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Dale

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Everything posted by Dale

  1. Yes, I am aware of the price. I was going to buy the three-program package. Hope you're right on an encore but I doubt they will.
  2. I was doing the same. Saw that access for first program was through today. Oh well, they missed out on $90.
  3. NEW YORK CITY BALLET WILL NOT PERFORM AT THE DAVID H. KOCH THEATER DURING THE WINTER AND SPRING OF 2021 NYCB PLANS TO RESUME PERFORMANCES AT ITS HOME THEATER IN SEPTEMBER 2021 WITH THE LAUNCH OF THE 2021-22 SEASON Performances During the Winter and Spring of 2021 Will Not Take Place Due to Ongoing Safety Concerns Related to the COVID-19 Pandemic The 2021-22 Season Will Open at the David H. Koch Theater on September 21, 2021 The 21-Week Season Will be Highlighted by Six World Premiere Ballets by Choreographers Sidra Bell, Silas Farley, Andrea Miller, Justin Peck, Jamar Roberts, and Pam Tanowitz NYCB Principal Dancers Maria Kowroski, Gonzalo Garcia, and Ask la Cour to Give Their Farewell Performances with NYCB During the 2021-22 Season Chun Wai Chan, Formerly a Principal Dancer with Houston Ballet, Will Join NYCB as a Soloist Next Year 2021 Fall Season to Feature Annual Fashion Gala With World Premiere Ballets by Sidra Bell and Andrea Miller 2022 Winter Season to Feature World Premiere Ballets by Choreographers Justin Peck and Jamar Roberts 2022 Spring Season to Feature a Two-Week Celebration of the 50th Anniversary of NYCB’s Legendary 1972 Stravinsky Festival Including a World Premiere by Silas Farley 2022 Spring Season to Feature World Premiere by Pam Tanowitz and NYCB Premiere of Tanowitz’s Gustave le Gray No. 1 With Dancers from New York City Ballet and Dance Theatre of Harlem Performing Together at Lincoln Center for the First Time in 20 Years The Travelers Companies, Inc. is the Global Sponsor of New York City Ballet -more- NEW YORK CITY BALLET – 2021-22 Season Announcement – Page 2 New York City Ballet, which has not presented live performances since March due to the ongoing COVID-19 pandemic, today announced that it will be unable to perform at the David H. Koch Theater during the winter and spring of 2021 due to continuing health concerns and mandatory New York State and New York City regulations prohibiting large-scale, live indoor gatherings which are required for both NYCB’s rehearsals and performances. The decision was finalized at a meeting with the Company's board of directors late yesterday. NYCB plans to return to the stage of the David H. Koch Theater, its home at Lincoln Center for the Performing Arts since 1964, for its 2021-22 Season, which is scheduled to begin on Tuesday, September 21, 2021. The announcement was made by NYCB Executive Director Katherine Brown and Artistic Director Jonathan Stafford. “We are devastated that New York City Ballet will not be able to perform next winter and spring as we previously hoped, but our primary focus during the ongoing health crisis is the safety of our artists, staff, and audiences. In consultation with medical and government officials, it has become increasingly clear that returning to our home at Lincoln Center to present live performances will not be possible during the early months of 2021,” said Brown and Stafford. “After already cancelling our 2020 spring, fall, and Nutcracker seasons, losing an additional 12 weeks of performances in the winter and spring of next year is heartbreaking for everyone at NYCB. The financial ramifications related to the ongoing pandemic have been staggering with projected losses of more than $45 million in ticket sales alone,” said Brown. “Despite these challenges, it has been very heartening to make plans for a return to our theater in September of 2021.” “While more than a year off the stage is an eternity for dancers whose careers are already short, the Company has recently begun to take small steps towards a return, with our rehearsal studios reopening last month for dancers to begin conditioning on their own,” said Stafford. “In the coming weeks we hope to move into the next phase of activity and expand studio access to small groups of dancers as we continue to build towards a safe and healthy return for the full company.” Brown and Stafford added that if circumstances change and allow for some kind of live performance activity sooner than next September at an appropriate venue that is safe for artists and audiences alike, NYCB will be open to exploring those opportunities. “In the meantime, the Company plans to maintain an online presence through performance streams, interactive virtual classes and educational workshops, and other original content,” Brown and Stafford added. Plans for additional digital offerings will be made in the coming months. 2021-22 SEASON HIGHLIGHTS The 2021-22 Season will also mark NYCB’s first season fully planned by the Company’s new artistic leadership team, with programming curated by Associate Artistic Director Wendy Whelan working in collaboration with Artistic Director Jonathan Stafford and Resident Choreographer and Artistic Advisor Justin Peck. In announcing the programming for the 2021-22 Season, Whelan said, “While the ongoing shutdown continues to be challenging for everyone, it has been very gratifying to look to the future and make plans to launch this first full season that Jon, Justin and I have programmed. It is certain to be a very exciting and moving year of performances by our amazing company of artists.” Six World Premiere Ballets Highlights of the 2021-22 season will include six world premiere ballets, including new works by Sidra Bell and Andrea Miller during the 2021 Fall Season, new works by Justin Peck and Jamar Roberts during the 2022 Winter Season, and new works by Silas Farley and Pam Tanowitz during the 2022 Spring Season. “We are honored to present the most diverse group of choreographers who have ever been commissioned by NYCB during a single season,” said Whelan. “I know that these artists will inspire and energize everyone here as we continue our unparalleled commitment to expanding the ballet repertory, as well as continuing our work to make the Company a more diverse, equitable, and inclusive institution.” September 21, 2021 – Opening Night Performance New York City Ballet’s 2021-22 Season at Lincoln Center will open on Tuesday, September 21, with a special celebration of the Company’s return to the David H. Koch Theater at Lincoln Center. “This opening night performance at our home theater after more than a year away from its stage will be an unforgettable evening for both the Company and our audiences,” said Whelan. Programming for this one- time-only performance will be announced at a later date. Fall Fashion Gala – Thursday, September 30 – Bell and Miller World Premieres The Company’s annual Fall Fashion Gala will take place on Thursday, September 30 featuring the World Premiere ballets by Sidra Bell and Andrea Miller, both of whom are making their first-ever works for the stage at NYCB. The fashion designers who will collaborate with Bell and Miller will be announced at a later date. Winter Season World Premieres by Justin Peck and Jamar Roberts For the 2022 Winter Season, NYCB Resident Choreographer and Artistic Advisor Justin Peck will create a new work that will premiere on Thursday, January 27 as part of the Company’s annual New Combinations Evening, on a program that will also include Merce Cunningham’s Summerspace. The Winter Season will also include a new ballet by Jamar Roberts set to music by Kyle Preston, which was originally announced for the 2020 Spring Season, and will now premiere on Thursday, February 3. In 2019 Roberts was named the Resident Choreographer of the Alvin Ailey American Dance Theater, where he joined as a dancer in 2002. World Premiere by Silas Farley for the 50th Anniversary of NYCB’s 1972 Stravinsky Festival Highlighting the 2022 Spring Season will be a two-week celebration of the 50th Anniversary of NYCB’s legendary 1972 Stravinsky Festival, from Tuesday, May 3 through Sunday, May 15. The celebration will feature ballets to Stravinsky’s music by George Balanchine, Jerome Robbins, and Justin Peck, as well as two orchestral works performed by the 62-piece New York City Ballet Orchestra which is led by NYCB Music Director Andrew Litton. The anniversary celebration will also include a World Premiere ballet created in tribute to Stravinsky and Balanchine’s landmark works by former NYCB dancer Silas Farley, who recently retired from dancing to pursue other educational and artistic opportunities. The score for the new ballet will be created by composer and writer David K. Israel and based on a 1946 musical exchange between Balanchine and Stravinsky, in which Balanchine wrote an acrostic poem in Russian as a gift for Stravinsky’s 65th birthday and set it to a simple melody. Stravinsky then harmonized the melody as a gesture of gratitude for Balanchine. The new Farley ballet will premiere on Thursday, May 5 as part of the Company’s annual Spring Gala performance. Spring Season Premieres by Pam Tanowitz and Collaboration with Dance Theatre of Harlem The 2022 Spring Season will also feature the World Premiere of a new work by choreographer Pam Tanowitz set to composer Ted Hearne’s Law of Mosaics for string ensemble, which was originally scheduled to premiere during the 2020 Spring Season, and will now premiere on Friday, April 22. The same performance will also include the NYCB Premiere of Pam Tanowitz’s Gustave Le Gray No. 1, a quartet that was originally created in 2019 for “Ballet Across America” at the Kennedy Center and featured dancers from Dance Theatre of Harlem (DTH) and Miami City Ballet. For the NYCB premiere of Gustave Le Gray No. 1, which is set to music by Caroline Shaw performed by an on-stage pianist, the work will be performed by two dancers from NYCB and two guest dancers from DTH, marking the first time in 20 years that the two companies have performed together at Lincoln Center. Ask la Cour, Maria Kowroski, Gonzalo Garcia – Farewell Performances The 2021-22 Season will also feature Farewell Performances for three of the Company’s long-time Principal Dancers – Ask la Cour on Saturday, October 9, 2021; Maria Kowroski, on Sunday, October 17, 2021; and Gonzalo Garcia on Sunday, February 27, 2022. “It is always bittersweet for both the Company and our audiences to say goodbye to beloved dancers, but we look forward to celebrating Maria, Ask, and Gonzalo’s incredible careers at these three special performances,” said Stafford. Chun Wai Chan Joins NYCB As Soloist Chun Wai Chan, formerly a Principal Dancer with the Houston Ballet, will join NYCB as a Soloist next year. “We are very happy to announce that Chun Wai Chan will join New York City Ballet as a Soloist,” said Stafford and Whelan. “We first talked to him in January about becoming a member of NYCB for the start of the 2020 Fall Season, but had to postpone those plans when that season was cancelled. Chun Wai will be a wonderful addition to our roster of dancers and we look forward to working with him when we return to rehearsals for the 2021-22 season.” Born in Guangdong, China, Chan trained at the Guangzhou Art School from 2004 to 2010. In 2010 Chan was a finalist at the Prix de Lausanne ballet competition which earned him a full scholarship to study with Houston Ballet’s second company, Houston Ballet II. In 2012 Chan joined Houston Ballet as a member of the corps de ballet and he was promoted to Principal in 2017. His repertory with Houston Ballet included leading roles in ballets by Stanton Welch, Ben Stevenson, George Balanchine, Jerome Robbins, John Cranko, William Forsythe, Jiří Kylián, Edwaard Liang, Wayne McGregor, Trey McIntyre, and Justin Peck, among others. Chan was also featured in Dance Magazine’s “25 to Watch” in 2016 and Pointe Magazine’s “Standouts of 2017.” He has also appeared at the Nijinsky Gala XLI in Hamburg, Germany (2015), New York City Center’s Fall for Dance Festival (2015), and Jacob’s Pillow Dance Festival (2018). Chan was also a Guest Principal with Hong Kong Ballet in 2018 and 2019. ADDITIONAL 2021-22 SEASON PROGRAMMING Complete programming details for the 2021-22 Season will be announced at a later date, in addition to the new works, repertory highlights will include: 2021 Fall Season – Tuesday, September 21 through Sunday, October 17 George Balanchine’s Serenade, Agon, Symphony in C, Chaconne, Western Symphony, and Slaughter on Tenth Avenue Jerome Robbins’ Glass Pieces and Opus 19/The Dreamer Alexei Ratmansky’s Namouna, A Grand Divertissement Christopher Wheeldon’s Mercurial Manoeuvres and After the Rain (pas de deux) Justin Peck’s Rotunda George Balanchine’s The Nutcracker® -- Friday, November 26 through Sunday, January 2 2022 Winter Season -- Tuesday, January 18 through Sunday, February 27 George Balanchine’s Diamonds, The Four Temperaments, Mozartiana, La Valse, Pavane, and Prodigal Son, Walpurgisnacht Ballet, and The Unanswered Question from Ivesiana Jerome Robbins’ Moves and Andantino Pam Tanowitz’s Bartók Ballet Peter Martins’ Swan Lake Christopher Wheeldon’s DGV: Danse à Grande Vitesse 2022 Spring Season -- Tuesday, April 19 through Sunday, May 29 George Balanchine’s Agon, Apollo, Orpheus, Firebird, Symphony in Three Movements, Rubies, Duo Concertant, Divertimento from ‘Le Baiser de la Fée,’ Le Tombeau de Couperin, Stravinsky Violin Concerto, Divertimento No 15, and A Midsummer Night’s Dream Jerome Robbins’ The Cage, Circus Polka, Afternoon of a Faun, and Piano Pieces Justin Peck’s Pulcinella Variations and Scherzo Fantastique TICKET SALES Subscription packages for the 2021-22 season will go on sale in mid-November. Single tickets for George Balanchine’s The Nutcracker® and repertory performances for the 2021-22 Season will go on sale next year, date to be announced. Subscription packages and single tickets will be available online at nycballet.com or by phone at 212-496-0600. All performances will take place at the David H. Koch Theater at Lincoln Center, which is located at West 63rd Street and Columbus Avenue. Programming is subject to change. FAREWELL PERFORMANCES ASK LA COUR – Saturday, October 9 at 8pm Ask la Cour, who