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Onstage This Week: Justin Peck World Premiere at Houston Ballet, Aspen Santa Fe Ballet in NYC, and More!

Justin Peck rehearsing his new ballet, Reflections, with Houston Ballet. Lawrence Knox, Courtesy Houston Ballet.

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


Justin Peck Creates a World Premiere for Houston Ballet

March 21-24, Houston Ballet presents a program aptly titled Premieres, featuring the world premiere of Justin Peck's Reflections. With an original score by frequent collaborator Sufjan Stevens, this marks Peck's first time creating on the company; catch a glimpse of his process in the above video. The program also includes two company premieres: Jiří Kylián's Dream Time, set to a score by Japanese composer Toru Takamitsu, and Aszure Barton's Come In, a ballet for 13 male dancers.

Atlanta Ballet Showcases Ballet's Playful Side 

Atlanta Ballet's Look/Don't Touch program, running March 22-24, features three playful works: Alexander Ekman's Cacti, Mark Morris' Sandpaper Ballet and the world premiere of AON <All or Nothing> by former Boston Ballet principal Yury Yanowsky. Hear more from Yanowsky about his work above.

Aspen Santa Fe Ballet Brings Three New York Premieres to the Joyce Theater

Aspen Santa Fe Ballet brings three New York premieres, all featuring live music by concert pianist Joyce Yang, to the Joyce Theater March 20-24. The program features Jorma Elo's Half/Cut/Split set to Schumann's Carnaval, Fernando Melo's Dream Play to Erik Satie, and Nicolo Fonte's Where We Left Off to Philip Glass.

Boston Ballet Presents George Balanchine's "Coppélia" 

Boston audiences can catch George Balanchine's Coppélia starting this week. Boston Ballet presents the clever, comedic classic March 21-31; catch a glimpse in the above trailer.

Sacramento Ballet Nurtures Company Choreographers

March 21-April 7, Sacramento Ballet continues its annual Beer and Ballet program, wherein company dancers have the chance to create new work on their peers in an informal setting. This year, Sacramento Ballet brings in Val Caniparoli as a choreographic advisor and mentor.

Ballet Memphis Rethinks "Giselle"

Leading up to Ballet Memphis' run of Giselle next month, on March 23, choreographers Julie Marie Niekrasz and Pablo Sanchez dive into the ballet with Through the Veil: Giselle Redux. In this one night only performance, Niekrasz and Sanchez reimagine the classic through a modern lens, including new movement and music and discussion.

San Francisco Ballet's Trainee Program Makes Rare East Coast Appearance

On March 23, Jenkintown, PA-based Metropolitan Ballet Company presents an evening of variations and collaborations in Philadelphia. The program, including works by Jessica Lang, Sarah Mettin and Ashley Walton, will feature special guest artists from San Francisco Ballet School's Trainee Program.

The Conversation
Ballet Training
Getty Images

When the curtain falls, your work isn't over: That's exactly when post-show recovery begins. According to Carina Nasrallah, Houston Methodist athletic trainer for Houston Ballet, timing is everything. The 30 minutes after a performance is the optimal window to start combatting soreness and encourage muscle repair. Here, she shares the essential elements of a recovery plan from curtain call until bedtime.

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Viral Videos
Brittany Cavaco in Until Midnight. Claire Morris, Courtesy Cavaco.

A white tulle dress, time travel, the Eiffel Tower at night... these elements come together in Until Midnight, a new dance film by Christopher Alexander of Zen Film Works. This eight-minute long vignette opens with Louise (played by Louise Schirmer), a former ballerina now living alone in old age. Through the delivery of a mysterious letter and a wristwatch from her past, she returns briefly to her youthful self, danced by former Washington Ballet dancer Brittany Cavaco. In a Cinderella-like twist, Louise has until midnight to find her beloved Jean Pierre (Sebastien Thill, former dancer with Paris Opera Ballet and Hamburg Ballet) for one last dance. According to Cavaco, all of the movement was improvised, created by herself and Alexander in each location.

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Ballet Training
Peter Boal in class a New York City Center. Courtesy PNB.

"People have so much fear associated with arabesque turns," says Peter Boal, artistic director of Pacific Northwest Ballet. Here, he shares images and ideas to help you confidently master this advanced pirouette. "It's a real accomplishment when you can put it all together."

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