From marriage to career transitions to injuries, our 2018 cover stars have had a busy year.
Find out what they've been up to since they graced the cover of Pointe and what they're aiming for in 2019.
American Ballet Theatre's Betsy McBride
Photo by Jayme Thornton for Pointe
New Year's Resolutions: School and Self-Care
My New Year's resolutions are to complete my Associate of Science degree, sleep more, and slow down from time to time to appreciate the little things in life.
Life Updates: Star Studded Performances
Since appearing on Pointe's cover, I performed in the New York Ballet Stars Gala in Cape Town, South Africa in honor of Mignon Furman. I also performed in a very exciting Balanchine Tribute Festival at City Center with American Ballet Theatre alongside Joffrey Ballet, The Mariinsky Ballet, Miami City Ballet, New York City Ballet, Paris Opera Ballet, The Royal Ballet and San Francisco Ballet.
McBride also recently got engaged to longtime boyfriend and former ABT dancer Simon Wexler.
You can read our February/March 2018 cover story on Betsy McBride here.
Boston Ballet in Jorma Elo's "Bach Cello Suites" for BB@home. Photo by Sabi Varga, courtesy of Boston Ballet.
This year, Boston Ballet's annual choreographic workshop is all about empowering women. Taking place in Boston Ballet's black box theater November 1-2, BB@home: ChoreograpHER will feature six works by women of various ranks in the company.
"Given the reality that the majority of produced choreographers have been male, I am excited this BB@home program encourages our talented female dancers who have an interest in choreography by giving them a platform to gain experience as choreographers," said artistic director Mikko Nissinen in a statement.
Hannah Bettes. Photo by Jayme Thornton for Pointe.
This is Pointe's October/November 2018 Cover Story. You can subscribe to the magazine here, or click here to purchase this issue.
Hannah Bettes has had a very big year. The Boston Ballet second soloist was nominated for a Princess Grace Award, and she made her debut in three major classical roles—Sugar Plum Fairy in The Nutcracker, Effie in La Sylphide and Aurora in The Sleeping Beauty, her most challenging classical role to date. "You're carrying a full-length ballet, and you have to have the stamina and stay composed and in character, even if you're dying!" Bettes says.
When Bettes, 22, made her professional debut with Boston Ballet four years ago, she was already a highly recognized teen in the competition world, bringing with her a raft of prizes. But she also brought stylistic versatility and a palpable hunger to learn. While she possesses the quintessentially elegant classical line—high extensions, dazzling turns and slender feet that curve into perfect crescent moons—Bettes can easily skew off-center to sidle into the slinky undulations or sharp slices of Boston Ballet's contemporary repertoire.
The wide-ranging rep is one of the aspects of the company she likes best. "Having to keep switching your approach keeps things interesting. Technically, I've been able to progress faster."
Boston Ballet's Hannah Bettes. Photo by Ernesto Galan, Courtesy Boston Ballet.
At age 15, competition veteran Hannah Bettes traveled to the Prix de Lausanne, her sights set on getting into The Royal Ballet School. The teen left the competition with a scholarship—and the Audience Choice Award, to boot. That same year, Bettes won the gold medal in the senior division at Youth America Grand Prix and the bronze at The Beijing International Dance Invitational, adding to her already impressive resumé of YAGP and World Ballet Competition accolades. Yet by the time she signed a contract with Boston Ballet in 2014, the glamour of the competition stage seemed a distant memory. “Joining a corps de ballet was a huge change," says Bettes. “I'd be lying if I said it was easy."
While most young professionals expect to pay their dues in the corps, the contrast can seem especially stark for dancers emerging from the competition circuit. Beyond adjusting to fewer solo opportunities, they no longer have the personalized attention of a private coach. Furthermore, many start company life with a preexisting fan base, whose high expectations may increase pressure to progress quickly through the ranks. As the accolades and YouTube fame begin to fade away, competition dancers who approach company life with a fresh perspective will ultimately make the most successful transition.