Ballet Careers
Members of San Francisco Ballet in company class as part of World Ballet Day LIVE 2017. Photo by Erik Tomasson via San Francisco Ballet on Instagram.

Last Thursday was World Ballet Day LIVE, the official 22-hour live-stream relay showcasing companies across the globe. If you were busy (we know that you don't always have the luxury to spend an entire day watching ballet), don't fret. Many of the companies involved recorded their classes, rehearsals and interviews from the day of, and we rounded them up for you to watch at your leisure. Careful, though; there are more than twenty hours of footage included here... make sure you take a break to, you know, sleep.


First up is San Francisco Ballet with a full five hours, including rehearsal for Balanchine's timeless classic, Serenade.


The Royal Ballet's WBD stream is split into three parts. Here's the first chunk, featuring company rehearsals of a few Sir Kenneth MacMillan ballets as well as Christopher Wheeldon's Alice in Wonderland (a measly two hours and 45 minutes). You can find part 2 here and the full company class here. The video also features a quick aerial tour of London from the balcony of the Royal Opera House.

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Fairchild and Sterling Hilton in "Duo Concertant." Photo by Paul Kolnik, Courtesy NYCB.

New York City Ballet announced today that principal dancer Robert Fairchild will give his final performances with the company this October. Since his 2015 leave of absence to make his Broadway debut as Jerry Mulligan in Christopher Wheeldon's An American in Paris, Fairchild's presence on the Koch Theater stage has been rare. A true song-and-dance man, as a child he dreamt of following in the footsteps (or tap shoes) of Gene Kelly. Fairchild leaves the world of ballet to take on the surplus of opportunities in musical theater that have recently come his way.


Fairchild in "Apollo." Photo by Paul Kolnik, Courtesy NYCB.

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Just for fun
The multitalented Merritt Moore (photo by James Glader, courtesy Moore)

For the past decade, Merritt Moore has been living a double life as both a professional ballerina and a quantum physicist. While dancing with Zurich Ballet and Boston Ballet, she received her undergrad degree from Harvard in physics, and she's currently pursuing a PhD in quantum physics at Oxford while performing with English National Ballet and London Contemporary Ballet.

Now, Moore is hoping to add another ball to her juggling act: becoming an astronaut. She's one of 12 contestants competing on the BBC reality show " Astronauts: Do You Have What It Takes?" For six weeks, Moore and her competitors face a series of demanding physical and psychological challenges to see if they're astronaut material. (Show mentor Chris Hadfield, former Commander of the International Space Station, will recommend the winner to space agencies recruiting for astronauts.) Even in a cast of extremely accomplished people—the contestants include a military pilot, a surgeon, and a dentist who has summited Mount EverestMoore's unusual combination of skills stands out.

We leveled with the renaissance woman about how she's managed to pursue all her different passions.

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Ballet Stars
Photo by Andrej Uspenski, Courtesy ROH.

Wearing leggings and a puffy vest as she works in one of The Royal Ballet's light-filled studios, Charlotte Edmonds could pass for a corps de ballet member. Instead, she is choreographing on them, creating dynamic, ballet-based contemporary dance in her role as the company's first-ever Young Choreographer.

"At the Opera House you have dancers who have 20 years more experience," she says. "I bow to their experience, but I also try to hold the room. It is sometimes quite nerve-racking! But it is always exciting."

Edmonds' uncanny instincts for choreography and leadership were already apparent at age 11, when she was a first-year student in the Royal Ballet School's Lower School—and a finalist in its competition for the Ninette de Valois Junior Choreographic Award. She got her first professional commission at age 16, and was barely 19 when Royal Ballet director Kevin O'Hare named her the inaugural recipient of the company's Young Choreographer Programme. The paid position provides her with studio space, access
to dancers and the mentorship of renowned choreographer Wayne McGregor.


Photo by Alice Pennefeather, Courtesy ROH

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My name is Amanda Schull. I am a fifth-year corps member with the San Francisco Ballet. During my time with the company I have been lucky enough to travel on tour to several different countries. This past September, SFB stopped in Athens, Greece, before heading to the Sadler’s Wells Theatre in London, England.

This tour was one of the most intense I had experienced with the company. By the time we got to London we had already been on tour for 10 days, and the schedule planned was daunting. We opened three different programs in three days, a total of 11 ballets. I knew our seven shows would be memorable so I documented the experience in a diary. 

Wednesday, September 15
The company arrived in London today. Arriving and checking in is always hectic on tour. We got to our hotel tonight at about 11:30 pm and all 51 of us scrambled to get our luggage from beneath the bus and then made a mad dash to the hotel lobby for our room keys. Adding the element of hunger to the mix, we were a lobby full of cranky dancers. 

Room service was closed, so we wandered the streets in search of sustenance. A group of us found a small Middle Eastern take-out place and wolfed down our falafels before going to bed, because tomorrow morning we start work. 

Saturday, September 18
We can’t get into the Sadler’s Wells Theatre until the day of the first show, so Saturday and Sunday we rehearse in the Royal Opera House. This morning, The Royal Ballet took class in the studio next to us. Their class started after ours, but once we realized they were next door, a bunch of us crammed in front of the viewing window and ogled their class. Sylvie Guillem stood in the corner. I think she is the only female dancer I know that men marvel at just as open-mouthed as women do. It’s crazy to see our principals so starstruck over another dancer. I wonder if any of The Royal Ballet dancers feel that way about us. 

I think one of the most interesting parts of touring is using other companies’ workspaces. Getting to see other professional dancers in class and rehearsal is both educational and relieving. No one looks perfect in class (except maybe Sylvie), and knowing that this is true for other professionals puts many minds at ease. 

