Christine Shevchenko and Devon Teuscher, photographed for Pointe by Jayme Thornton
This is Pointe's December/January 2018 Cover Story. You can subscribe to the magazinehere, or click here to purchase this issue.
Christine Shevchenko and Devon Teuscher have spent practically half their lives with each other. Both dancers joined American Ballet Theatre's Studio Company in 2006. The following year, they graduated into the main troupe as apprentices, again together. They've sat next to each other in every dressing room they've ever occupied, and shared hotel rooms on the road. And in September 2017, at the age of 28, they became the company's two youngest female principal dancers—on the same day. If they weren't such good friends, they would probably be sick of each other.
This is Pointe's August/September 2018 Cover Story. You can subscribe to the magazine here, or click here to purchase this issue.
On a slushy March morning in New York City, Tulsa Ballet's Jennifer Grace took warm-up class onstage at The Joyce Theater, gearing up for the company's second day on tour. Even in a relaxed atmosphere, Grace epitomizes her name. In adagio, her arms move as if through warmed honey, swaying richly though never late. As she piqués into an attitude pirouette, her leg soars high, scooping air like a wing.
Grace feels quite at home in roles like Cinderella's Fairy Godmother; Glinda, in Edwaard Liang's Dorothy and the Prince of Oz; and the Lilac Fairy, in The Sleeping Beauty. "I fairy-godmother a lot," she jokes. It's no wonder. Her stature (at 5' 5", she's one of the tallest women in the company) and singing movement quality cast a commanding aura. "Honestly, it's one of my favorite things," she says of dancing regal, feminine roles. "I get to move scenery around and make love stories come true."
Rachel Hutsell Photographed for Pointe by Jayme Thornton.
This is Pointe's June/July 2018 Cover Story. You can subscribe to the magazine here, or click here to purchase this issue.
"I'm very cautious by nature," Rachel Hutsell says over herbal tea at Lincoln Center between rehearsals. You wouldn't think so from the way she moves onstage or in the studio. In fact, one of the most noticeable characteristics of Hutsell's dancing is boldness, a result of the intelligence and intention with which she executes each step. (What she calls caution is closer to what most people see as preparedness.) She doesn't approximate—she moves simply and fully, with total confidence. That quality hasn't gone unnoticed.
This is Pointe's April/May 2018 Cover Story. You can subscribe to the magazine here, or click here to purchase this issue.
If you are a dance lover in South Korea, EunWon Lee is a household name. The delicate ballerina and former principal at the Korean National Ballet danced every major classical role to critical acclaim, including Odette/Odile, Giselle, Kitri, Nikiya and Gamzatti. Then, at the peak of her career, Lee left it all behind.
In 2016, she moved to Washington, DC, to join The Washington Ballet. The company of 26 is unranked, making Lee simply a dancer—not a soloist, not a principal and not a star, like she was back home.
"I try to challenge myself, and always I had the urge to widen my experience and continue to improve," she says one blustery winter day after company class, still glowing from the exertion of honing, stretching and strengthening. "When I had a chance to work with Julie Kent, I didn't hesitate."
Taylor Stanley photographed by Nathan Sayers for Pointe.
This is Pointe's August/September 2015 Cover Story. You can subscribe to the magazine here, or click here to purchase this issue.
Visit a New York City Ballet rehearsal on any given day and you may find an unlikely guest named Theo, a 3-year-old Shiba Inu with wolf-like eyes and a teddy bear coat who has become something of an NYCB mascot. He tends to sit patiently off to the side, lost in his own thoughts, while his owner, the captivating 24-year-old soloist Taylor Stanley, concentrates in the center of the studio, displaying his usual discipline and quiet focus.
“I bring him everywhere I go," says Stanley. And like his canine companion, Stanley is a popular presence. “He brings a ray of sunshine into our workspace," says fellow soloist Erica Pereira. “He's a very good person on the inside and people feed off of good energy." But that cool demeanor belies a high-voltage internal spark. “When he dances he eats up the stage," says principal Robert Fairchild. Indeed it's Stanley's unique ability to combine power and passion with ease and humility that has made him a magnetic presence onstage and one of the company's breakout talents.
Sharing a moment of camaraderie in Justin Peck's "Rodeo: Four Dance Episodes." Photo by Paul Kolnik, Courtesy NYCB.
Boylston, Seo and Lane in costume for ABT's new production of The Sleeping Beauty."Photo by Nathan Sayers for Pointe.
This is Pointe's June/July 2015 Cover Story. You can subscribe to the magazine here, or click here to purchase this issue.
Ascending the ranks to "ballerina" status at American Ballet Theatre comprises the stuff of dreams for many dancers. Since its inception in 2003, ABT's Jacqueline Kennedy Onassis School has been steadily molding students who graduate into the company. But within the last two decades, only several women have successfully journeyed from the ABT Studio Company to star. Three ballerinas emblematic of that distinction take a particular pride in being homegrown: Hee Seo, Isabella Boylston and soloist Sarah Lane.
Along the way, they have reaped sublime rewards, peppered with self-doubt, will power, patience, corps de ballet fatigue and a firm focus on their goals. While ABT regularly imports international guest stars for its spring Met season—a source of frustration for some dancers—Seo, Boylston and Lane have carved out a place for themselves in the company and in the hearts of their audience.
Alexei Ratmansky, ABT's artist in residence, has championed their talents; all three will dance Aurora in his acclaimed new production of The Sleeping Beauty in June. And with the retirement this season of three ballerinas crucial to ABT's identity—Julie Kent, Paloma Herrera and Xiomara Reyes—these younger dancers now take center stage, becoming role models for the next generation.