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

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

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.

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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 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

Courtesy Carrie Gaerte, modeled by 2020 Butler University graduate Michela Semenza

Concussions Are More Than a Bump on the Head. Here's What Dancers Need to Know

Your partner accidentally drops you during a lift. You collide head-on with another dancer in rehearsal. Or you're hit in the face while you're spotting a turn. Even if you didn't lose consciousness, you may have a concussion, which can occur from a direct blow to the head or rotary force of the brain moving excessively or striking the skull.

As a dancer, your first instinct may be to keep going, but you shouldn't, says physical therapist and athletic trainer Carrie Gaerte, PT, DPT, ATC, who works with Butler University in Indianapolis and at Ascension St. Vincent Sports Performance. "What's really hard for dancers is admitting that maybe something isn't right," she says. "But the big thing about concussions is that your brain is not like your ankle, shoulder or knee. When your brain has an injury, that needs to take precedence over a role or a job."

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Thinking About College Ballet Programs? Here's a Comprehensive Guide to the Application Process

Gone are the days when you had to skip college in order to have a successful ballet career. College ballet programs are better than ever before, providing students with the training, professional connections and performance experience they need to thrive in companies postgraduation. But given the number of elements involved in the application process, choosing the right program can feel daunting. We've broken the college application timeline down step by step to help you best approach each stage along the way.

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