We've been dying to hear more about "On Pointe," a docuseries following students at the School of American Ballet, since we first got wind of the project this spring. Now—finally!—we know where this can't-miss show is going to live: It was just announced that Disney+, the new streaming service set to launch November 12, has ordered the series.
Do you have a "Strictly Ballet"–sized hole in your heart? Good news: There's an upcoming docuseries, "On Pointe," that just might fill it.
The School of American Ballet is teaming up with Imagine Documentaries and DCTV for the project. Though it's not yet clear where "On Pointe" will air, we do know that it'll follow talented SAB students preparing for professional ballet careers—much as Teen Vogue's popular "Strictly Ballet" web series did back in the day. But "On Pointe" marks the first time documentary filmmakers have been allowed access to the school, and it sounds like it'll paint an even more complete picture of the dancers' lives inside and outside the studio.
Former School of American Ballet student Alexandra Waterbury, 19, is suing New York City Ballet and her ex-boyfriend, former principal dancer Chase Finlay.
Finlay resigned suddenly last week, and principals Amar Ramasar and Zachary Catazaro were put on unpaid leave for the remainder of 2018 because of "inappropriate communications" of a "personal nature."
The dance community mourns another loss this week, as we learned former New York City Ballet principal Peter Frame passed away on August 30. Frame, who was 61, trained at the School of American Ballet and was a member of NYCB (his twin brother Paul danced with the company as well) from 1976 to 1990, earning the rank of principal in 1988.
Frame joined SAB faculty in 1993, where he is credited with developing a body strengthening program for the dancers as well as creating a weight training class for men. Additionally, Frame taught at Ballet Academy East, where in a 2017 blog post on their site, he shared one of his fondest memories—dancing in George Balanchine's Episodes, where he was cast in the solo originated by Paul Taylor, who also passed away earlier this week. "Omitted since Taylor performed it, I would reintroduce the solo to the stage," Frame said in the post. "This was one of the most exciting moments in my career." Frame performed the solo from 1986 to 1989, becoming the only person after Taylor himself to dance it until he restaged the piece for Miami City Ballet in 2017.
Described as a "kind and generous spirit" by NYCB principal Megan Fairchild in an Instagram tribute, Frame is being remembered on social media by members of NYCB and beyond. We're sharing some of these touching tributes below; feel free to add your own in the comments.
"Who here is terrified of choreographing?"
It was a question posed by Pacific Northwest Ballet School teacher Eva Stone five weeks ago, sitting on the floor among her class of female summer intensive students. "Almost all of them raised their hand, but I said, 'Don't worry, I got you,'" says Stone. "'I'm going to give you tools and skills and you're going to build on them.' It's amazing how their perspective changed in five weeks."
Stone's choreography class, introduced into the summer program last year, served as a pilot for a new initiative at PNB School beginning this September. New Voices: Choreography and Process for Young Women in Dance is a year-round class dedicated to educating and encouraging 14 to 16-year-old female students in the art of dancemaking. Made possible through funding from the Virginia B. Toulmin Foundation, the 38-week course was created to help address the lack of women choreographers working in major classical ballet companies.
PNB School is one of several academies offering choreographic opportunities to its students. Houston Ballet Academy and the Chautauqua Institution, for example, hold workshops during their summer intensives, while Central Pennsylvania Youth Ballet and Ballet Academy East recently joined forces to create a choreographic exchange program. And School of American Ballet offers numerous choreographic projects for its dancers, including one for women. What makes PNB's initiative unique is its year-long scope and structured focus on composition.
Wonder what's going on in ballet this week? We've pulled together some highlights.
American Ballet Theatre's eight-week summer season at the Metropolitan Opera House, will wrap up this Saturday. From July 2-7, the company will perform Alexei Ratmansky's Whipped Cream. This candy-coated surrealist ballet features wacky, intricate sets and costumes from Mark Ryden and tells the story of a boy in a Viennese pastry shop who overindulges and falls into a state of wild intoxication that takes him on a journey reminiscent of Act II of The Nutcracker. For a behind-the-scenes look, check out these backstage photos from the 2017 premiere. During the run, Arron Scott will make his debut as The Boy, and Gabe Stone Shayer will make his New York debut in the same role. Thomas Forster and Calvin Royal III will perform as Prince Coffee for the first time in New York.
