There are few opportunities as rewarding for a dancer as having choreography created on you. Sir Anthony Dowell, former principal and then artistic director of The Royal Ballet, is one of those rare few who had the chance to originate many roles throughout his performing career. Dowell was a particular inspiration for Sir Frederick Ashton; the choreographer created many roles for him, including original choreography for the Prince in The Royal Ballet's production of Sleeping Beauty. In this variation from Act II, Dowell comments on, and demonstrates, the unique sense of self-possession that comes with performing a specially-created role.


Throughout the variation, much of the choreography faces upstage, emphasizing that the prince in wandering through the wood without direction or purpose. The angle also highlights Dowell's remarkable leg strength and turnout. At 0:16 he pulls his legs into sus-sous with a mesmerizing suction quality. The variation also features Dowell's beautiful and sturdy arabesque. No matter what his upper body is doing, his arabesque stays steadfastly at 90 degrees, and in his grand pirouettes, his back leg appears to sustain and propel him as he whizzes around. Happy #ThrowbackThursday!

Larke Johnson in rehearsal. Courtesy The Joffrey Ballet

Marie and Franz have a new guest at their Christmas Eve party this year. Emma Lookatch and Larke Johnson, both dancers in the Adaptive Dance Program at Joffrey Academy of Dance: Official School of The Joffrey Ballet, are alternating in the new role of Worker Girl. It is a permanent part created specifically for students with disabilities in Christopher Wheeldon's version of The Nutcracker at The Joffrey Ballet.

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Francisco Estevez, Courtesy Colorado Ballet Academy

When you're looking for a ballet program to take you to the next level, there are a lot of factors to consider. While it's tempting to look for the biggest name that will accept you, the savvy dancer knows that successful training has more to do with the attention and opportunities you'll get.

We put together a few of the most important things for dancers to look for in a summer or year-round training program, with the help of the experts at Colorado Ballet Academy:

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Ballet Training
Ballet Austin Academy students practice priouette en dehors. Annie Marie Bloodgood, Courtesy Ballet Austin.

Michelle Martin, associate artistic director of Ballet Austin, says that pirouettes en dehors from fourth position allongé are full of "traps" for dancers. Whether you trained with a straight back leg or have never tried it before, Martin's analytical breakdown will help you master this basic but dazzling turn.

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Rosalie O'Connor, Courtesy US Prix de Ballet

The US Prix de Ballet is taking an unconventional approach to the ballet competition—by putting the competitors' health first. After a successful first year in 2018, the Prix is returning to San Diego, CA this February with an even more comprehensive lineup of wellness workshops and master classes, in addition, of course, to the high-level competition.

Though the talent is top-notch, the environment is friendly, says HARID Conservatory faculty member Victoria Schneider, who serves on US Prix de Ballet's elite panel of judges. "The wellbeing of the dancer is the main focus," says Schneider, who awarded three scholarships to HARID at last year's competition.

US Prix de Ballet was born after its founders traveled to the Japan Grand Prix International Ballet Competition in 2016. "The company ran every aspect of the competition with professionalism, dignity, honor and precision," says founder Neisha Hernandez. "We knew we wanted this level of experience for America."

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