Patricia Delgado in Pam Tanowitz's "Solo for Patricia 2017." Photo by Erin Baiano, Courtesy Vail Dance Festival.

Onstage This Week: Justin Peck Makes His Vail Dance Fest Choreographic Debut, Two Premieres at American Contemporary Ballet, and More!

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


Vail Dance Fest Enters Its Second Week

With half a month devoted to creating new art in the midst of stunning nature, Vail Dance Festival seems a dancer's paradise. Last week marked American Ballet Theatre's festival debut. The second week of performances, starting July 30, brings even more amazing ballet, with dancers and choreographers presenting a slew of new collaborations and premieres. Get the scoop on each program below.

Alonzo King LINES Ballet Takes the Vail Stage

July 30-31, Alonzo King LINES Ballet presents two different programs. The first performance, is a free, family-friendly event held in the Avon Performance Pavilion. The second, held at the Gerald R. Ford Amphitheater, presents two works by King: Sand, a piece from 2016 set to jazz music, and Biophony, an exploration of the Earth's diverse ecosystems.


Justin Peck Makes His Vail Choreographic Debut

UpClose, a program devoted to festival debuts held August 1, is curated by Vail artistic director Damian Woetzel and presented "rehearsal-style," with a focus on the relationship between dance and music. The two works presented feature collaborations with Pulitzer Prize-winner Caroline Shaw, Vail's 2018 Leonard Bernstein Composer-In-Residence. The first is choreographed by Justin Peck, marking his Vail choreographic debut. The second is postmodern choreographer Pam Tanowitz's Blueprint, which premiered at the Kennedy Center last March and features former Miami City Ballet star (and Peck's fiancé), Patricia Delgado. Can't make it to the show? Watch Blueprint in the video below.


International Evenings of Dance Unite Dancers from Major Companies

Two International Evenings of Dance, held August 3 and August 4 are set to feature upwards of 30 dancers ranging from tap extraordinaire Michelle Dorrance to Memphis jooker Lil Buck to ballet stars from American Ballet Theatre, New York City Ballet, The Royal Ballet and more. The programs will feature debuts and collaborations yet to be revealed. Highlights of the all-star cast include ABT's Isabella Boylston and Misty Copeland, NYCB's Tiler Peck and Joseph Gordon, Boston Ballet's Misa Kuranaga, and Francesca Hayward of The Royal Ballet. Watch clips from last year's performance below.


American Contemporary Ballet Presents Two Vastly Different Premieres

August 2-12, Los Angeles-based American Contemporary Ballet will premiere a pair of new ballets by artistic director Lincoln Jones. Candide Overture celebrates the centennial of composer Leonard Bernstein and pays tribute to his jubilant, rhythmic dance music. Transfigured Night explores the internal life of a pair of lovers when one has just revealed a dramatic secret. The music is an early work of 19th and 20th century composer Arnold Schoenberg.


Ballet Hawaii's Sleeping Beauty Brings in Stars from the Mainland

August 3–5, Ballet Hawaii is bringing guest artists from across the continental U.S. to Honolulu for a collaborative production of The Sleeping Beauty in association with Kansas City Ballet. While Ballet Hawaii summer intensive students make up the bulk of the cast, KCB's Amaya Rodriguez and Liang Fu will dance as Princess Aurora and Prince Desiré. Plus, guest artists Katherine Williams of American Ballet Theatre will dance Beauty/Candite and Lesley Rausch of Pacific Northwest Ballet will perform the role of the Lilac Fairy. This production is truly a group effort; Cincinnati Ballet is also lending a hand by providing the costumes!


Festival des Arts de Saint-Sauveur Opens with BalletMet's Romeo and Juliet

National Ballet of Canada principal Guillaume Côté's summer project, the Festival des Arts de Saint-Sauveur, runs August 2-12 in Montreal. BalletMet opens the festival with artistic director Edwaard Liang's production of Romeo and Juliet August 2-3. The second week will see appearances by Côté's colleagues at NBoC, as well as performances by Hubbard Street Dance Chicago and Toronto Dance Theatre. This will be the 26th year of the festival, which Côté has curated and directed since 2015.


International Ballet Festival of Miami Youth Gala

To continue the jam-packed season of summer dance fests, the XXIII International Ballet Festival of Miami's first performance, the Youth Gala, takes place this Saturday, August 4 at the Lehman Theater at Miami Dade College North campus. This showcase of young talent from the U.S. and abroad is intended to promote arts education in the Miami area. Galas with professional dancers from around the world continue next week. In addition, the festival also hosts movie screenings, workshops, master classes and book and art exhibits, all related to dance and the arts. Preview the various performances taking place through August 19 below.