This is Pointe's June/July 2018 Cover Story. You can subscribe to the magazine here, or click here to purchase this issue.
"I'm very cautious by nature," Rachel Hutsell says over herbal tea at Lincoln Center between rehearsals. You wouldn't think so from the way she moves onstage or in the studio. In fact, one of the most noticeable characteristics of Hutsell's dancing is boldness, a result of the intelligence and intention with which she executes each step. (What she calls caution is closer to what most people see as preparedness.) She doesn't approximate—she moves simply and fully, with total confidence. That quality hasn't gone unnoticed.
New York City Ballet's Miriam Miller prefers a pared-down look when she's not onstage or on the runway. The corps member and DNA Management model has established her own off-duty uniform, often made up of various items from her travels. "When we're on tour, I'll get something at a consignment shop just to have a little memory of being in a new city," Miller says, adding that she buys most of her clothes from consignment and thrift stores. Though she doesn't stick to any particular brands, Miller does have a few favorite styles, like her high-waisted bell-bottoms. "I like the way the relaxed flare looks," she explains, "plus, they're more comfortable than skinny jeans after a show. And color-wise, I like neutrals with an accessory pop of light pink or purple or blue."
There haven't been many dancers at New York City Ballet over the past nearly fifty years who haven't been directly influenced by Suki Schorer. This summer, June 15-17, ballet teachers will have a chance to learn how to effectively teach Balanchine technique from the former New York City Ballet principal and longtime School of American Ballet master teacher. The workshop, titled Step by Step with Suki Schorer, will be held at the Eglevsky Ballet studios in Long Island, NY.
The New York Times reports that a two-month long investigation into sexual harassment and physical abuse allegations against Peter Martins, New York City Ballet's former ballet master in chief, has found that the accusations could not be corroborated. In December, an anonymous letter sent to NYCB and its affiliated School of American Ballet accused Martins of sexual harassment, although the claims were non-specific. Afterwards, several former dancers and one current company member came forward to the press accusing him of physical assault and verbal abuse. Martins, who directed the company for 35 years and has denied the accusations, retired on New Year's Day after taking a leave of absence. An interim team led by ballet master Jonathan Stafford has been overseeing the company in the meantime.
New York City Ballet principal Tiler Peck and Emmy-winning actress Elisabeth Moss (of Mad Men and Handmaid's Tale fame) may seem like unlikely friends, until you dig a little deeper into their backgrounds. Both attended Westside School of Ballet in Santa Monica and spent summers at the School of American Ballet in their youths. Moss and Peck's career paths diverged when the former fell in love with acting and Peck went on to study at SAB full time, eventually becoming the star we know today. Now, the pairs' artistic pursuits are uniting in an exciting new project.
According to Deadline.com, Moss will produce a documentary featuring Peck and her work curating BalletNOW, last summer's star-studded, critically acclaimed program at Los Angeles's Dorothy Chandler Pavilion. Peck was the first woman to lead BalletNOW's programming, and she brought together dancers from companies including The Royal Ballet, Miami City Ballet, American Ballet Theatre and the Paris Opéra Ballet, putting them on stage with tappers, clowns and break dancers (sometimes simultaneously).
This Thursday marks New York City Ballet's annual Fall Gala. Spearheaded by actress and NYCB board member Sarah Jessica Parker, this glamorous event unites the worlds of ballet and fashion by partnering choreographers with top designers to collaborate on new works. This year, alongside premieres by NYCB company members/choreographers Lauren Lovette, Justin Peck and Troy Schumacher, 18-year old School of American Ballet alumna Gianna Reisen will present her first work for the stage at Lincoln Center's David H. Koch Theater.
NYCB Ballet Master in Chief Peter Martins noticed Reisen's work at SAB's Student Choreography Workshop and invited her to create a piece for The New York Choreographic Institute in 2016 before offering her the Fall Gala commission. This opportunity came as part of a whirlwind year for Reisen; after finishing her studies at SAB she was offered an apprenticeship at Dresden Semperoper Ballett late last spring. Reisen spent only three weeks getting settled in Germany before returning to NYC in late August to start rehearsals for the gala.
We caught up with Reisen to hear what it's been like to work alongside such high-caliber artists and to get the inside scoop on her premiere.