Today and tomorrow are long workdays. Because our rep is so ambitious for this tour, SFB flew in our company chiropractor. We also have our physical therapist and massage therapist with us, so what little downtime we have is often spent on body management. I know it sounds like we’re spoiled, but the physical demands are great and it’s hard to take care of injuries while on tour. We don’t have the regular comforts of home, and we spend a lot of time lugging our bags everywhere, so we’re all thankful for the extra therapy.

Monday, September 20
Program 1: Square Dance, Continuum and Le Carnaval des Animaux

Tonight was opening night at Sadler’s Wells. We had class at 11:15, then dress rehearsal from 1:30 to 4:30. I was in Square Dance. After the dress, we got our notes onstage. The artistic staff seemed a little anxious. Opening night in a city as culturally aware as London means we need to be at our best. 

Then Helgi [Tomasson, SFB artistic director] gave us an inspirational “just go out there and dance!” talk. It’s relieving to hear that he is aware of our stress level. By the time you get to opening night, if you don’t already have the technique, it isn’t going to happen in the next couple of hours. 

Dress finished at 4:30 and there was just enough time to grab a snack, collect our thoughts and do it all over again for the 7:30 curtain.

Backstage, our crew sets up small tables with everything we could possibly need for the performance, including emergency sewing items (needles and thread of all colors), safety pins, Band-Aids, Neosporin, Advil, colored markers for costume camouflage, tissues, hairpins, hairspray, toe tape and a box of rosin.

Before each show, the girls usually congregate around the rosin box and discuss the upcoming ballet while we put on our shoes. Tonight we discussed our collective nervousness. Balanchine’s Square Dance is one of the most demanding ballets—both physically and technically—any of us has ever performed. The guys seemed calmer. I don’t know if they really were or if they just wanted to appear macho. 

Throughout the ballet, my partner, Garrett Anderson, talked to me onstage. He knows I like the verbal encouragement. It seems silly, but it really helps to have someone cheering you on when you feel you are reaching your physical limit. 

Whenever possible, I try to connect with the other dancers onstage. We are each other’s support system, especially when we are away from home. Tonight when I looked at my fellow dancers, I was humbled. Everyone looked great, especially Tina LeBlanc; she danced like she had lightning bolts shooting through her feet. 

We hit our final pose and the audience roared on the blackout. Square Dance is so technical that it sometimes doesn’t come across to an audience unless they understand ballet. This audience did. Whenever I question why I do what I do, I am reminded when I bow. Perhaps it is the validation or the confirmation that all we put ourselves through is appreciated. Today we put ourselves through a lot.

Back in the dressing room, the corps girls spent at least 15 minutes dissecting the ballet from top to bottom. We broke down each little section and imitated ourselves doing every step, each one of us exaggerating our flaws more than the last. After exerting so much energy I think we all needed a little comic relief. 

After the performance, one of our principals and resident choreographer, Yuri Possokhov, asked me if Square Dance was “hard.” What? Hard? That doesn’t even encompass it. He said we all looked so calm and controlled. That is a huge compliment, considering we all felt as though we were going to die of exhaustion. 
There was a reception in the theater lobby after the performance. Everyone there was very complimentary about the show, but the party didn’t last very long. We have to do it all again tomorrow. 

Tuesday, September 21
Program 2: Ballo Della Regina, Concerto Grosso, Study in Motion and The Four Temperaments

Like yesterday, class was followed by dress rehearsal onstage. I misjudged the amount of time I had to get ready for Balanchine’s Ballo Della Regina and ended up doing rehearsal pretty cold—not good for a jumping variation.

Because of that, I was disappointed with how my rehearsal went. After Ballo, a couple of the corps girls who had been watching from out front complimented me. It’s funny how much a peer’s praise can lift your spirits when you need it. 

I returned the favor by watching The Four Temperaments (also choreographed by Balanchine) from the house. When I went onstage afterward, everyone was hungry for corrections and advice, especially the girls. Sometimes on tour, the little things get overlooked because of time constraints, and we often rely on each other for feedback.

Wednesday, September 22
Program 3; Allegro Brillante, Paquita Pas de Trois, 7 for Eight, and Rush 

I feel like I’m living in the movie Groundhog Day. Again we had class, dress rehearsal and then the performance. I danced in Christopher Wheeldon’s Rush . During class, Tina LeBlanc slipped and twisted her ankle. She dances so much on this tour, she is the last person we need going down. She performed through the pain, but after the show she was pretty uncomfortable. 

Tomorrow we repeat Program 1 again. No more dress rehearsals!

Saturday, September 25
We’re done! The final stretch was pretty rough, but surprisingly, for a tour this intense, there were very few incidents. 

Tina ended up having to take off a show because of her ankle, so Vanessa Zahorian stepped in for her in Square Dance. She and her partner, Guennadi Nedviguine, hadn’t even touched each other since last season, six months ago. She had one rehearsal the day of her performance, but she remembered all of the choreography and nailed the show.

I think everyone is ready to go home. Before the performance tonight I saw three of the moms in the company, Katita Waldo, Kristin Long and Tina LeBlanc, do a huddle and cheer, “We’re almost there! Tomorrow we get to see our babies!”

It made me realize how much these women sacrifice for their work.

After we finished, Helgi bowed onstage with us. When the curtain came down, he gave us a little “congratulations” speech.  He was really pleased with our tour, which of course made all of us happy.
After the show a group of us went out for a “tour-well-done” dinner and toasted ourselves—how egotistical—but we deserved it. It was finally time for vacation!


Amanda Schull is a member of the San Francisco Ballet corps de ballet.

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