joined NYCB in 2002, will give his farewell performance with the Company on Saturday, October 9 at 8pm dancing Balanchine’s Monumentum pro Gesualdo and Movements for Piano and Orchestra, and Christopher Wheeldon’s After the Rain (pas de deux). Born in Copenhagen, Denmark, la Cour began his dance training at the age of nine at the Royal Danish Ballet School. He joined the Royal Danish Ballet as a member of the corps de ballet in 2000, where he performed featured roles in ballets by August Bournonville, John Cranko, Peter Martins, John Neumeier, Alexei Ratmansky, and Lila York. In the fall of 2002 la Cour joined New York City Ballet as a member of the corps de ballet. He was promoted to the rank of Soloist in the spring of 2005 and was named a Principal Dancer in the winter of 2013. Since joining NYCB, la Cour has danced an extensive repertory of ballets by NYCB’s co-founding choreographers George Balanchine and Jerome Robbins, and has also performed leading roles in works by Robert Binet, August Bournonville, Boris Eifman, Jorma Elo, Lauren Lovette, Peter Martins, Benjamin Millepied, Justin Peck, Alexei Ratmansky, Susan Stroman, Richard Tanner, and Christopher Wheeldon. In January 2020, la Cour was named the artistic director of the Frank Ohman School of Ballet and New York Dance Theatre, which is based in Commack, New York and was founded in 1979 by former NYCB soloist Frank Ohman who passed away in 2019. MARIA KOWROSKI – Sunday, October 17, 2021 at 3pm Maria Kowroski, who has danced with New York City Ballet for more than 25 years, will give her farewell performance with the Company on Sunday, October 17, 2021 at 3pm. The program for the performance will be announced at a later date. Born in Grand Rapids, Michigan, Kowroski began her ballet training at age seven with the School of Grand Rapids Ballet. She entered the School of American Ballet (SAB), the official school of NYCB, in the fall of 1992. Kowroski became an apprentice with NYCB in the summer of 1994 and was invited to join the Company as a member of the corps de ballet in January of 1995. In the spring of 1997, she was promoted to the rank of Soloist and in the spring of 1999, Kowroski was promoted to Principal Dancer. During her extraordinary career with NYCB, Kowroski has performed leading roles in a vast range of works by NYCB’s co-founding choreographers George Balanchine and Jerome Robbins, and is the only current dancer with NYCB to have worked directly with Robbins. Kowroski has also originated featured roles in works by numerous choreographers including Mauro Bigonzetti, Boris Eifman, Jorma Elo, Eliot Feld, Douglas Lee, Edwaard Liang, Peter Martins, Wayne McGregor, Benjamin Millepied, Matthew Neenan, Justin Peck, Susan Stroman, Helgi Tomasson, and Christopher Wheeldon, among others. Kowroski has performed as a guest artist with the Mariinsky Ballet in productions of Swan Lake, Jewels, Prodigal Son, and most recently Serenade and In the Night. She has performed in international galas and guested with several ballet companies around the world. She appeared in the production of Carmen at The Metropolitan Opera. She was also a recipient of the Princess Grace Award in 1994 and the statuette award in 2006. GONZALO GARCIA – Sunday, February 27, 2022 at 3pm Gonzalo Garcia, who joined NYCB as a Principal Dancer in 2007, will give his farewell performance with the Company on Sunday, February 27, 2022 at 3pm. The program for the performance will be announced at a later date. Born in Zaragoza, Spain, Garcia began studying ballet at the age of eight at Maria Avila’s school. In 1995, he attended the summer session at San Francisco Ballet School and participated in the Prix de Lausanne, becoming the youngest dancer to receive a gold medal. He then returned to the San Francisco Ballet School to resume his studies and joined San Francisco Ballet as a member of the corps de ballet in March 1998. He was promoted to Soloist in 2000, and became a Principal Dancer in 2002. His repertory with SFB included leading roles in works by George Balanchine, Jerome Robbins, William Forsythe, Mark Morris, Yuri Possokhov, Helgi Tomasson, and Christopher Wheeldon. Garcia made his first appearance with NYCB as a guest artist in 2004 when he was invited to perform Balanchine’s Ballo della Regina as part of the Company’s Balanchine Centennial Celebration. Since joining NYCB in the fall of 2007, Garcia has performed numerous featured roles in ballets by Balanchine, Robbins, and many other choreographers, including August Bournonville, Benjamin Millepied, and Twyla Tharp. Garcia has also created featured roles in five ballets by NYCB Resident Choreographer Justin Peck, as well as works by Mauro Bigonzetti, Peter Martins, Wayne McGregor, Alexei Ratmansky, and Christopher Wheeldon, among others. In 2018 Garcia was named to the permanent faculty of the School of American Ballet. CHOREOGRAPHERS FOR WORLD PREMIERE BALLETS SIDRA BELL – World Premiere – September 30, 2021 (Fall Fashion Gala) Sidra Bell is the founder of Sidra Bell Dance New York and a choreographer and educator who is currently a Master Lecturer at the University of the Arts in Philadelphia, an Adjunct Professor at Marymount Manhattan College, a Lecturer at SUNY Purchase, and an Adjunct Professor at Ball State University in Indiana. She has been an artist in residence at Harvard University, and an Adjunct Professor at Georgian Court University and Barnard College. Bell received a BA in History from Yale University and an MFA in Choreography from Purchase College Conservatory of Dance. She is the founder and creative director of the award-winning MODULE Laboratory, a New York City-based immersive platform for movement and theater artists. Bell has won several awards, notably a First Prize for Choreography at the Solo Tanz Theater Festival in Stuttgart, Germany and a National Dance Project Production Award from the New England Foundation for the Arts. Her work has been seen throughout the United States and in Denmark, France, Austria, Bulgaria, Turkey, Slovenia, Sweden, Germany, China, Canada, Aruba, Korea, Brazil, and Greece. Bell has created over 100 works notably for BODYTRAFFIC, Ailey II, The Juilliard School, Whim W'Him, Boston Conservatory at Berklee College, River North Dance Chicago, NYU Tisch School of the Arts, Sacramento Ballet, Ballet Austin, Springboard Danse Montréal, and Alonzo King's LINES Ballet School, among others. ANDREA MILLER – World Premiere – September 30, 2021 (Fall Fashion Gala) Andrea Miller is the Artistic Director, Choreographer, and Founder of Brooklyn-based company GALLIM. She creates movement-based works for stage, film, museums, and gallery spaces, and is currently working on a series of dance films and site-specific works. Her highly acclaimed dances are performed by GALLIM as well as other leading dance companies around the world. Recent commissions include New York City Ballet, Works & Process at the Guggenheim, Martha Graham Dance Company, A.I.M., Ballet Hispánico, Ailey II, Rambert 2, and The Juilliard School, as well as Netherlands Dance Theater 2, Bern Ballet, Atlanta Ballet, Pennsylvania Ballet, Grace Farms, and Noord Nederlands Dans. From 2017–2018, Miller became the first choreographer to hold the distinction of being named Artist-in-Residence at the Metropolitan Museum of Art. She has been recognized with fellowships from the Guggenheim Foundation, Sadler’s Wells, New York City Center, and the Princess Grace Foundation. In October 2018, she was featured in Forbes as a female entrepreneur and leader in the dance world. Film credits include The Death and Life of John F. Donovan (2018), directed by Xavier Dolan; In This Life (2018) starring former NYCB Principal Dancer Robbie Fairchild; Sara (2020) starring NYCB Principal Dancer Sara Mearns and directed by Ariel Schulman and Henry Joost; Notes on Gathering (2020) directed by Miller and Ben Stamper; Orilla (2002) directed by Miller and Ben Stamper; and Shaping Absence (2020) directed by Miller and Ben Stamper. Currently an adjunct professor at Marymount Manhattan College, Miller has also served as an adjunct professor at Barnard College, and has been invited to teach across the U.S., recently at Harvard University, The Juilliard School, New York University, Wesleyan University, and the University of California, Santa Barbara, among others. JUSTIN PECK – World Premiere – January 27, 2022 Justin Peck is the Resident Choreographer and Artistic Advisor of New York City Ballet. He has worked with a range of artistic collaborators including composers Dan Deacon, Bryce Dessner, Philip Glass, Steve Reich, and Sufjan Stevens; visual artists John Baldessari, Jules de Balincourt, Marcel Dzama, Shepard Fairey, Karl Jensen, Stephen Powers, and Sterling Ruby; and fashion designers Tsumori Chisato, Prabal Gurung, Mary Katrantzou, Humberto Leon, and Dries Van Noten. He has created more than 40 works for a range of institutions including New York City Ballet, the Paris Opéra Ballet, San Francisco Ballet, Miami City Ballet, Pacific Northwest Ballet, Houston Ballet, and L.A. Dance Project, and his works have also been performed by Dutch National Ballet, Joffrey Ballet, and Pennsylvania Ballet, among other companies. A native of San Diego, California and a dancer with New York City Ballet from 2007 to 2019, Peck participated in the New York Choreographic Institute, an affiliate of NYCB, in 2009, and received NYCI’s first year-long choreographic residency in 2011. Peck was named NYCB’s Resident Choreographer, the second in the Company’s history, in July 2014. Peck was the subject of the 2014 documentary Ballet 422, which followed him for two months as he created NYCB’s 422nd original ballet, Paz de la Jolla. In 2015, his ballet Rodeo: Four Dance Episodes won the Bessie Award for Outstanding Production. Peck was the Tony Award–winning choreographer of the 2018 Broadway revival of Rodgers and Hammerstein’s Carousel, and he is the choreographer of the upcoming film adaptation of West Side Story, directed by Academy Award-winning director Steven Spielberg. JAMAR ROBERTS – World Premiere – February 3, 2022 Jamar Roberts is the Resident Choreographer of the Alvin Ailey American Dance Theater (AAADT). A dancer with the company since 2002, Roberts’ first full-length work for the company, Members Don’t Get Weary, premiered at New York City Center in December of 2016 to critical acclaim. In December of 2019 he premiered his next work entitled Ode. Roberts has set his work entitled Gemeos on Ailey II. Roberts is a graduate of the New World School of the Arts and The Ailey School and has danced for AAADT, Ailey II, and Complexions Contemporary Ballet. He won the 2016 Bessie Award for Outstanding Performer and has performed as a guest artist with The Royal Ballet in London and made multiple television performance appearances. He has been commissioned by the Juilliard School Dance Division for both live and virtual works, the March on Washington Film Festival to create a dance on film tribute to the honorable John Lewis, New York City Center’s Fall For Dance Festival, and as a Works and Process Virtual Commissioned artist, where he created the acclaimed short work on film entitled Cooped. PAM TANOWITZ – World Premiere – April 22, 2022 Pam Tanowitz, New York-based choreographer and founder of Pam Tanowitz Dance, is known for her unflinchingly post-modern treatment of the classical dance vocabulary. Tanowitz was recently named the first-ever Choreographer in Residence at the Richard B. Fisher Center for the Performing Arts at Bard College in Annandale-on-Hudson, New York. In 2019, she received the Herb Alpert Award in Dance. Other awards include Baryshnikov Arts Center’s Cage Cunningham Fellowship (2017), City Center Choreography Fellowship (2016), Center for Ballet and the Arts at New York University Fellowship (2016), Hodder Fellowship from Princeton University (2013), Guggenheim Fellowship (2011), and a Foundation for Contemporary Arts, Grants to Artist Award (2010). She received Bessie Awards in 2009 & 2016. In addition to Bartók Ballet (2019) created for NYCB, Tanowitz’s recent works include commissions from American Ballet Theatre, The Royal Ballet, Paul Taylor American Modern Dance, the Kennedy Center’s “Ballet Across America,” Martha Graham Dance Company, The Joyce Theater, Bard Summerscape Festival, Vail International Dance Festival, and New York Live Arts, among numerous others. She has also created or set work for City Center’s Fall for Dance Festival, The Juilliard School, Ballet Austin, New York Theater Ballet, and Saint Louis Ballet; and has been a guest choreographer at Barnard College and Princeton University. Originally from New Rochelle, New York, Tanowitz holds degrees from The Ohio State University and Sarah Lawrence College, and is currently a visiting guest artist at Mason Gross School of the Arts at Rutgers University. SILAS FARLEY – World Premiere – May 5, 2022 (Spring Gala) Silas Farley is a choreographer and an Armstrong Visiting Artist-in-Residence in Ballet at Southern Methodist University’s Meadows School of the Arts. Originally from Charlotte, North Carolina, Farley danced with New York City Ballet from 2012-2020, and has been a choreographer since age 11. Farley has created ballets for MetLiveArts at The Metropolitan Museum of Art, the Works & Process at the Guggenheim Museum’s Virtual Commissions initiative, the School of American Ballet (SAB), the New York Choreographic Institute, the Columbia Ballet Collaborative, and the Practicing Silence workshop at Grace Farms Foundation. He has been commissioned by The Washington Ballet to create a work scheduled to premiere in June 2021. Farley is a guest teacher at SAB and has also guest taught internationally. He served as the 2018- 19 Artist in Residence for Ballet Hartford and was an inaugural Jerome Robbins Dance Division Fellow at The New York Public Library for the Performing Arts, where his research earned him Lincoln Center’s 2015 Martin E. Segal Award. He has lectured on ballet extensively and is the host of the “Hear the Dance” episodes of NYCB’s City Ballet The Podcast. Since the summer of 2019, Farley has served on the Board of Directors of The George Balanchine Foundation.
