With the surplus of ballet festivals happening around the world these past few months, it's obvious that there's really no such thing as summer break for the pros. But between the red-eye flights and onstage performances, our favorite stars still found time to soak up the sun and enjoy some seriously stunning views (even if they were from rehearsal). From Verona, Italy to Vail, Colorado, click through to see the highlights from the 2018 summer tours.
All week, Houston Ballet soloist Harper Watters has been giving us the inside scoop on the company's tour to Jacob's Pillow Dance Festival. In this last installment, we'll see how the dancers prep for opening night (hint: it involves a good nap and plenty of coffee). Plus, we'll catch glimpses of the show.
Houston Ballet has been taking Jacob's Pillow Dance Festival by storm this week, and soloist Harper Watters has been filling us in on how it's going. In yesterday's vlog he took us around the historic festival's scenic grounds and barn-like theater. Today, he and principal dancer Chun Wai Chan give us the inside scoop on HB's dress rehearsal (and take us into the wings to watch some beautiful dancing). Stay tuned for more from Watters later this week!
Houston Ballet is at Jacob's Pillow Dance Festival this week—and company soloist Harper Watters is taking us behind the scenes as the company settles in at this historic landmark. Catch HB in action on their first day of class and rehearsal, and stay tuned for more vlogs from Watters throughout the week!
When Jennifer Kronenberg launched Dimensions Dance Theatre of Miami with husband Carlos Guerra less than two years ago, she never dreamed their fledgling troupe would be performing in two of the country's most famous dance venues so soon.
"It's surreal," said the former Miami City Ballet principal ballerina, as Dimensions prepared to open the Joyce Theater's Ballet Festival June 26 and 27, going on to the Jacob's Pillow's Inside/Out series on June 29. "We're still very new. Some companies have been around forever and never get invited to places like the Joyce and Jacob's Pillow."
Adds Guerra, "We never thought we would reach this level in such a short time. It's been an amazing journey."
They owe their early arrival to two of the qualities that have already made the 16-member ensemble a successful and beloved presence in Miami: strong community connections, and a repertory and roster that reflect this predominantly Latino city.
For former American Ballet Theatre star Julie Kent, this has not only been her first year at The Washington Ballet, but her first year as an artistic director. How has it been going? We caught up with her during the company's run at the Jacob's Pillow Dance Festival last week, its first visit since 1980. "It's a big change," says Kent. "There have been some exciting, wonderful aspects of that change—feeling embraced and excited—and the community is really eager to see what the next chapter for The Washington Ballet is."
"[It's also] my first year in a creative environment with a different group of people than American Ballet Theatre," she continues. This move away from ABT, where Kent was a dancer for 29 years, appears to have been a bigger transition for her than assuming the directorship. Kent, who had been adamant on her retirement from the company that she did not want to leave New York City, surprised all by moving her whole family to Washington, D.C., an area where she had grown up but had not lived in since the age of 16. Her husband, former ABT dancer and associate artistic director Victor Barbee has also joined TWB as associate artistic director, supporting his wife in this new endeavor.
Marcelo Gomes' clean technique, skilled partnering and magnetic stage presence make him one of the world's most versatile and in-demand male dancers of his generation. This year saw the principal dancer celebrate his 20th anniversary with American Ballet Theatre, a company he joined at just 17 years old. Coinciding with this milestone was the release of the feature length documentary Anatomy of a Male Ballet Dancer, created by the two-man team David Barba and James Pellerito—who actually approached Gomes via Facebook. The documentary, which was seven years in the making, has been making the film-festival circuit this year, most recently August 6 at the Jacob's Pillow Dance Festival.
The film combines intimate interviews with backstage and rehearsal footage and archival video. It focuses on Gomes' skill and prowess as a partner and includes interviews with some of the world's top ballerinas including Diana Vishneva, Polina Semionova and Misty Copeland.
Get Pointe in your inbox
Over the years, many companies have premiered works or made their U.S. debut at the Jacob's Pillow Dance Festival, and some of the world's most famous ballet dancers have performed there. This week I will give some more insights from the Pillow's extensive archives into the dancers that have graced this world famous festival's stage. Click on the links below to watch video footage of their performances.
Alonso and Bruhn performing "Giselle" in 1955. Photo Courtesy Dance Magazine Archives.
When artistic director Kevin Thomas and executive director Marcellus D. Harper founded Collage Dance Collective in 2006 in New York City, they sought to push the boundaries of classical ballet and foster and promote the talents of artists of color. In 2007, the company relocated to Memphis during a period of the city's "artistic renaissance" and as part of a mission to extend classical ballet training to a wider and more diverse audience.
That same year also marked the company's first performances at Jacob's Pillow Dance Festival. This week, Collage Dance Collective returns to the Pillow, performing at the festival's Inside/Out stage on Thursday, August 10. (Thomas will also teach an open ballet class; click here for more info.)
This year, the Jacob's Pillow Dance Festival in Becket, Massachusetts, is celebrating its 85th season. Over the years, some of the world's greatest dancers of the 20th and 21st century have performed here. But without the help of two of Britain's biggest ballet stars during World War II, the festival might not have survived at all.
Founded by modern dance pioneer Ted Shawn, the "Pillow," as it's come to be known, had been home to his company of Men Dancers since the early 1930s. By 1940, due in part to the outbreak of World War II, his company had disbanded, leaving Shawn deeply in debt and eager to realize his assets.
In 1941, British ballet stars Alicia Markova and Anton Dolin leased the property, with the help of benefactor Reginald Wright. There they established The International Dance Festival, a school and summer residency for Ballet Theatre (now American Ballet Theatre). Many of the participating dancers, including Markova, had just left the Ballet Russes de Monte Carlo for Ballet Theatre, and the residency was a way of keeping them together. The dancers were not paid, so many survived on $10 a week in unemployment benefits, contributing $1.00 a day towards food and lodging.
When Sacramento Ballet's board announced that it would not be renewing the contract of longtime co-directors Ron Cunningham and Carinne Binda after the 2017–18 season, the news upset many in both the Sacramento community and the dance world. The husband and wife duo, who have run the company for 30 years, told the Sacramento Bee that they were being let go unwillingly, while several company members publicly criticized the board's decision. In a move that would give them greater protection, the dancers voted to join the American Guild of Musical Artists in March.
Last week, Sacramento Ballet announced that choreographer Amy Seiwert, a former company member, will become the company's new artistic director in 2018. And it seems to be smart move. Seiwert, who directs the San Francisco–based contemporary ballet troupe Imagery, danced for eight seasons under Cunningham and Binda. "One of the reasons I decided to go for this was to honor the legacy of Ron and Carinne," Seiwert said in a recent phone interview. "They are in my artistic DNA. My choreography, when you look at my aesthetic choices, when you look at my approach to technique, that comes from them. It's a position I want, but not the situation I want it in, because there's a lot of heartbreak."