an initiative Pimble started last year called #instaballet, where audience members have a hand in choreographing the ballet in real time with the dancers. You can read more about it here and check out the trailer below.

Latest Posts


Complexions Contemporary Ballet's Tatiana Melendez Proves There's No One Way to Have a Ballet Career

This is Pointe's Fall 2020 cover story. Click here to purchase this issue.

Talk to anyone about rising contemporary ballerina Tatiana Melendez, and one word is bound to come up repeatedly: "Fierce." And fair enough, that's a perfectly apt way to describe the 20-year-old's stage presence, her technical prowess and her determination to succeed. But don't make the mistake of assuming that fierceness is Melendez's only (or even her most noteworthy) quality. At the core of her dancing is a beautiful versatility. She's just as much at ease when etching pure classical lines as she is when boldly throwing herself off-balance.

"Selfish choreographer that I am, I want Tatiana to stay with Complexions for all time," says her boss Dwight Rhoden, Complexions Contemporary Ballet's co-artistic director and resident choreographer. "She has a theatricality about her: When the music comes on, she gets swept away." Not too shabby for someone who thought just a few years ago that maybe ballet wasn't for her.

Keep reading SHOW LESS
Jeremy Kyle, Courtesy Laubacher

My First Month as a Professional Dancer in the Age of COVID-19

I moved to Eugene, Oregon, in August, brimming with nerves and excitement to launch my career as an aspirant with Eugene Ballet. After months of quarantining at home in Pittsburgh because of the coronavirus lockdown, transitioning to my new life on the West Coast marked a rapid shift. But in time, it granted me newfound feelings of security. For starters, the ritual of filling up my water bottle, packing my shoes and leotard, putting up my hair and walking into the studio reintroduced a much needed flow of normalcy into my life.

Keep reading SHOW LESS
Erik Tomasson, Courtesy SFB

"My Plate Is Full": Sofiane Sylve on Her New Leadership Roles at Ballet San Antonio and Dresden Semperoper

Sofiane Sylve had huge plans for 2020: Departing her post as a principal dancer at San Francisco Ballet, she embarked on a multifaceted, bicontinental career as ballet master and principal dancer at Dresden Semperoper Ballett, and artistic advisor and school director at Ballet San Antonio—and then COVID-19 hit, sidelining performances and administrative plans at both companies. But ballet dancers are nothing if not resilient. In her new leadership roles, Sylve is determined to help shepherd ballet through this challenging time—and transform it for the better. Pointe caught up with her by phone while she was in Dresden.

Keep reading SHOW LESS

Editors' Picks