  4. My condolences to all who she coached and touched. She was an exemplar of the 70s Balanchine style and a coach of distinction.
  5. And the NYPL citation: Venue: Telecast on WNBC-TV's Omnibus series on January 1, 1961. Content: Performance excerpts include: The New York City Ballet in a grand march; The Repertory Theatre Company of Stratford, Ontario in a scene from Shakespeare's King John; An opera class conducted by Emil Renan at the Juilliard School of Music; Arias from Mozart's Don Giovanni sung by George London and Laurel Hurley of the Metropolitan Opera Company; George Balanchine's Figure in the carpet (Music: George Frederick Handel) performed by Diana Adams, Mary Hinkson, Jillana, Michael Lland, Nicholas Magallanes, Patricia McBride, Arthur Mitchell, Francisco Moncion, Edward Villella, William Weslow, and members of the New York City Ballet; Leonard Bernstein directing the New York Philharmonic Orchestra in William Schuman's American festival overture. Creation/production credits: Produced by Robert Saudek Associates. Host: Alistair Cooke. Director: William A. Graham.
  6. Citation from the Balanchine Catalogue: http://www.balanchine.org/display_result.jsp?id=406&sid=&searchMethod=&current=&stagings=&refs=&tvs=1#tvs
  7. Found this little rarity. And on an official account. I recognize the Adams portion as a bit PBS included in the Balanchine documentary. (Balanchine repurposed it later for Union Jack, as he was a habit of doing). But it also includes a section of the dance for Arthur Mitchell and Mary Hinkson - a very historic pairing in a new Balanchine creation. What a lovely duet. People often mention this ballet as one of the lost works they most wished could be revived. There's an archived discussion here: And more photos here: https://digitalcollections.nypl.org/items/743205e0-b755-0130-7dcd-58d385a7bbd0/book?parent=16a696a0-b754-0130-0d38-58d385a7bbd0#page/1/mode/2up
  8. An announcement: AMERICAN BALLET THEATRE APPOINTS JOSE SEBASTIAN AS NEW DIRECTOR OF ABT INCUBATOR SEBASTIAN TO SUCCEED DAVID HALLBERG IN “ABT INCUBATOR: PASS THE BATON” PROGRAM, WEDNESDAY, OCTOBER 14 AT 6:00 P.M. ON YOUTUBE AND IGTV American Ballet Theatre has appointed ABT dancer Jose Sebastian as the new director of ABT Incubator, ABT’s annual choreographic workshop. Sebastian succeeds ABT Principal Dancer David Hallberg, who has led ABT Incubator since its inception in 2010. An online presentation marking this leadership transition, as Hallberg steps into his new role as Artistic Director of The Australian Ballet and as Sebastian steps up to carry forward ABT’s commitment to choreographic innovation, will take place on Wednesday, October 14 at 6:00pm. This digital event will feature a discussion of ABT Incubator’s past, present, and future with Hallberg and Sebastian, moderated by ABT Artistic Director Kevin McKenzie. “ABT Incubator: Pass the Baton,” streamed for free on ABT’s YouTube channel and @ABTOfficial IGTV, will also feature film footage and images from the Company’s previous two ABT Incubator workshops, as well as a performance excerpt of a new work recently created by ABT Incubator alumna Gabrielle Lamb for ABT dancer Zimmi Coker. “ABT Incubator: Pass the Baton” is produced for ABT by Dianna Mesion and Pierce Jackson. Under the direction of Hallberg, ABT Incubator was established in 2018, building on earlier choreographic workshops that Hallberg catalyzed for the Company. Open to ABT dancers and outside choreographers chosen through an audition process, ABT Incubator provides its participants time and resources to generate and inspire new ideas for the creation of new work. In addition to allowing selected ABT dancers the opportunity to explore and experiment as choreographers with extraordinary artists as their muses, the program enables many dancers the opportunity to participate in the creative process. Choreographer Jessica Lang currently serves as program mentor, offering composition workshops and providing invaluable professional advice. “Over my 10 years as director of ABT Incubator, we have built a program based on the facilitating and nurturing of the choreographic idea,” said Hallberg. “I have seen dancers of ABT, as well as choreographic talents like Pam Tanowitz and Gabrielle Lamb, develop their creative voice on the world-class dancers of this Company. Everything has its course and it is now with excitement that I pass this responsibility onto Jose Sebastian, a fellow colleague at ABT. He will surely implement his fresh vision for the future of ABT Incubator and continue to develop it as a vital outlet that is part of the cultural field of New York City.” "What an honor and a privilege it is to step into David Hallberg's shoes and discover how to push creative boundaries," said Sebastian. "Building on ABT Incubator's strong foundation, I look forward to exploring new movement and imagining new possibilities." Plans for the next ABT Incubator creation period are underway for November 2020 and February 2021 with ABT dancers Zhong-Jing Fang, Luciana Paris, Luigi Crispino, Sung Woo Han, Melvin Lawovi and Joseph Markey creating works with their colleagues while observing strict COVID-19 health protocols. David Hallberg, born in Rapid City, South Dakota, began his ballet training at age 13 with Kee Juan Han at the Arizona Ballet School in Phoenix. In 1999, he was accepted into the Paris Opera Ballet School where he continued his studies under the direction of Claude Bessy, Jacques Namont and Gilbert Meyer. Hallberg attended American Ballet Theatre’s New York Summer Intensive in 1999 and 2000, joined ABT Studio Company in 2000 and became a member of the corps de ballet in 2001. He was promoted to Soloist in 2004 and to Principal Dancer in 2006. Hallberg’s numerous awards include the Princess Grace Fellowship and the Chris Hellman Dance Award for 2002–2003, a nomination for the Benois de la Danse Award in 2006 and the Benois de la Danse Award in 2010. Hallberg joined the Bolshoi Ballet as a Premier Danseur in September 2011, the first American to join the company. Earlier this year, Hallberg was appointed Artistic Director of The Australian Ballet beginning January 2021. Jose Sebastian, a native of New York City, started his dance training at age eight with the School of American Ballet and continued training there for nearly 10 years. He received additional ballet training at Studio Maestro and private training with Fabrice Herrault and Olga Kostritzky. Sebastian joined ABT Studio Company in 2006 and American Ballet Theatre as an apprentice in January 2009 and became a member of the corps de ballet in January 2010. Sebastian is Artistic Director of the Hampton’s Dance Project and created the short film Sillage for Moving Stories: An ABT Film Festival. Commissions and presentations of new work by women choreographers are supported by the ABT Women's Movement. Champion support for the ABT Women’s Movement is provided by Jenna Segal. Additional Leadership support provided by the Virginia B. Toulmin Foundation, the National Endowment for the Arts, and through an endowed gift from the Toni and Martin Sosnoff New Works Fund. ABT's Choreographic Innovation and Inclusion programs are generously supported by the Blavatnik Family Foundation. Additional major support is provided by Carrie Gaiser Casey and Mark Casey, and Denise Littlefield Sobel. Bank of America – Lead Corporate Partner of ABT Studio Company. LG Signature, The Global Electronics Partner of American Ballet Theatre. American Airlines is the Official Airline of American Ballet Theatre.
  9. A very heartfelt essay. One thing that has happened in this quarantine time is that while companies aren't performing, there's been a lot of change. From the BLM movement that challenged leadership to take diversity and talented Black dancers seriously, to talk about what it means to be in dancing shape and now also mental health. I hope companies step up to provide support in this area.
  10. I just watched her explanation video. Makes sense to me. As others have posted earlier, they knew her size and health condition when they hired her. It was all well and good until it wasn't. I hope Kathryn Morgan finds the right fit somewhere worthy. For me, she has talent and special qualities that can't be taught. I didn't see her comeback performance but from videos of rehearsals and bits of performance footage, she seemed just like the dancer who delighted so many of us since her student days. Maybe even better as there was a more mature artistry there. I think she covered all the different expectations. She said if they were just saying that "oh, you can do this role, or maybe this role might suit you, when you're in shape." But she says they told her, in writing, you will do this and this and this. And then she was fitted for costumes. I think anybody would have the expectation that they would be dancing those roles. And that dig in the explanation, if accurate, that "you might think you've had a comeback but you didn't dance in point shoes and you're not thin, so..." is just...why say that? Seems unnecessary. It's also unprofessional. In corporations, if you want an employee to improve, you need to come up with targets to hit and a plan to be successful. I think it should be the same in a ballet company. If fitness is an issue, then there are mature, professional steps that can be taken. Why wasn't this setup when she first joined the company? MCB enjoyed the publicity from having a comeback dancer (and for those who think that was a distraction for KM, as somebody who used to do those stories, you have to ask the company's permission. They're all setup by their PR person. If the company didn't want her on the cover of magazines, it wouldn't have happened). Probably enjoyed the ticket sales. I'm tired of seeing wonderful dancers treated this way, specifically about this issue.
  11. Book launch: AMERICAN BALLET THEATRE PRESENTS ABTKIDS 2020: B IS FOR BALLET SATURDAY, OCTOBER 24 AT 11:00AM, IN PARTNERSHIP WITH RANDOM HOUSE CHILDREN’S BOOKS JENNIFER GARNER TO NARRATE ANNUAL PROGRAM FOR CHILDREN American Ballet Theatre’s newly released children’s book B Is for Ballet: A Dance Alphabet will leap from its pages to screens across the world with a special digital version of ABTKids, Saturday, October 24 at 11:00am. This 30-minute family-friendly program, streamed for free on ABT’s YouTube Channel, will feature footage from celebrated ABT performances, as well as newly recorded segments featuring ABT dancers. ABTKids 2020: B Is for Ballet is designed to take children on an alphabet journey through the magical world of ballet. The 2020 ABTKids program, presented in partnership with Random House Children’s Books, will include appearances by ABT dancers Herman Cornejo, Courtney Lavine, Lauren Post, Cory Stearns, and Devon Teuscher, as well as students from the ABT Jacqueline Kennedy Onassis School. ABTKids will be narrated by actor, entrepreneur, and early childhood activist Jennifer Garner. ABTKids will be distributed to ABT partner organizations including Children’s Museum of Manhattan, Keen NYC, The Fresh Air Fund, Harlem School of the Arts, Lincoln Center’s Passport to the Arts, Memorial Sloan Kettering Cancer Center, Mount Sinai Kravis Children’s Hospital, and all New York City Department of Education public school dance teachers, free of charge, along with a suite of ballet-themed activities, games, and educational tools created by ABT’s Education staff and Teaching Artists. ABTKids is generously underwritten by Bloomberg Philanthropies and produced by Matador Content. Executive Producers for ABTKids include Kara and Dov Barnett, Vicki and Lloyd Goldman, Jennifer and David Millstone, and Nancy Walker. Backers for ABTKids include Aditi Davray and Neil Barve, Robyn and Paul Goldschmid, and Elizabeth and Reynold Levy. B Is for Ballet, the children’s picture book, written by John Robert Allman and illustrated by Rachael Dean, is published by Doubleday Books for Young Readers, an imprint of Random House Children’s Books. An Unlikely Story Bookstore & Café of Plainville, MA, the bookstore partner of ABTKids, will co-livestream this virtual event. Fans can purchase B Is for Ballet through the bookstore. For sponsor packages, unique VIP experiences and special activities for children and families, please contact ABT Special Events at specialevents@abt.org. B IS FOR BALLET: A DANCE ALPHABET By John Robert Allman; Illustrated by Rachael Dean Doubleday Books for Young Readers | On Sale September 22, 2020 | Ages 3–7 Hardcover: 978-0-593-18094-5 | $18.99 | $24.99 Can. | 48 pages Ebook: 978-0-593-18096-9 | $11.99 | $11.99 Can. Doubleday Books for Young Readers is an imprint of Random House Children’s Books, the world’s largest English-language children’s trade book publisher. Random House Children’s Books is a division of Penguin Random House LLC.
