To The Manner Born

What do you enjoy most about your career as a ballet dancer?
Being able to transform myself into other characters and also doing pas de deux work.

What do you enjoy least?

To whom or what do you attribute your success?

I owe both Monica Mason and Jonathan Cope for coaching me.

What role that you haven’t danced would you most like to try?

Des Grieux in Manon.

What’s the most amazing thing you’ve ever seen on stage?

Romeo and Juliet
with Sylvie Guillem and Jonathan Cope.

Of which accomplishment are you most proud?

Dancing in A Month in the Country opposite Darcey Bussell.

If you could work with any choreographer, living or dead, on a new ballet, who would it be?

Rafael Bonachela, the former Rambert Dance Company dancer-turned-choreographer who now heads up Sydney Dance Company.

How would you like to be remembered?

As someone hard-working in the studio and a good partner.

What inspires you?

People from all walks of life who are at the top of their game. The best!

What would you like to be doing 20 years from now?

Either coaching and teaching—or maybe nothing to do with ballet.

What qualities do you admire in other dancers?

Everyone brings something to the stage, but what I admire most is others’ acting skills.

What qualities do you dislike?

When somebody reaches the top and then becomes big-headed.

What skill would you most like to learn?

To play the piano.

Who do you admire most?

Jonathan Cope.

Do you have any qualities that you would consider particularly “British”?

Yes, my name!

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Left to right: Dance Theatre of Harlem's Daphne Lee, Amanda Smith, Lindsey Donnell and Alexandra Hutchinson in a scene from Dancing Through Harlem. Derek Brockington, Courtesy Dance Theatre of Harlem

Dancers Share Their Key Takeaways After a Year of Dancing on Film

Creating dances specifically for film has become one of the most effective ways that ballet companies have connected with audiences and kept dancers employed during the pandemic. Around the world, dance organizations are finding opportunities through digital seasons, whether conceiving cinematic, site-specific pieces or filming works within a traditional theater. And while there is a consistent sentiment that nothing will ever substitute the thrill of a live show, dancers are embracing this new way of performing.

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#TBT: Mikhail Baryshnikov in "Fancy Free" (1981)

In Jerome Robbins's 1944 ballet Fancy Free, three sailors on leave spend the day at a bar, attempting to woo two young women by out-dancing and out-charming one another. In this clip from 1981, Mikhail Baryshnikov, who was then both the artistic director of American Ballet Theatre and a leading performer with the company, pulls out all the stops to win the ladies' affections.

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Bethany Kirby, Courtesy Tulsa Ballet

An Infectious-Disease Physician on What Vaccines Mean for Ballet

As the coronavirus pandemic grinds into its second year, the toll on ballet companies—and dancers—has been steep. How long before dancers can rehearse and perform as they once did?

Like most things, the return to normal for ballet seems to hinge on vaccinations. Just over 22 percent of people in the U.S. are now vaccinated, a way from the estimated 70 to 85 percent experts believe can bring back something similar to pre-pandemic life.

But what would it mean for 100 percent of a ballet company to be vaccinated? Tulsa Ballet artistic director Marcello Angelini is about to find out—and hopes it brings the return of big ballets on the big stage.

"I don't think companies like ours can survive doing work for eight dancers in masks," Angelini says. "If we want to work, dance, and be in front of an audience consistently and with the large works that pay the bills, immunization is the only road that leads there."

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