#TBT: Sylvie Guillem Double Header

Sylvie Guillem in Mats Ek's Bye. Photo by Bill Cooper, Courtesy New York City Center.

Sylvie Guillem once said, “I have a lucky physique." Lucky is an understatement; my adjective of choice would be “perfect." As the Paris Opéra Ballet's youngest ever étoile, Guillem effaced previous technical standards with one whack of her leg in William Forsythe's In the middle, somewhat elevated, which he choreographed for her and fellow POB étoile Laurent Hilaire in 1987. Nearly three decades later, we could call the work a classic, but my awe renews with each viewing. There's plenty of stunning film footage of the two in the piece, but I like this clip for its close-ups. From a distance, the ease with which Guillem raises her legs to her ears almost seems like apathy. But here, as the camera zooms in on her kohl-rimmed eyes and silky smirks, we can see her intensity burning through. Guillem's precision is both steely and lyrical, her connection with Hilaire both cool and sensual—her command in the role still unparalleled.


Guillem may have revolutionized contemporary ballet, but she's equally eminent in classical works. From 1988 to 2007, she was a principal guest artist at The Royal Ballet, which allowed her to delve into narrative roles—Manon, Cinderella, Juliet, Giselle, to name a few—while also touring the world as a freelance artist. This 1996 clip of Grand Pas Classique shows her stunning technique (those balances!)—not to mention her characteristic sauciness and chic. Who else can get away with a bob haircut and a tutu?

Guillem retired from the stage in 2015 after a final nine-month world tour including works by Akram Khan, Forsythe and Mats Ek. She may have bowed out of the spotlight, but not out of our hearts. Happy #Throwback Thursday!

Ballet Careers
Gray Davis with wife, ABT soloist Cassandra Trenary, after his graduation from the South Carolina Criminal Justice Academy. Courtesy Trenary.

When Gray Davis retired from American Ballet Theatre in July of 2018, he moved home to South Carolina, unsure of what would come next. Last month, just over a year later, Davis graduated from the South Carolina Criminal Justice Academy. Today, he's working as a deputy for the Abbeville County Sheriff's Office.

Though Davis danced in ABT's corps for 11 years and is married to soloist Cassandra Trenary, to many he's best known for saving the life of a man who was pushed onto the subway tracks in New York City in 2017. The heroic effort earned him the New York State Liberty Medal, the highest civilian honor bestowed by a member of the New York State Senate. We caught up with Davis to hear about how the split second decision he made in the subway affected the course of his life, what it's been like starting a second career and what he sees as the similarities between ballet and law enforcement.

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Sponsored by BLOCH
Courtesy BLOCH

Today's ballet dancer needs a lot from a pointe shoe. "What I did 20 years ago is not what these dancers are doing now," says New York City Ballet shoe manager Linnette Roe. "They are expected to go harder, longer days. They are expected to go from sneakers, to pointe shoes, to character shoes, to barefoot and back to pointe shoes all in a day."

The team at BLOCH developed their line of Stretch Pointe shoes to address dancer's most common complaints about the fit and performance of their pointe shoes. "It's a scientific take on the pointe shoe," says Roe. Dancers are taking notice and Stretch Pointe shoes are now worn by stars like American Ballet Theatre principal Isabella Boylston, who stars in BLOCH's latest campaign for the shoes.

We dug into the details of Stretch Pointe's most game-changing features:

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Ballet Stars
Megan Amanda Ehrlich, Courtesy LEAP Program

Claire Sheridan wanted to change the status quo. Leading up to the 1990s, she recalls, "there was a 'shut up and dance' mind-set," and as the founder of the dance program at St. Mary's College of California and a longtime teacher in professional companies, she had seen too many dancers retire with no plan for a successful career transition. "At that time, if you thought about education and the future," she says, "you were not a committed dancer. I wanted to fight that."

With the support of St. Mary's, Sheridan developed the Liberal Education for Arts Professionals program, or LEAP, an innovative liberal-arts bachelor's degree program designed especially for professional dancers. She first presented her idea to executives at San Francisco Ballet. "Kudos to that company, because they said, 'This is great,'" she says. "Eleven of the first 18 dancers who started in August 1999 were from SFB."

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Ballet Training
Getty Images

I'm a college freshman, and my dance program isn't challenging enough. We only have ballet three times a week and a few hours of modern, and my classmates aren't as dedicated as I am. There's a small dance company nearby, where I was hoping to take extra classes, but I don't have a car. I want to transfer, but I feel like I won't be in good enough shape for auditions. —Tara

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