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Peter Mueller, Courtesy Cincinnati Ballet

2020 Stars of the Corps: 10 Dancers Making Strides In and Out of the Spotlight

The corps de ballet make up the backbone of every company. In our Fall 2020 issue, we highlighted 10 ensemble standouts to keep your eye on. Click on their names and photos to learn more!

Dara Holmes, Joffrey Ballet

A male dancer catches a female dancer in his right arm as she wraps her left arm around his shoulder and executes a high arabesque on pointe. Both wear white costumes and dance in front of a blue backdrop onstage.

Dara Holmes and Edson Barbosa in Myles Thatcher's Body of Your Dreams

Cheryl Mann, Courtesy Joffrey Ballet

Wanyue Qiao, American Ballet Theatre

Wearing a powder blue tutu, cropped light yellow top and feather tiara, Wanyue Qiao does a piqu\u00e9 retir\u00e9 on pointe on her left leg and pulls her right arm in towards her.

Wanyue Qiao as an Odalisque in Konstantin Sergeyev's Le Corsaire

Gene Schiavone, Courtesy ABT

Joshua Guillemot-Rodgerson, Houston Ballet

Three male dancers in tight-fitting, multicolored costumes stand in positions of ascending height from left to right. All extend their right arms out in front of them.

Joshua Guillemot-Rodgerson (far right) with Saul Newport and Austen Acevedo in Oliver Halkowich's Following

Amitava Sarkar, Courtesy Houston Ballet

Leah McFadden, Colorado Ballet

Wearing a white pixie wig and a short light-pink tunic costume, a female ballet dancer poses in attitude front on pointe with her left arm bent across her ribs and her right hand held below her chin.

Leah McFadden as Amour in Colorado Ballet's production of Don Quixote

Mike Watson, Courtesy Colorado Ballet

Maria Coelho, Tulsa Ballet

Maria Coelho and Sasha Chernjavsky in Andy Blankenbuehler's Remember Our Song

Kate Lubar, Courtesy Tulsa Ballet

Alexander Reneff-Olson, San Francisco Ballet

A ballerina in a black feathered tutu stands triumphantly in sous-sus, holding the hand of a male dancer in a dark cloak with feathers underneath who raises his left hand in the air.

Alexander Reneff-Olson (right) as Von Rothbart with San Francisco Ballet principal Yuan Yuan Tan in Swan Lake

Erik Tomasson, Courtesy SFB

India Bradley, New York City Ballet

Wearing a blue dance dress with rhinestone embellishments and a sparkly tiara, India Bradley finishes a move with her arms out to the side and hands slightly flexed.

India Bradley practices backstage before a performance of Balanchine's Tschaikovsky Piano Concerto No. 2.

Erin Baiano, Courtesy NYCB

Bella Ureta, Cincinnati Ballet

Wearing a white dress with pink corset, Bella Ureta does a first arabesque on pointe in front of an onstage stone wall.

Bella Ureta performs the Act I Pas de Trois in Kirk Peterson's Swan Lake

Hiromi Platt, Courtesy Cincinnati Ballet

Alejándro Gonzales, Oklahoma City Ballet

Dressed in a green bell-boy costume and hat, Alejandro Gonz\u00e1lez does a saut\u00e9 with his left leg in retir\u00e9 and his arms in a long diagonal from right to left. Other dancers in late 19-century period costumes watch him around the stage.

Alejandro González in Michael Pink's Dracula at Oklahoma City Ballet.

Kate Luber, Courtesy Oklahoma City Ballet

Nina Fernandes, Miami CIty Ballet

Wearing a long white tutu and crown, Nina Fernandes does a saut de chat in front of a wintery backdrop as snow falls from the top of the stage.

Nina Fernandes in George Balanchine's The Nutcracker

Alexander Iziliaev, Courtesy Miami City Ballet

Evelyn Cisneros-Legate. Photo by Beau Pearson, Courtesy Ballet West

Ballet West Academy's New Director on Dream Building During COVID-19

Evelyn Cisneros-Legate is bringing her hard-earned expertise to Ballet West. The former San Francisco Ballet star is taking over all four campuses of The Frederick Quinney Lawson Ballet West Academy as the school's new director.

Cisneros-Legate, whose mother put her in ballet classes in an attempt to help her overcome her shyness, trained at the San Francisco Ballet School and School of American Ballet before joining San Francisco Ballet as a full company member in 1977. She danced with the company for 23 years, breaking barriers as the first Mexican American to become a principal dancer in the U.S., and has graced the cover of Dance Magazine no fewer than three times.

As an educator, Cisneros-Legate has served as ballet coordinator at San Francisco Ballet, principal of Boston Ballet School's North Shore Studio and artistic director of after-school programming at the National Dance Institute (NDI). Dance Teacher spoke with her about her new position, her plans for the academy and leading in the time of COVID-19.

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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.

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