  12. I was dreaming Continuing my day dream, the NYCB, while it doesn't have as large of a catalog as the Met, it has some things going for it for a (wished for) partnering. They are both full residents of Lincoln Center. And it is one American company that does have a catalog and experience filming. As we've seen, the high polished videos at State Theater only really started a few years ago but they do have decades' worth of house camera (wide, close) footage. Plus a history of recordings from Great Performances and Live from Lincoln Center. A partnership doesn't necessarily mean a complete sharing of the platform. The Met would be "leasing" the streaming technology. It wouldn't "dilute" it's own service, just like when you subscribe to an add-on at Amazon Video (like adding BritBox), it doesn't dilute the other offerings. Having this platform technology, which works very well as we've seen this summer, can be monetized for the Met's benefit.
  13. From the company: SHORT FILMS CREATED BY DANCERS FROM AMERICAN BALLET THEATRE TO PREMIERE WEDNESDAY, SEPTEMBER 30 AND THURSDAY, OCTOBER 1 AT 7:00PM ON ABT’S YOUTUBE CHANNEL Celebrating the creativity of ABT dancers, American Ballet Theatre presents Moving Stories: An ABT Film Festival. Presented over two nights, Wednesday, September 30 and Thursday, October 1 at 7:00pm ET, Moving Stories features eight short films created by ABT artists. The films, varying from three to 11 minutes in length, will be available for viewing on ABT’s YouTube Channel. Four films will premiere each evening, followed by roundtable conversations with the filmmakers. The hour-long programs are hosted by ABT Principal Dancer Misty Copeland and Emmy Award-winning producer Leyla Fayyaz (Life in Motion Productions). Filmmakers contributing to the Company’s first-ever film festival include current ABT dancers Claire Davison (Dans Tes Rêve), Zhong-Jing Fang(Perception), Erica Lall (The Thread of Navigation), Duncan Lyle (Alone Together), Jose Sebastian (Sillage), Eric Tamm (Le Tré Cortegé), Isabella Boylston and James Whiteside (Swan Lake), and former ABT dancer Alexandre Hammoudi (Transonata). All films were created in May and June 2020, as dancers sheltered in place and maintained strict COVID-19 health and safety precautions. “Moving Stories is a testament to the creativity and innovation of ABT’s dancers,” said ABT Artistic Director Kevin McKenzie. “While the Company cannot deliver epic stories on majestic stages, ABT’s dancers are telling intimate stories on screens large and small. Moving Stories is a tribute to the ‘Theatre’ aspect of our Company name. We look forward to sharing this exciting new content with the world.” Produced and edited by creative director Henry Evans and Zipline Media, Moving Stories: An ABT Film Festival will benefit the ABT Crisis Relief Fund. Viewers will be able to donate to the fund directly through ABT’s YouTube channel while watching the event. The ABT Crisis Relief Fund provides ongoing assistance to ABT’s artists – dancers, production crew, rehearsal pianists, artistic staff and education faculty – during the COVID-19 health crisis.
  14. First, thank you @Kathleen O'Connell for those clips. pherank, I was hoping another arts org would partner with the Met Opera. It already has a platform that is pretty good for showing video, can handle volume. It has a price point that makes it worth the company's while but is also somewhat affordable.
  15. Looks like City Center is doing a second round of ballerina coaching for the Studio 5 program: Studio 5 | Great American Ballerinas New episodes every Wed at 5pm on Sep 16, 23, and 30 Available on demand for seven days following the livestream Step into the studio and enjoy live conversations and coaching sessions with American Ballet Theatre principal dancer Misty Copeland and New York City Ballet principal dancers Sara Mearns and Tiler Peck, as they give you an up-close look into a ballerina’s creative and artistic process in City Center’s new virtual Studio 5 | Great American Ballerinas series. Each ballerina works with another acclaimed dance artist in this rehearsal-style series curated and hosted by dance critic and historian Alastair Macaulay. Be sure to tune in to watch each free virtual event: Wed Sep 16 at 5pm | Tiler Peck with Stephanie Saland Coming to you live from the West Coast are Peck and Saland who will work together on the “green” solo from Jerome Robbins’s 1969 classic Dances at a Gathering. Watch Peck perform the only female solo in this hour-long quintessential piano ballet that Saland was coached in by Robbins himself. Wed Sep 23 at 5pm | Sara Mearns with Pam Tanowitz Mearns delves into her postmodern side with renowned choreographer Tanowitz as they connect virtually from New York to explore newly created solo material. Wed Sep 30 at 5pm | Misty Copeland with Alessandra Ferri Copeland revisits Juliet’s solo scenes in Act Three of Kenneth MacMillan’s Romeo and Juliet as she's coached remotely by prima ballerina Ferri from London in the final installment of the series.
  16. You know, it's free and on easy to use platforms, so I'm pretty happy with what we can get. They will get my donation. I'm not awash in funds, but I donated to every company that shared their archived performances. A good reminder of the Dancers of NYCB Fund page: https://www.dancersofnycb.com
  17. Official release: NEW YORK CITY BALLET ANNOUNCES DIGITAL FALL SEASON Five Weeks of Online Programming Monday, September 28 through Saturday, October 31 Highlighted by Performance Footage from More Than 25 Acclaimed Ballets Final Week of Digital Season Will Feature a Festival of New Choreography With Five Original Works by Choreographers Sidra Bell, Andrea Miller, Justin Peck, Jamar Roberts, and Pam Tanowitz One Premiering Each Night from Tuesday, October 27 through Saturday, October 31 Family Programming Will Include Two Special Saturday Matinees on October 10 and 24 at 2pm Each Featuring Performance Footage from Ballets by NYCB’s Co-Founding Choreographers George Balanchine and Jerome Robbins Additional Programming for the Digital Fall Season to Include: New Episodes of City Ballet The Podcast Every Monday Ballet Essentials, Interactive Repertory Workshops for Teens and Adults on Mondays at 6:30pm Signature Steps, NYCB-Focused Ballet Classes for Intermediate to Advanced Level Dancers on Wednesdays at 6:30pm Ballet Breaks, Interactive Movement Workshops for Children Ages 3 through 8 on Saturdays at 11am Access Workshops for Teens and Adults with Disabilities on Thursdays at 6pm and for Children with Disabilities Ages 4 through 12 on Saturdays at Noon The Travelers Companies, Inc. is the Global Sponsor of New York City Ballet New York City Ballet announced today that the Company will launch a digital fall season on Monday, September 28 which will continue for five weeks through Saturday, October 31, 2020. During the first four weeks of the digital season, programs consisting of previously recorded performance footage from the Company’s unparalleled repertory will be released on Tuesdays at 8pm and will be available free-of-charge for one week only on NYCB’s YouTube channel (YouTube.com/nycballet), Facebook page (Facebook.com/nycballet), and website (nycballet.com). The first program, which will debut on Tuesday, September 29, will consist of choreography by NYCB Co-Founder George Balanchine including Tschaikovsky Pas de Deux, “The Unanswered Question” from Ivesiana, and excerpts from Symphony in C, Liebeslieder Walzer, Episodes, and Stravinsky Violin Concerto. Repertory for the remaining Tuesday evening programs, which will feature both full ballets and excerpts, will include additional works by Balanchine, as well as ballets by NYCB Co-Founding Choreographer Jerome Robbins, Resident Choreographer and Artistic Advisor Justin Peck, and choreographers Ulysses Dove, Lynne Taylor-Corbett, Alexei Ratmansky, and Christopher Wheeldon. In addition to the Tuesday evening programs, the digital fall season will also include two Saturday Matinees for family audiences on October 10 and 24 at 2pm, each featuring repertory by Balanchine and Robbins specially selected for young audiences. The Saturday Matinees will also be available free-of- charge for one week only on NYCB’s YouTube channel (YouTube.com/nycballet), Facebook page (Facebook.com/nycballet), and website (nycballet.com). The final week of the digital fall season will be devoted to a festival of new choreography featuring five World Premiere ballets, one launching each night from Tuesday, October 27 through Saturday, October 31. The choreographers creating the new works, which will be filmed in various locations on the campus of Lincoln Center for the Performing Arts and throughout New York City, are Sidra Bell, Andrea Miller, Justin Peck, Jamar Roberts, and Pam Tanowitz. Bell, Miller, and Roberts will be working with NYCB for the first-time ever; Tanowitz will be making her second work for the Company; and Peck will provide the festival’s finale with a premiere set to composer Chris Thile’s Thank You, New York. “We are extremely excited to present these new works during the digital fall season. Creating a new ballet repertory has been one of the hallmarks of NYCB since its inception in 1948, and with these five remarkable choreographers we will continue to build and expand that extraordinary body of work,” said NYCB Associate Artistic Director Wendy Whelan, who spearheads the Company’s artistic programming efforts. “I am also very proud and happy to welcome such a diverse roster of artists, including Sidra Bell who will be the first Black woman to create a work for NYCB.” Tanowitz and Roberts were previously scheduled to choreograph new work for NYCB’s 2020 Spring Season at Lincoln Center, which was cancelled due to the COVID-19 pandemic, and Bell and Miller had been previously commissioned to create work for the 2020 Fall Season at Lincoln Center, which has also been cancelled. “As the Company continues to work towards our ultimate goal of returning to the stage, I am very pleased that we can once again present a digital season that will showcase so many of the qualities that make NYCB such an extraordinary institution,” said NYCB Artistic Director Jonathan Stafford. “From our remarkable dancers and musicians, to our incredible heritage repertory and innovative new works, we look forward to bringing the best of New York City Ballet into people’s homes while we wait for the day that all of us can safely return to the theater to experience this wonderful artform together in person.” NYCB’s 2020 Spring Season, which was also presented digitally due to the COVID-19 pandemic, generated nearly one million views from people around the world. “Connecting with so many audience members, both existing and new, has been a welcome silver lining during a very challenging time” said NYCB Executive Director Katherine Brown. “I am very grateful to everyone at the Company for all of their hard work in making another digital season possible, and enabling so many to have access to the artistry of NYCB.” The season will also include a series of all-new episodes of City Ballet The Podcast; four Ballet Essentials interactive repertory workshops for teens and adults; four Ballet Breaks movement workshops for children; four Signature Steps, one-hour ballet classes designed for intermediate and advanced level dancers; and six Access Workshops for people with disabilities—three for children and three for teens and adults. Complete details, including ballets and casting for the performance programs, as well as hosts and participants for the interactive workshops and other content, will be released at a later date. For updates visit nycballet.com/digitalfall. New York City Ballet – Digital Fall Season – Additional Content City Ballet The Podcast On Monday, September 28, NYCB