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Gianna Forte reveals her scars. Stark Photo Productions, Courtesy The Washington Ballet.

Before I was born, my parents found out that I had a condition called an omphalocele. All of my organs were outside my stomach. I was rushed into surgery as soon as I was born, and they put a little patch in, pushed in my organs and sewed me up. When I was 1 1/2, I had another surgery to remove the patch. Ever since, I've just had a scar on my stomach—I didn't have a belly button, but I had no problems other than malrotation, which means all of my organs were going the opposite way.

I was raised in Connecticut, and stayed there until I graduated high school. It was the year Julie Kent and Xiomara Reyes were taking over The Washington Ballet company and school, and I sent my video and got accepted into their professional training program.

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Katherine Barkman with Rolando Sarabia in the Black Swan pas de deux at The Washington Ballet. Photo by Mena Brunette of XMB Photography, Courtesy The Washington Ballet

Katherine Barkman's career reads like a storybook: At 18, she left Pennsylvania and moved to the Philippines to become a principal at Ballet Manila. She danced Juliet, Giselle, Odette/Odile and Kitri, but three years in, it was time for new challenges. Late last year, Barkman joined The Washington Ballet, bringing her scintillating, pure Vaganova technique and her warm stage persona to U.S. audiences.

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National Ballet of Canada's Guillaume Côté, Xiao Nan Yu and artists of the ballet in Apollo. Cylla von Tiedemann, Courtesy NBoC.

Wonder what's going on in ballet this week? We've rounded up some highlights!

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Just for fun
Yes, the "workshop" ballet was just as life-changing as I'd been told it would be.

I have a confession. Until today, I had never seen the seminal classic Center Stage.

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Photographed by Jayme Thornton for Pointe.

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."

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Clifton Brown. Photo by Andrew Eccles, Courtesy Alvin Ailey American Dance Theater.

On March 14, The Washington Ballet will present a triptych of new works by Marcelo Gomes, Gemma Bond and Clifton Brown. "What I found really interesting with these three is that they're all still performers," says TWB artistic director Julie Kent. "They serve both as muse and as creator."

Though Gomes and Bond share the same American Ballet Theatre genesis as Kent, Brown is best known for his many years with Alvin Ailey American Dance Theater and choreographers Lar Lubovitch and Jessica Lang. Kent and Brown met many years ago while working on a duet by Lang. "I knew that he was interested in choreography," says Kent. "And one of my responsibilities as director is to develop young talent."


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Misty Copeland as Juliet with American Ballet Theatre. Photo by Gene Schiavone, Courtesy ABT.

Valentine's Day makes February the perfect month for ballet companies to perform Romeo and Juliet, Shakespeare's famous tale of star-crossed lovers. A few companies presented their versions earlier this month and many are on their way in the next few weeks. We rounded up eight companies including New York City Ballet, American Ballet Theatre, The Washington Ballet, Les Ballet des Monte Carlo, Orlando Ballet, Colorado Ballet, Carolina Ballet and Ballet BC to find out how they're using this classic ballet to celebrate the holiday of love.

New York City Ballet

A 12-performance run of Peter Martins' Romeo + Juliet comes in the middle of New York City Ballet's winter season, spanning from February 13-23 at the Koch Theater in New York City. This year's production marks the debuts of corps dancers Harrison Coll and Peter Walker as Romeo, and former Pointe cover star Indiana Woodward will be making her debut as Juliet. Below, hear Tiler Peck, who will dance Juliet alongside Zachary Catazarro, point out the tricky technical moments in this role and explain what makes it so special to her.

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Photo by Theo Kossenas, Courtesy The Washington Ballet

You made a deal with your mom to take ballet classes in exchange for a ride to tryouts for the football team. How did that work?
I thought that I would take ballet for a couple months, become a master and then leave that alone and concentrate on football. Ballet had other ideas, which perplexed me, and ultimately, I think, made me fall in love with it.

How is The Washington Ballet evolving under Julie Kent's leadership?
It's still early, but I think that the company is growing stronger classically. And we have Julie, Victor Barbee, Xiomara Reyes and Rinat Imaev—a great team of people who are giving their input and expertise, which is quite helpful.

Mack in 'Swan Lake.' Photo by Theo Kossenas

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Photo by Jayme Thornton for Dance Magazine

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.

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Photo by Chava Lansky, Courtesy of the American Ballet Theatre Archive at the Library of Congress.

Who says dancers don't eat?

In 1979, the corps of American Ballet Theatre went on strike in a fight to increase their wages (starting corps members made a measly $235 a week). "We're underpaid and overworked" said soloist Rebecca Wright in a People magazine article from the time. Though the nearly two-month long labor dispute ultimately gave dancers a 40 percent wage increase and better benefits, the months without work left dancers tightening their belts even further to make ends meet. Their solution? A benefit performance and auction organized by Gelsey Kirkland starring Natalia Makarova and former NYCB dancer Edward Villella, stars who spoke out on behalf of the corps. The benefit brought in $10,000. One of the items auctioned off was Ballet Theatre Belly-Busters, a cookbook compiled by the dancers of their favorite recipes, complete with a hand-drawn cover.

We got our hands on one of these original copies, and were surprised to see what an eclectic mix of delicacies the book contained, from hometown favorites to ballet-themed baked goods.

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Media4artists, Theo Kossenas, courtesy of The Washington Ballet.
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Ashley Tuttle at her ABT Audition

In the midst of American Ballet Theatre's annual eight-week long season at the Metropolitan Opera House, so much focus is on the company's rising stars. But it's always fun to look back at some of our ABT favorites from years past.

We love this full-length film of the third movement of Clark Tippet's 1987 Bruch Violin Concerto starring Ashley Tuttle and Ethan Stiefel. In case that's not enough, Julie Kent, Robert Hill, Paloma Herrera, Keith Roberts, Yan Chen and Angel Corella join the leads on stage in a flurry of jewel-colored tutus.

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