Stanley Glover as the Snake in Annabelle Lopez Ochoa's The Little Prince. Vikki Sloviter, Courtesy BalletX.

Standout Performances of 2019: BalletX's Stanley Glover in "The Little Prince"

Slither, slink, undulate, attack. To snakes, these actions are second nature. But seeing them translated onto a skilled dancer, namely BalletX's Stanley Glover, is thrilling. He certainly fit the bill with his deftly smooth movements in Annabelle Lopez Ochoa's The Little Prince, where he played, naturally, the Snake. Clad in a shiny silver bodysuit with a bowler hat and cane in hand, Glover gave an enticing performance in BalletX's new production this summer.

Stanley Glover, standing center stage in a shiny black unitard and bowler hat, kicks his right leg all the way to his ear.

Glover in The Little Prince.

Bill Hebert, Courtesy BalletX

But he wasn't just sinuous: Ochoa made tasteful use of the flashier elements of Glover's technique, adding in a tilt here—hello, long legs—and whipped turns there. He delivered, executing each movement with incredible control of his facility.

If you catch shades of ballet, jazz and acrobatic training in his dancing, you're right. That's because Glover didn't follow just one path, but multiple avenues, to BalletX. Before his arrival in 2018, he'd already explored many facets of the dance world—graduating with a BFA from the University of the Arts, landing in the Top 20 on Season 11 of "So You Think You Can Dance," and performing a stint in Vegas with the daring Cirque du Soleil. Glover, who won a Princess Grace Award this year, continues to distinguish himself at BalletX, a small company of stars.

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In a brightly lit studio high above the busy Manhattan streets, Roman Mejia rehearses George Balanchine's Allegro Brillante. Though just 20, the New York City Ballet corps dancer exudes an easy confidence. Practicing a tricky sequence of triple pirouettes into double tours his breathing becomes labored, but his focus doesn't waver. He works until he finds the music's inherent rhythm, timing his turns evenly and finally landing them with a satisfied smile.

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A Letter from the Editor in Chief

Hi Everyone,

These are challenging times. The social distancing measures brought about by COVID-19 has likely meant that your regular ballet training has been interrupted, while your performances, competitions—even auditions—have been cancelled. You may be feeling anxious about what the future holds, not only for you but for the dance industry. And that's perfectly understandable.

As you adjust to taking virtual ballet class from your living rooms, we here at Pointe are adjusting to working remotely from our living rooms. We've had to get a little creative, especially as we put our Summer Issue together, but like you we're taking full advantage of modern technology. Sure, it's a little inconvenient sometimes, but we're finding our groove.

And we know that you will, too. We've been utterly inspired by how the dance community has rallied together, from ballet stars giving online classes to companies streaming their performances to the flood of artist resources popping up. We've loved watching you dance from your kitchens. And we want to help keep this spirit alive. That's why Pointe and all of our Dance Media sister publications are working nonstop to produce and cross-post stories to help you navigate this crisis. We're all in this together.

We also want to hear from you! Send us a message on social media, or email me directly at Tell us how you're doing, send us your ideas and show us your dance moves. Let the collective love we share for our beloved art form spark the light at the end of the tunnel—we will come out the other side soon enough.

Best wishes,


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