will launch its latest season of City Ballet The Podcast with a reprise of a “See The Music” episode featuring NYCB Music Director Andrew Litton and Principal Oboist for the NYCB Orchestra Julia DeRosa in a discussion of Georges Bizet’s score for Balanchine’s Symphony In C. Additional episodes of City Ballet The Podcast, featuring conversations with current and former NYCB artists, will be released every Monday at podcast.nycballet.com and on all platforms where podcasts are available. Ballet Breaks Workshops NYCB’s Education Department will once again present Ballet Breaks, four workshops for children ages 3 through 8, which will launch on Saturday, October 3 at 11am. Each of the four 30-minute workshops will be taught by a different NYCB dancer who will lead participants through a warm-up and movement combinations inspired by iconic works presented in NYCB’s digital fall season. Live music accompanies all workshops, which are powered by Zoom. Suggested registration fees for Ballet Breaks online are $5 per workshop, which includes the live experience only, or $10 per workshop, which also includes a link to a digital recording of the workshop that will be active for one week following the live event. For those unable to pay a registration fee, participation in the live Ballet Breaks workshops will also be available free of charge. Visit nycballet.com/balletbreaks for more information. Ballet Essentials Workshops NYCB’s Education Department will also present Ballet Essentials, four movement workshops for teens and adults that will launch Monday, October 5 at 6:30pm. The one-hour workshops are powered by Zoom and led by NYCB dancers and pianists who will take participants through a ballet warm-up and choreography inspired by iconic works presented in NYCB’s digital fall season. Suggested registration fees for Ballet Essentials online are $8 per workshop, which includes the live experience only, or $15 per workshop, which also includes a link to a digital recording of the workshop that will be active for one week following the live event. For those unable to pay a registration fee, participation in the live Ballet Essentials workshops will also be available free of charge. Visit nycballet.com/balletessentialsonline for more information. Signature Steps NYCB’s Education Department will also offer Signature Steps, virtual ballet classes for intermediate to advanced level dancers who have a minimum of five years of training, technical proficiency, and a comprehensive understanding of barre and center work. These classes will move at a quick pace and include complex exercises. The hour-long sessions will be taught by a different NYCB dancer each week and will focus on the qualities that make New York City Ballet unique, including George Balanchine’s signature aesthetic. Four classes will be offered on Wednesday evenings over the course of the digital fall season, launching on September 30 at 6:30pm, and powered by Zoom. All classes will feature live music and have a registration fee of $30 per class, which includes a link to a digital recording of the session that will be active for one week following the live event. For more information visit nycballet.com/signaturesteps. Access Workshops for People with Disabilities Online versions of the Company’s Access Workshops, designed especially for people with disabilities, will also be offered by the NYCB Education Department this fall. In these interactive movement workshops, powered by Zoom, NYCB dancers will lead participants through a warm-up and choreography inspired by ballets presented in NYCB’s digital fall season. Three one-hour Access Workshops for teens and adults will take place on Thursday evenings, launching on October 8 at 6pm; and three 45-minute Access Workshops for children ages 4 through 12 will take place on Saturdays, launching on October 10 at noon. Registration is free for all Access Workshops; visit nycballet.com/accessworkshops and nycballet.com/childrensaccessworkshops for more information. Choreographers for Festival of New Work – Tuesday, October 27 through Saturday, October 31 Sidra Bell is the founder of Sidra Bell Dance New York and a choreographer and educator who is currently a Master Lecturer at the University of the Arts in Philadelphia, an Adjunct Professor at Marymount Manhattan College, a Lecturer at SUNY Purchase, and an Adjunct Professor at Ball State University in Indiana. She has been an artist in residence at Harvard University, and an Adjunct Professor at Georgian Court University and Barnard College. Bell received a BA in History from Yale University and an MFA in Choreography from Purchase College Conservatory of Dance. She is the founder and creative director of the award-winning MODULE Laboratory, a New York City-based immersive platform for movement and theater artists. Bell has won several awards, notably a First Prize for Choreography at the Solo Tanz Theater Festival in Stuttgart, Germany and a National Dance Project Production Award from the New England Foundation for the Arts. Her work has been seen throughout the United States and in Denmark, France, Austria, Bulgaria, Turkey, Slovenia, Sweden, Germany, China, Canada, Aruba, Korea, Brazil, and Greece. Bell has created over 100 works notably for BODYTRAFFIC, Ailey II, The Juilliard School, Whim W'Him, Boston Conservatory at Berklee College, River North Dance Chicago, NYU Tisch School of the Arts, Sacramento Ballet, Ballet Austin, Springboard Danse Montréal, and Alonzo King's LINES Ballet School, among others. Andrea Miller is the Artistic Director, Choreographer, and Founder of Brooklyn-based company GALLIM. She creates movement-based works for stage, film, museums, and gallery spaces, and is currently working on a series of dance films and site-specific works. Her highly acclaimed dances are performed by GALLIM as well as other leading dance companies around the world. Recent commissions include New York City Ballet, Works & Process at the Guggenheim, Martha Graham Dance Company, A.I.M., Ballet Hispánico, Ailey II, Rambert 2, and The Juilliard School, as well as Netherlands Dance Theater 2, Bern Ballet, Atlanta Ballet, Pennsylvania Ballet, Grace Farms, and Noord Nederlands Dans. From 2017–2018, Miller became the first choreographer to hold the distinction of being named Artist-in-Residence at the Metropolitan Museum of Art. She has been recognized with fellowships from the Guggenheim Foundation, Sadler’s Wells, New York City Center, and the Princess Grace Foundation. In October 2018, she was featured in Forbes as a female entrepreneur and leader in the dance world. Film credits include The Death and Life of John F. Donovan (2018), directed by Xavier Dolan; In This Life (2018) starring former NYCB Principal Dancer Robbie Fairchild; Sara (2020) starring NYCB Principal Dancer Sara Mearns and directed by Ariel Schulman and Henry Joost; Notes on Gathering (2020) directed by Miller and Ben Stamper; Orilla (2002) directed by Miller and Ben Stamper; and Shaping Absence (2020) directed by Miller and Ben Stamper. Currently an adjunct professor at Marymount Manhattan College, Miller has also served as an adjunct professor at Barnard College, and has been invited to teach across the U.S., recently at Harvard University, The Juilliard School, New York University, Wesleyan University, and the University of California, Santa Barbara, among others. Justin Peck is the Resident Choreographer and Artistic Advisor of New York City Ballet. He has worked with a range of artistic collaborators including composers Dan Deacon, Bryce Dessner, Philip Glass, Steve Reich, and Sufjan Stevens; visual artists John Baldessari, Jules de Balincourt, Marcel Dzama, Shepard Fairey, Karl Jensen, Stephen Powers, and Sterling Ruby; and fashion designers Tsumori Chisato, Prabal Gurung, Mary Katrantzou, Humberto Leon, and Dries Van Noten. He has created more than 40 works for a range of institutions including New York City Ballet, the Paris Opéra Ballet, San Francisco Ballet, Miami City Ballet, Pacific Northwest Ballet, Houston Ballet, and L.A. Dance Project, and his works have also been performed by Dutch National Ballet, Joffrey Ballet, and Pennsylvania Ballet, among other companies. A native of San Diego, California and a dancer with New York City Ballet from 2007 to 2019, Peck participated in the New York Choreographic Institute, an affiliate of NYCB, in 2009, and received NYCI’s first year-long choreographic residency in 2011. Peck was named NYCB’s Resident Choreographer, the second in the Company’s history, in July 2014. Peck was the subject of the 2014 documentary Ballet 422, which followed him for two months as he created NYCB’s 422nd original ballet, Paz de la Jolla. In 2015, his ballet Rodeo: Four Dance Episodes won the Bessie Award for Outstanding Production. Peck was the Tony Award–winning choreographer of the 2018 Broadway revival of Rodgers and Hammerstein’s Carousel, and he is the choreographer of the upcoming film adaptation of West Side Story, directed by Academy Award-winning director Steven Spielberg. Jamar Roberts is the Resident Choreographer of the Alvin Ailey American Dance Theater. A dancer with the company since 2002, Roberts’ first full-length work for the company, Members Don’t Get Weary, premiered at New York City Center in December of 2016 to critical acclaim. In December of 2019 he premiered his next work entitled Ode, also to great acclaim. Roberts has set his work entitled Gemeos on Ailey II. Roberts is a graduate of the New World School of the Arts and The Ailey School and has danced for AAADT, Ailey II, and Complexions Contemporary Ballet. He won the 2016 Bessie Award for Outstanding Performer and has performed as a guest artist with The Royal Ballet in London and made multiple television performance appearances. He has been commissioned by the Juilliard School Dance Division for both live and virtual works, the March on Washington Film Festival to create a dance on film tribute to the honorable John Lewis, and as a Works and Process Virtual Commissioned artist, where he created the acclaimed short work on film entitled Cooped. Pam Tanowitz, New York-based choreographer and founder of Pam Tanowitz Dance, is known for her unflinchingly post-modern treatment of the classical dance vocabulary. Tanowitz was recently named the first-ever Choreographer in Residence at the Richard B. Fisher Center for the Performing Arts at Bard College in Annandale-on-Hudson, New York. In 2019, she received the Herb Alpert Award in Dance. Other awards include Baryshnikov Arts Center’s Cage Cunningham Fellowship (2017), City Center Choreography Fellowship (2016), Center for Ballet and the Arts at New York University Fellowship (2016), Hodder Fellowship from Princeton University (2013), Guggenheim Fellowship (2011), and a Foundation for Contemporary Arts, Grants to Artist Award (2010). She received Bessie Awards in 2009 & 2016. In addition to Bartók Ballet (2019) created for NYCB, Tanowitz’s recent works include commissions from The Royal Ballet, Paul Taylor American Modern Dance, the Kennedy Center’s “Ballet Across America,” Martha Graham Dance Company, The Joyce Theater, Bard Summerscape Festival, Vail International Dance Festival, and New York Live Arts, among numerous others. She has also created or set work for City Center’s Fall for Dance Festival, The Juilliard School, Ballet Austin, New York Theater Ballet, and Saint Louis Ballet; and has been a guest choreographer at Barnard College and Princeton University. Originally from New Rochelle, New York, Tanowitz holds degrees from The Ohio State University and Sarah Lawrence College, and is currently a visiting guest artist at Mason Gross School of the Arts at Rutgers University. Support for new work is provided by J.P. Morgan, the Doris Duke Charitable Foundation, and donors of the New Combinations Fund.
