Well folks, the headline says it all. Patricia Delgado, long-time principal at Miami City Ballet, will be leaving the company at the end of the season. According to a press release, she's planning to pursue other artistic goals, yet to be defined. A Miami Herald story reports that Delgado will join her boyfriend, New York City Ballet soloist and resident choreographer Justin Peck, in New York.

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When we first reported on Miami City Ballet's redesign of George Balanchine's A Midsummer Night's Dream, we were, to be totally honest, mostly interested in seeing the costume for the character Bottom. Why? In the MCB production, which places Oberon and Titania's kingdom underwater, Bottom is a manatee rather than a donkey. We needed to see that.

Now, for the big reveal. And he's every bit as silly and adorable as you might imagine.

(Simone Messmer and Didier Bramaz, photo by Gene Schiavone)

In addition to Bottom, the redesigned costumes—which were created by Miami Beach–born artist Michele Oka Doner—all featured underwater elements. Titania's tutu is adorned with what appears to be feathery seaweed, while Hippolyta is crowned with gold coral.

Enjoy!

 

(Simone Messmer and Reyneris Reyes, photo by Gene Schiavone)

 

(Jordan-Elizabeth Long, photo by Gene Schiavone)

For more news on all things ballet, don’t miss a single issue.

In his new film Why We Dance, director Ezra Hurwitz helps us understand what it looks and feels like for members of Miami City Ballet as they prepare for a performance. The film's detailed shots of hands and feet, and its intimate behind-the-scenes footage, feels like an invisibility cloak that allows you to slip backstage. The propulsive score gives a sense of energy and excitement that builds throughout the day and culminates as the curtain rises, revealing the dancers onstage in Justin Peck's Heatscape and George Balanchine's Bourrée Fantasque.

Created for the company's 30th anniversary season, Why We Dance also includes voiceovers of company members as they reflect on their art. As one dancer says, "We care so much about what we do here and being the best that we can be—collectively and individually." If a ballet company could be summed up in a sentence, I think that's getting pretty darn close.

As with his previous films, Hurwitz draws from his experience as a former member of MCB and uses his dancer's sensibility to create something beautiful. We've loved all his films so far, and can't wait to see what's next!

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