  18. Yes, there will be promotions in the coronavirus era. Here's the official word: JOO WON AHN, ARAN BELL, SKYLAR BRANDT, THOMAS FORSTER, CALVIN ROYAL III AND CASSANDRA TRENARY PROMOTED TO PRINCIPAL DANCER AT AMERICAN BALLET THEATRE GABE STONE SHAYER PROMOTED TO SOLOIST Joo Won Ahn, Aran Bell, Skylar Brandt, Thomas Forster, Calvin Royal III and Cassandra Trenary have been appointed to the rank of Principal Dancer with American Ballet Theatre. Gabe Stone Shayer has been promoted to the rank of Soloist. The promotions, announced today by ABT Artistic Director Kevin McKenzie, are effective immediately. Joo Won Ahn is originally from Wonju, Korea and began his formal training in 2006 at Y.J. Ballet People Academy and Sun Hwa Art School. In 2012, he became a student at Korea National University of Arts in Seoul. He won the Silver Medal at the Korean International Ballet Competition and 3rd Prize at the 2012 Varna International Ballet Competition in Bulgaria. Ahn was invited to join ABT Studio Company in 2013 after winning the Gold Medal at Youth America Grand Prix in New York City. He joined American Ballet Theatre as an apprentice in January 2014 and became a member of the corps de ballet in June 2014. He was promoted to Soloist in September 2019. Ahn’s repertoire with ABT includes the title role in Apollo, Solor in La Bayadère, Ali and Lankendem in Le Corsaire, Albrecht in Giselle, the Nutcracker Prince in Alexei Ratmansky’s The Nutcracker, Dionysius in Of Love and Rage, Winter in The Seasons, Bluebird in Ratmansky’s The Sleeping Beauty, Neapolitan Dance in Swan Lake, leading roles in AFTERITE, The Brahms-Haydn Variations, Garden Blue, Serenade after Plato’s Symposium, Theme and Variations and Thirteen Diversions, and featured roles in AfterEffect, Bach Partita and In the Upper Room. He created Murasaki in A Gathering of Ghosts and roles in After You, New American Romance and Songs of Bukovina. Aran Bell was born in Bethesda, Maryland and began studying ballet at age four. He received his early training at Central Pennsylvania Youth Ballet and with Denys Ganio in Rome, Italy. He continued his training with Fabrice Herrault and Magaly Suarez and at The Royal Ballet School in London and American Ballet Theatre’s Summer Intensive. Bell’s awards include the Hope Award at the Youth America Grand Prix Finals in New York City in 2009 and 2010 and the Junior Grand Prix (2011), Grand Prix at the Milan International Ballet Competition (2010), the Premio Positano (2011), the Premio Amalfi Young Talent Award (2012), Gold Medal at Tanzolymp Berlin (2012), Gold Medal and Audience Choice Award at Rieti International Ballet Competition (2012), the Premio Roma Jia Ruskaja (2012) and the Premio Capri Danza International Award (2014). Bell was featured in the 2011 film First Position: A Ballet Documentary. He joined ABT Studio Company in September 2014, the main Company as an apprentice in May 2016 and the corps de ballet in March 2017. He was promoted to Soloist with ABT in September 2019. His repertoire includes Lankendem in Le Corsaire, Albrecht in Giselle, St. John Rivers in Jane Eyre, the Nutcracker Prince in Ratmansky’s The Nutcracker, Romeo in Romeo and Juliet, Prince Désiré in Ratmansky’s The Sleeping Beauty, Prince Siegfried and von Rothbart in Swan Lake and featured roles in Garden Blue, Thirteen Diversions, AfterEffect, Deuce Coupe, In the Upper Room and Songs of Bukovina. He created Mme. de Staël in A Gathering of Ghosts, Chaereas in Of Love and Rage, Winter in The Seasons and leading roles in AFTERITE, Let Me Sing Forevermore and New American Romance. Skylar Brandt was born in Purchase, New York and began her training at age six with teachers Diana White and Christian Claessens at Scarsdale Ballet Studio. She also studied with Valentina Kozlova, Fabrice Herrault, Susan Jaffe, Irina Dvorovenko and Maxim Beloserkovsky. She attended the ABT Jacqueline Kennedy Onassis School from 2005–2009 under the direction of Franco De Vita and spent five summers at ABT’s New York Summer Intensive. From 2006–2009, Brandt was a National Training Scholar and also received the Bender Foundation Scholarship in 2009. She was a silver medalist at Youth America Grand Prix in 2004 and 2008. Brandt joined ABT II (now ABT Studio Company) in 2009 and became an apprentice with the main Company in November 2010. She joined the corps de ballet in June 2011 and was appointed Soloist in August 2015. Her roles with the Company include Polyhymnia in Apollo, Gamzatti in La Bayadère, Medora in Le Corsaire, Lycenion in Daphnis and Chloe, Amour in Don Quixote, The Maiden in Firebird, Lead Can Can in Gaîté Parisienne, Giselle and the peasant pas de deux in Giselle, the title role in The Golden Cockerel, Columbine in Harlequinade, Young Jane in Jane Eyre, Olga in Onegin, Younger Sister in Pillar of Fire, Princess Florine in Ratmansky’s The Sleeping Beauty, Some Assembly Required, the pas de trois in Swan Lake, Princess Praline in Whipped Cream, leading roles in AFTERITE, The Brahms-Haydn Variations, Garden Blue, Piano Concerto #1, Symphonic Variations and Thirteen Diversions and featured roles in Bach Partita, Drink to Me Only With Thine Eyes, Gong, In the Upper Room, Raymonda Divertissements and Sinfonietta. She created a Consort in A Gathering of Ghosts, the Swallow in The Seasons, the Fairy Canari qui chante (Canary) in Ratmansky’s The Sleeping Beauty, a leading role in Her Notes and featured roles in AfterEffect, After You and Praedicere. Brandt was awarded a 2013 Princess Grace Foundation- USA Dance Fellowship. That same year, she was featured in the film Ballet’s Greatest Hits. In 2018, Brandt was the recipient of an unprecedented Special Jury Award for her performances on the Russian television show “Big Ballet.” Thomas Forster was born in South East London, England and began his ballet training with June Lowdell. At age eight, he joined The Royal Ballet School Associate Programme. At age 11, he commenced full-time dance training at the Elmhurst School of Dance. At age 16, he joined The Royal Ballet’s Upper School and graduated with Honors in 2005. As a student, Forster performed with The Royal Ballet, Birmingham Royal Ballet and English National Ballet. He joined American Ballet Theatre Studio Company in May 2006, the main Company as an apprentice in January 2007 and the corps de ballet in December 2007. He was appointed Soloist in September 2015. His repertoire with ABT includes the High Brahmin in La Bayadère, a Step-Sister in Cinderella, Espada and Lorenzo in Don Quixote, the second sailor in Fancy Free, Thomas in La Fille mal gardée, Ivan in Firebird, the Duke in Gaîté Parisienne, Albrecht and Hilarion in Giselle, Edward Rochester in Jane Eyre, Her Lover in Jardin aux Lilas, Jailer in Manon, the Nutcracker Prince in Alexei Ratmansky’s The Nutcracker, Chaereas in Of Love and Rage, Sergei in On the Dnieper, Prince Gremin in Onegin, Tybalt, Paris and Lord Montague in Romeo and Juliet, Zephyr in The Seasons, a Fairy Cavalier and Prince Fortune in Ratmansky’s The Sleeping Beauty, von Rothbart (Lakeside and Ballroom) and the Spanish Dance in Swan Lake, The Poet in Les Sylphides, Apollo in Sylvia, Alonso in The Tempest, Prince Coffee, Prince Cocoa and Boris Wutki in Whipped Cream, leading roles in AFTERITE, Bach Partita, Blue Pas de Deux, Her Notes, Souvenir d’un lieu cher, Monotones II, Serenade after Plato’s Symposium, Symphonie Concertante, Symphony in C, Thirteen Diversions, Troika and With a Chance of Rain, and featured roles in AfterEffect, After You, Baker’s Dozen, Company B, Deuce Coupe, Drink to Me Only With Thine Eyes, Duets, Gong, In the Upper Room, One of Three, Overgrown Path, Private Light, Raymonda Divertissements and Sinfonietta. He created Pierrot in Ratmansky’s Harlequinade, the Mouse King in Ratmansky’s The Nutcracker, the English Prince in Ratmansky’s The Sleeping Beauty and leading roles in Garden Blue and A Time There Was, and featured roles in Aftereffect (2013), Dumbarton, Everything Doesn’t Happen at Once and From Here On Out. Forster is an ABT Certified Teacher in the ABT National Training Curriculum and a certified personal trainer with NASM. Calvin Royal III began his formal dance training under the direction of Suzanne Pomerantzeff and Patricia L. Paige at the Pinellas County Center for the Arts at Gibbs High School in St. Petersburg, Florida. He was a finalist at the Youth America Grand Prix Scholarship Competition in New York City in April 2006 and joined the ABT Jacqueline Kennedy Onassis School in September 2006. He joined ABT II (now ABT Studio Company) in December 2007, the main Company as an apprentice in October 2010 and the corps de ballet in April 2011. Royal was appointed a Soloist in September 2017. His repertoire with the Company includes the title role in Apollo, a Cavalier in Cinderella, Espada in Don Quixote, the third sailor in Fancy Free, Pierrot in Ratmansky’s Harlequinade, Reverend Brocklehurst in Jane Eyre, Lescaut in Manon, the Recruit in Ratmansky’s The Nutcracker, a Carnival Dancer in Othello, Benvolio in Romeo and Juliet, the Spanish Prince and Prince Fortune in The Sleeping Beauty, von Rothbart and Benno in Swan Lake, Prince Coffee and Prince Cocoa in Whipped Cream, leading roles in Bach Partita, The Brahms-Haydn Variations, Her Notes, Piano Concerto #1, Seven Sonatas, Symphonic Variations and Thirteen Diversions and featured roles in AfterEffect, Black Tuesday, Clear, Company B, Deuce Coupe, Duets, In the Upper Room, and Sinfonietta. He created the North Wind in A Gathering of Ghosts, Bacchus in The Seasons, a Fairy Cavalier in Ratmansky’s The Sleeping Beauty, leading roles in AFTERITE, Serenade after Plato’s Symposium and Songs of Bukovina and featured roles in After You, AfterEffect, Dream within a Dream (deferred), New American Romance and Praedicere. Royal was a finalist at the 2013 Clive Barnes Awards and, in 2014, was awarded the Leonore Annenberg Fellowship Fund grant. Royal has been featured in global campaigns for GAP, Tommy Hilfiger, Calvin Klein, Target, Ralph Lauren and Canali. He was featured in the 2019 Pirelli Calendar alongside Misty Copeland, photographed by famed Scottish fashion, celebrity, and art photographer Albert Watson. Royal was named the 2020-2021 Artist-in-Residence for the Vail Dance Festival in Vail, Colorado. Cassandra Trenary, a native of Georgia, began her dance training at Lawrenceville School of Ballet. In 2006, she joined the school’s company, Southern Ballet Theatre, under the direction of Phyllis Allen and received additional training at Southeast Regional Ballet Association conventions and Brookwood High School’s Dance department. Trenary trained at American Ballet Theatre’s Summer Intensive programs as a National Training Scholar and joined the ABT Jacqueline Kennedy Onassis School in 2009. In 2011, she joined ABT II (now ABT Studio Company), the main Company as an apprentice in April of that year and the corps de ballet in November. She was promoted to Soloist in August 2015. Trenary was named a 2011 National YoungArts Foundation Winner and became a 2011 U.S. Presidential Scholar in the Arts nominee. She is also the recipient of a 2015 Princess Grace Dance Honorarium. In 2017, Trenary received the Annenberg Fellowship for Dance. Her repertoire with ABT includes Calliope in Apollo, Gamzatti in La Bayadère, an Odalisque in Le Corsaire, the Dryad Queen and Amour in Don Quixote, The Maiden in Firebird, the peasant pas de deux in Giselle, the title role in The Golden Cockerel, Columbine in Harlequinade, Mrs. Fairfax and Bertha Mason in Jane Eyre, Lescaut’s Mistress in Manon, Columbine in Ratmansky’s The Nutcracker, Olga in Onegin, a Carnival Dancer in Othello, the Youngest Sister in Pillar of Fire, a Harlot in Romeo and Juliet, The Rose in The Seasons, Princess Aurora, the Diamond Fairy and the Fairy Canari qui chante (Canary) in The Sleeping Beauty, the Young Girl in Le Spectre de la Rose, the pas de trois in Swan Lake, Ceres in Sylvia, Princess Praline in Whipped Cream, leading roles in Chamber Symphony, I Feel The Earth Move, Souvenir d’un lieu cher and Symphonic Variations and featured roles in After You, Bach Partita, Deuce Coupe, Drink to Me Only With Thine Eyes, In the Upper Room, Private Light, Raymonda Divertissements and Sinfonietta. She created the roles of a Consort in A Gathering of Ghosts, Bacchante in The Seasons, Princess Florine in Ratmansky’s The Sleeping Beauty, leading roles in AFTERITE, Her Notes and A Time There Was and a featured role in Dream within a Dream (deferred). Gabe Stone Shayer was born in Philadelphia, Pennsylvania. He began his formal training at age 11 with Alexei Boltov and Natalia Cherov. At age 14, Shayer began training at The Rock School for Dance. In 2009, he attended the Bolshoi Ballet Academy Program in Moscow and won First Place for Best Male Dancer. Shayer won the Grand Prix Award at the 2010 Youth America Grand Prix and was a finalist in the New York International Competition. He received numerous scholarships, most notably to the John Cranko School in Stuttgart, Germany and the Princess Grace Academy in Monaco. He continued his studies at the Bolshoi Ballet Academy in Moscow under the tutelage of Ilya Kuznetsov. Shayer is the first African American male to graduate from the Bolshoi Ballet Academy in its nearly 250- year history. He joined American Ballet Theatre Studio Company in September 2011, the main Company as an apprentice in April 2012 and the corps de ballet in November 2012. His repertoire with ABT includes the Bronze Idol in La Bayadère, Jester and Napoleon in Cinderella, Lankendem and Birbanto in Le Corsaire, the Lead Gypsy in Don Quixote, the peasant pas de deux in Giselle, Harlequin in Harlequinade, Mercutio in Romeo and Juliet, The Faun and a Satyr in The Seasons, Bluebird and Puss-in- Boots in Ratmansky’s The Sleeping Beauty, Neapolitan Dance in Swan Lake, Eros and Pluto in Sylvia, Ariel in The Tempest, The Boy in Whipped Cream, leading roles in AFTERITE, The Brahms-Haydn Variations, Her Notes, Piano Concerto #1 and Songs of Bukovina, and featured roles in After You, Bach Partita, Company B, Raymonda Divertissements and Sinfonietta. Shayer created a Fairy Cavalier in Ratmansky’s The Sleeping Beauty, a leading role in Serenade after Plato’s Symposium and a featured role in A Time There Was. In 2016, Shayer received the Clive Barnes Award for Dance. For information on American Ballet Theatre, online offerings and the ABT Crisis Relief Fund, please visit www.abt.org.
  19. All you Center Stage fans: CAST OF CENTER STAGE INCLUDING ZOE SALDANA, AMANDA SCHULL, SASCHA RADETSKY AND ETHAN STIEFEL REUNITES TO RAISE FUNDS FOR ARTISTS DURING THE PANDEMIC AMERICAN BALLET THEATRE PRESENTS “UP CLOSE AND CENTER STAGE” SEPTEMBER 1 AT 7:30PM EDT ON YOUTUBE NEW YORK, NEW YORK and CULVER CITY, CALIF. (August 25, 2020) – Stars of the cult classic film CENTER STAGE, including Zoe Saldana, Amanda Schull, Sascha Radetsky and Ethan Stiefel, will come together on Tuesday, September 1 for a virtual fundraiser in support of the ABT Crisis Relief Fund, which provides aid for dancers, production crew, musicians, ballet staff and faculty impacted by canceled tour engagements due to COVID-19. During the pre-recorded reunion, moderated by “CNN Newsroom” anchor Poppy Harlow, the actors will look back at the making of the film that spawned two sequels and helped bring the ballet world into the pop culture spotlight. The reunion will premiere simultaneously on American Ballet Theatre and Sony Pictures Home Entertainment YouTube channels at 7:30pm EDT. Viewers on both channels will be able to use YouTube’s integrated fundraising capabilities to donate to the ABT Crisis Relief Fund. American Ballet Theatre will also host a ticketed pre-event reception via Zoom, beginning at 6:15pm EDT. Moderated by ABT dancer Erica Lall and ABT Accelerator Co-Chair and Gagosian Gallery Director Sarah Hoover, the reception will feature an exclusive conversation with Sascha Radetsky, former ABT Soloist and Artistic Director of ABT Studio Company, Ethan Stiefel, former ABT Principal Dancer and current faculty member, and Amanda Schull. Tickets, benefitting the ABT Crisis Relief Fund, will start at $150. For more information, please email specialevents@abt.org. Center Stage, which celebrated its 20th anniversary earlier this year, follows a group of ballet students in the competitive world of professional dance where they must devote themselves to their art with the rigor of Olympic athletes. While experiencing the joys, sorrows and conflicts of youth, they vie for a place in a prestigious ballet company and strive to take center stage. Sony Pictures Television recently announced that a series based on the film is currently in development from Sweet/Vicious creator Jennifer Kaytin Robinson, Lawrence Mark, producer of the 2000 movie and its two sequels, and Temple Hill Entertainment. Center Stage is available now on disc and digital. FOR MORE INFORMATION American Ballet Theatre: https://www.abt.org/ ABT YouTube: https://www.youtube.com/channel/UCHWzHQb-KlMeAU9t2uANQhA Sony Pictures Home Entertainment YouTube: https://www.youtube.com/channel/UCqH2YMSzMaGN92Vc3VkhWnQ ABOUT SONY PICTURES ENTERTAINMENT Sony Pictures Entertainment (SPE) is a subsidiary of Tokyo-based Sony Corporation. SPE's global operations encompass motion picture production, acquisition, and distribution; television production, acquisition, and distribution; television networks; digital content creation and distribution; operation of studio facilities; and development of new entertainment products, services and technologies. SPE’s Motion Picture Group production organizations include Columbia Pictures, Screen Gems, TriStar Pictures, Sony Pictures Animation, Stage 6 Films, AFFIRM Films, and Sony Pictures Classics. For additional information, visit http://www.sonypictures.com/corp/divisions.html.
  20. This film/dance was released yesterday by NYCB: Please find the link to a short film, co-produced by New York City Ballet and Lincoln Center for the Performing Arts, below that we hope you will consider sharing it with your readers. https://youtu.be/5O6Jz7MMTII “Ces noms que nous portons” is a world premiere solo choreographed by Kyle Abraham for NYCB Principal Dancer Taylor Stanley. The film was shot on June 30 on the Josie Robertson Plaza, lit in celebration of Pride. Kyle and Taylor have written the following statement about their collaboration on Ces noms que nous portons, and encourage viewers to learn more about and consider supporting Black Lives Matter, the LGBTQ Freedom Fund, and The Okra Project. ** A message from Kyle Abraham and Taylor Stanley When we first worked together on “The Runaway” for NYCB in 2018, an instant bond was created. There was a synergy of shared experiences and shared narratives. And although our pathways and audiences may differ, we share a united sense of a weighted experience that holds our history and our art form alike. This collaboration aims to celebrate our queerness and our color in a way that hopefully stresses its importance, its fragility, and its strength. We dance, and create dances for those who have yet to see themselves on a stage. We dance, and create dances for our community and beyond. We dance, and create dances to nourish our souls. We make dances to reflect, to ask, to heal. We want to honor the lives of those who we have lost due to the color of their skin or their identity. May they remain close to our hearts and at the forefront of our actions as we continue to create, reflect, and dance. For the both of us, we commemorate our history….in PRIDE. Love, Kyle Abraham and Taylor Stanley **
  21. Interesting. Thank you. I'm obsessed with the first production of Sleeping Beauty ever since I saw the reconstruction by the Mariinsky in 1999.
  22. Here's the press release for the City Center dancing offerings: New York City Center Live @ Home virtual programming announced Ayodele Casel’s Diary of a Tap Dancer V.6: Us a seven-part performance series conceived and curated by Ayodele Casel and Torya Beard Studio 5 | Great American Ballerinas a five-part series featuring Misty Copeland, Sara Mearns, and Tiler Peck July 8, 2020 (New York, NY) – New York City Center President & CEO Arlene Shuler today announced New York City Center Live @ Home virtual programming including a newly commissioned weekly performance series conceived and curated by tap dancer Ayodele Casel, alongside frequent collaborator Torya Beard, called Ayodele Casel’s Diary of a Tap Dancer V.6: Us, and the popular Studio 5 series curated and hosted by Alastair Macaulay and featuring Misty Copeland, Sara Mearns, and Tiler Peck in a special five-part event titled Great American Ballerinas. The much-loved social media series Encores! Archives Project, which revisits selections from City Center’s illustrious musical theater vault, also continues through September. “During these uncertain and turbulent times, it is even more important that City Center provides a platform for artists to develop and share their work,” said Shuler. “I’m excited that City Center Live @ Home programming showcases some of the extraordinary dance artists who are part of our extended family. This has been a challenging time for so many and I am personally grateful for the support City Center has received from our loyal audiences. I hope you will all tune in as we launch these new online initiatives.” In keeping with City Center’s founding mission to provide access to the best in the arts for all, City Center Live @ Home programs will premiere for free on City Center’s YouTube page and website at NYCityCenter.org. Ayodele Casel’s Diary of a Tap Dancer V.6: Us For this new virtual series, Ayodele Casel, one of the “Biggest Breakout Stars of 2019” (The New York Times), has curated a group of artists who will present seven different video performances—solos and duos created and performed by a multigenerational and multicultural group—to be released weekly at 12pm beginning Tuesday, July 14 (through Tuesday, August 25). Co-directed by Casel and Torya Beard, the series is a continuation of her Diary of a Tap Dancer project and will feature performances from Casel and other tap artists including Amanda Castro, Starinah Dixon, Andre Imanishi, Ryan Johnson, Lisa La Touche, Ted Levy, Michela Marino Lerman, Anthony Morigerato, Makenna Watts, and more. Kurt Csolak serves as editor of the series, with Darren Biggart and Anthony Morigerato acting as creative producers. “We all have something to say. We have something to give, something to communicate about who we are and where we've been,” said Casel. “Diary of a Tap Dancer is predicated on the belief that by revealing our stories, we expose our shared humanity and provide a deeper understanding of how our life experience moves the dance.” Casel began her relationship with City Center in 2016 performing her solo piece, While I Have the Floor, as part of the Encores! Off-Center Jamboree and was invited that October to reprise the work as part of the Fall for Dance Festival. She choreographed and performed in the 2017 Encores! Off-Center production of Carole King and Maurice Sendak’s Really Rosie, with Torya Beard serving as assistant choreographer. Both Casel and Beard served on the Encores! Off-Center Artist Board for three years. Casel also appeared with Arturo O’Farrill and the Afro Latin Jazz Orchestra in a one-night-only event as part of the ¡Adelante, Cuba! Festival in 2018. In April 2019, Casel, along with O’Farrill, and Beard as creative director, helped launch City Center On the Move, a community engagement initiative first presented as part of City Center’s 75th Anniversary Season. In partnership with NYC Parks Arts, Culture & Fun, On the Move brings world-class artists directly to New Yorkers in their own neighborhoods. Studio 5 | Great American Ballerinas City Center’s Studio 5 goes virtual with a five-part series—Great American Ballerinas—featuring performance excerpts from three of today’s leading ballerinas: Misty Copeland, Sara Mearns, and Tiler Peck, curated and hosted by dance critic and historian Alastair Macaulay. In this special series, each dancer works in a live coaching session with another acclaimed dance artist, including Nina Ananiashvili, Merrill Ashley, Alessandra Ferri, Stephanie Saland, and Pam Tanowitz. In July, New York City Ballet (NYCB) principal dancer Tiler Peck, famous for her prodigious technique and musical skill, works with former NYCB star and ballet master Merrill Ashley, who created numerous roles for Balanchine and is credited with establishing unprecedented levels of technique in the 1970s and ‘80s. Together they will explore a selection of Balanchine solos with Ashley coaching Peck. This program begins live streaming on Thursday, July 16 at 3pm and will be available to view through Wednesday, July 22. NYCB principal dancer Sara Mearns has become known as one of America’s foremost interpreters of the dual role of Odette-Odile in Swan Lake. She will explore this classic role alongside “one of the twelve greatest ballerinas of all time” (Daily Telegraph), Georgian ballerina Nina Ananiashvili. This program begins live-streaming Thursday, July 30 at 12pm and will be available through Wednesday, August 5. In September, Peck works with former NYCB ballerina Stephanie Saland (Sep 16) on the “green” solo from Jerome Robbins’s Dances at a Gathering—the only female solo in the hour-long quintessential piano ballet. Saland was coached in the role by Robbins himself, who also choreographed a number of roles for her in the 1970s and ‘80s. Mearns also returns with choreographer Pam Tanowitz (Sep 23) to explore new solo material created for her. Both artists have extended their artistic range in recent years—Tanowitz revealing her distinct choreographic voice through a witty and inventive post-modern treatment of classical dance vocabulary and Mearns expanding her repertory to include works by modern dance pioneers Isadora Duncan, Martha Graham, and Merce Cunningham, among others. In the final program of the Great American Ballerinas series (Sep 30), Misty Copeland, the first African American principal ballerina with the prestigious American Ballet Theatre, revisits Juliet’s solo scenes in Act Three of Kenneth MacMillan’s Romeo and Juliet with international ballet star Alessandra Ferri. All virtual Studio 5 events will be streamed for one week on City Center’s YouTube page and website at NYCityCenter.org/Studio5. Following the week-long streaming period, members will receive exclusive access to an archive of the full series. For information on becoming a member (starting at $100) visit NYCityCenter.org/Support or email Membership@NYCityCenter.org. Ayodele Casel’s Diary of a Tap Dancer V.6: Us NYCityCenter.org/Tap New performances every Tue, Jul 14 – Aug 25, 12pm Ayodele Casel and special guests Amanda Castro is a multidisciplinary artist. She is a graduate of California Institute of the Arts, where she studied under Glen Eddy of Nederlands Dans Theatre and Andre Tyson from Alvin Ailey American Dance Theater. Recent credits include Singin’ in the Rain (Olney Theatre Center) and 42nd Street (Ordway Center). @acastrodance Starinah Dixon is an assistant director, choreographer, and original principal dancer of world-renowned tap company M.A.D.D. Rhythms. She has performed as a guest with companies such as Michelle Dorrance's Dorrance Dance and as a part of Savion Glover’s All Funk’d Up. Dixon has taught and performed at the most distinguished tap festivals in the country including the LA Tap Fest, DC Tap Fest, RIFF Dallas, and more. Andre Imanishi is a 2020 National YoungArts winner and was most recently seen at The Joyce Theater as part of the Ayodele Casel + Arturo O’Farrill production. His tenacious approach to training, passion for hoofing, and unique point of view, has garnered invitations to perform with Cartier Williams, the Bernstein Tribute at the Kennedy Center, Ziggity Bop, The Giz, Ayodele Casel, New York City Center’s On the Move, and more. Ryan Johnson is the co-founder and artistic director for SOLE Defined percussive dance company, and an artist-in-residence at Dance Place in Washington, DC. His work weaves together the techniques, history, and aesthetics of tap dance, body percussion, stepping, and theater to forge works that reclaim Black narratives. @rkj.dance Lisa La Touche is co-founder of Training Dayz alongside Danny Nielsen in Calgary, and founder of Tap Phonics. La Touche has performed, choreographed, and taught worldwide on various independent projects. Recent credits include Shuffle Along, choreographed by Savion Glover and directed by George C. Wolfe. lisalatouche.com Ted Levy made his Broadway debut in the smash hit Black & Blue, and collaborated with George C. Wolfe and Gregory Hines on the choreography of Jelly's Last Jam (Tony nomination, Drama Desk Award nomination, Outer Critics Circle Award). Other credits include: Spike Lee’s Malcom X, PBS’ Precious Memories (Emmy Award), Ted Levy and Friends, Dancing Under the Stars, Bring in 'da Noise, Bring in 'da Funk!, and more. @tedlouislevy Michela Marino Lerman is a globally sought-after tap dance artist, performer, choreographer, educator, and all-around creative spirit. Lerman has performed, choreographed, produced, and directed many projects throughout her career and has performed with masters including Jon Batiste and Stay Human, Savion Glover, Benny Golson, Roy Hargrove, Barry Harris, Wynton Marsalis, Cecile McLorin Salvant, Marcus Roberts, and many more. michelataps.com Anthony Morigerato is a tap dancer, producer, director, content creator, writer, and Emmy-nominated choreographer. Morigerato is the executive producer and artistic director for AM Dance Productions. He is currently the co-artistic director for American Tap Festival and Operation: Tap, and continues to teach and choreograph for dance organizations, festivals, competitions, theater schools, and dance studios all over the world. amtapdance.com Makenna Watts is a Florida-based tap artist. She is a member of Sole Talk Youth Company and has represented Florida in the Southern Open Rhythm Collective’s Youth Program. Studio 5 | Great American Ballerinas NYCityCenter.org/Studio5 Thu Jul 16, 3pm (on view through Jul 22) Tiler Peck with Merrill Ashley, Balanchine solos Thu Jul 30, 12pm (on view through Aug 5) Sara Mearns with Nina Ananiashvili, Swan Lake Wed Sep 16, 5pm (on view through Sep 22) Tiler Peck with Stephanie Saland, Dances at a Gathering Wed Sep 23, 5pm (on view through Sep 29) Sara Mearns with Pam Tanowitz, New Work Wed Sep 30, 5pm (on view through Oct 6) Misty Copeland with Alessandra Ferri, Romeo and Juliet Misty Copeland is a principal dancer at ABT. She was promoted in 2015, historically making her the first Black woman to be named a principal dancer in the company’s then 75-year history. Copeland joined ABT’s Studio Company in 2000 and the main company’s corps de ballet in 2001. She was promoted to soloist in 2007. She performed the world premiere of Kyle Abraham’s Ash, a City Center commission, at the 2019 Fall for Dance Festival. Copeland is a devoted mentor, activist, and philanthropist, as well as the bestselling author of Ballerina Body, Life in Motion, and the award-winning children’s book Firebird. She received an honorary doctorate from the University of Hartford, has been named as one of Time Magazine’s “100 Most Influential People” and Glamour magazine’s “Women of the Year,” and was honored with a Black Girls Rock! Award. Sara Mearns of Columbia, South Carolina, has been a principal dancer with NYCB since 2008. She has been a guest artist with the Paul Taylor Dance Company, Jodi Melnick Dance, and Wang Ramirez. She has also starred in the US premiere of Matthew Bourne’s The Red Shoes at City Center and performed the Dances of Isadora Duncan at both Lincoln Center and City Center’s Fall for Dance Festival. Mearns was also featured in the Fall for Dance Festival in 2013, 2017, 2018, and 2019. She has worked with world-renowned choreographers including Alexei Ratmansky and Justin Peck. In 2019, she made her City Center Encores! debut in I Married an Angel. Mearns is the winner of the 2018 Bessie Award for Outstanding Performer and a nominee for both the Benois de la Danse and Princess Grace Awards. She has partnerships with Cole Haan, Tiger Balm, and SoDanca. Tiler Peck is a principal dancer with NYCB. She has several Broadway, television, and film credits including choreography for John Wicks 3: Parabellum (2019) and a guest appearance on Dancing with the Stars. She danced at the Kennedy Center Honors twice for the Obamas. She was a “30 Under 30” in Forbes magazine and has been the recipient of several awards including a Dance Magazine Award, a Princess Grace Foundation Fellowship, and a Mae L. Wien Award. Peck has also appeared in previous City Center events including Studio 5, the 2015 and 2018 Fall for Dance Festival, and the 2016 Vail Dance Festival: ReMix NYC. Nina Ananiashvili was born in Tbilisi, Georgia. At the age of 10, she began studying ballet at the Georgian State Choreographic School and entered the Moscow Choreographic School when she was 13. Ananiashvili joined the Bolshoi Ballet upon graduating in 1981. While she was a prima ballerina there, she became a principal dancer with American Ballet Theatre and danced with The Royal Ballet, Houston Ballet, La Scala Theatre Ballet, and the Metropolitan Opera, among others. She has performed more than 100 ballet pieces and won first prizes at several international ballet competitions. In 2004, Ananiashvili took on the responsibilities of artistic director of the State Ballet of Georgia. She was awarded the Rustaveli State Prize of Georgia and the State Prize of Russia (Triumph). She is also a People’s Artist of Georgia and of the Russian Federation, and a recipient of the Georgian Order of Honor, Georgian Order of Excellence, and the Order of the Star of Italian Solidarity by the president of Italy. In 2017, she received the prestigious Order of the Rising Sun, Gold Rays with Neck Ribbon, a Japanese government honor established in 1875 by Emperor Meiji of Japan. Merrill Ashley was born in Saint Paul, Minnesota, and began her ballet training when she was seven years old. At 13, she won one of the first Ford Foundation scholarships to the School of American Ballet. In 1967, she was invited to join NYCB and was promoted to principal dancer in 1977. In addition to dancing classic Balanchine works like Concerto Barocco, Firebird, and Square Dance, Balanchine choreographed Ballo della Regina and Ballade for her. One of the great Balanchine ballerinas, Ashley retired from the stage in 1997 and currently stages and coaches Balanchine ballets around the world. The film The Dance Goodbye documents her transition into retirement. She is the author of Dancing for Balanchine and co-author of The Balanchine Essays. Born in Milan, Italy, Alessandra Ferri joined the Royal Ballet in 1980 where Sir Kenneth MacMillan selected her for leading roles in his ballets Romeo and Juliet, Manon, and Mayerling, and choreographed others for her. In 1985, Ferri joined ABT as a principal dancer. She is also a permanent guest artist at La Scala. From 2008–2014, she directed dance at the Spoleto Festival. Ferri choreographed The Piano Upstairs, written by John Weidman, and was directed by Martha Clarke in Cherì. Other roles created for her includes Virgina Woolf in Wayne McGregor’s Woolf Works and Eleonora Duse in John Neumeier’s Duse. She premiered McGregor’s Witness with Herman Cornejo at the 2016 Fall for Dance Festival and AFTERITE for ABT in 2018. In 2019, with Cornejo, Ferri inaugurated the new Linbury Theatre at the Royal Opera House with Trio ConcertDance. Ferri received numerous international awards including two Sir Lawrence Olivier Award, the Dance Magazine Award, and the Benois de la Danse. During her long career with NYCB, Stephanie Saland performed in leading roles under Balanchine's direction and received guidance from Jerome Robbins for two decades. Saland was a guest performer in Nureyev and Friends, Giselle with Alexander Godunov, and numerous Live from Lincoln Center broadcasts. Since 1993, she has been a freelance instructor based in Seattle where she continues to teach, coach, and mentor throughout the US and internationally. Saland is inspired and informed by non-ballet modalities and is working to evolve a teaching style that synthesizes and provides a creative response to the valuable aspects of these approaches. Pam Tanowitz is a New York-based choreographer and founder of Pam Tanowitz Dance. Her work was selected by The New York Times’ “Best of Dance” from 2013 to 2015 and 2017 to 2019. Tanowitz’s 2017 New Work for Goldberg Variations, created in collaboration with pianist Simone Dinnerstein, was called a “rare achievement” (The New York Times). Her most recent work, Four Quartets (2018), inspired by T.S. Eliot’s literary masterpiece and set to music by Kaija Saariaho, was called "the greatest creation of dance theater so far this century” (The New York Times). Tanowitz’s work was featured at The Juilliard School and City Center’s Fall for Dance Festival in 2012, 2015, and 2018. Her piece One Last Good Chance was co-commissioned by the Fall for Dance Festival and Vail International Dance Festival in 2015. Tanowitz’s honors include two Bessie awards in addition to numerous commissions and fellowships. Alastair Macaulay was chief theater critic of the Financial Times from 1994 to 2007, and chief dance critic of The New York Times from 2007 to 2018. In 1983, he was founding editor of the British quarterly Dance Theatre Journal, and in 1988 and 1992, he was guest dance critic to The New Yorker. He has written the short biography Margot Fonteyn (1998) and the extensive book of interviews Matthew Bourne and His Adventures in Dance (2011). He has convened a series of seminars at the New York Public Library for the Performing Arts on ballets from Giselle to Afternoon of a Faun and has given public presentations there on dance from The Sleeping Beauty to Merce Cunningham. A Director’s Fellow at the NYU Center for Ballet and the Arts in 2020, he is working on a critical biography of Merce Cunningham. NEW YORK CITY CENTER (Arlene Shuler, President & CEO) has played a defining role in the cultural life of the city since 1943. The distinctive neo-Moorish theater welcomes over 300,000 annual visitors to experience internationally acclaimed artists on the same stage where legends like George Balanchine, Leonard Bernstein, and Barbara Cook made their mark. Its landmark 75th Anniversary Season (2018 – 2019) paid tribute to this rich history and celebrated the institution’s singular role in the arts today. City Center’s Tony-honored Encores! series has celebrated the tradition of American musical theater for over 25 years. In 2013, City Center launched the Encores! Off-Center series, which brings today’s innovative artists into contact with groundbreaking musicals from the more recent past. Dance has also been integral to the theater’s mission from the start and programs like the annual Fall for Dance Festival, with all tickets $15, remain central to City Center’s identity. Home to a roster of renowned national and international companies including Alvin Ailey American Dance Theater (City Center’s Principal Dance Company) and Manhattan Theatre Club, New York City Center is Manhattan’s first performing arts center, founded by Mayor Fiorello La Guardia with the mission of making the best in music, theater, and dance accessible to all audiences. That mission continues today through its dynamic programming, art exhibitions, studio events, and master classes, which are complemented by education and community engagement programs that bring the performing arts to over 11,000 New York City students, teachers, and families each year. NYCityCenter.org
  23. DTW in Works & Process, including an excerpt from The Four Temperaments: https://www.youtube.com/watch?v=0F1FHvazGrQ ETA - not a performance. Zoom talk about the piece and coaching it.
  24. City Center has an interesting offering: https://www.nycitycenter.org/pdps/2019-2020/live-at-home/studio-5/ Live @ Home Studio 5 | Great American Ballerinas Event Jul 16 & 30 and Sep 16, 23 & 30 All programs are on view for seven days following the first airing Overview American Ballet Theatre (ABT) principal dancer Misty Copeland and New York City Ballet (NYCB) principal dancers Sara Mearns and Tiler Peck each work closely on performance excerpts with another acclaimed dance artist in this virtual five-part Studio 5 series curated and hosted by dance critic and historian Alastair Macaulay. Participating guests include Nina Ananiashvili, Merrill Ashley, Alessandra Ferri, Stephanie Saland, and Pam Tanowitz. All virtual Studio 5 events will be streamed for one week on City Center’s YouTube channel and can also be viewed below on this page. Following the week-long streaming period, City Center members will receive access to an archive of the full series. Studio 5 | Great American Ballerinas is part of City Center’s Live @ Home virtual programming and includes the following events. Tiler Peck with Merrill Ashley On view from Thu Jul 16 at 3pm Sara Mearns with Nina Ananiashvili On view from Thu Jul 30 at 12pm Tiler Peck with Stephanie Saland On view from Wed Sep 16 at 5pm Sara Mearns with Pam Tanowitz On view from Wed Sep 23 at 5pm Misty Copeland with Alessandra Ferri On view from Wed Sep 30 at 5pm All programs are on view for seven days following the first airing. Want to enjoy all Studio 5 | Great American Ballerinas virtual events anytime you like? Become a Friend of City Center today to receive exclusive access to an archive of the full five-part virtual Studio 5 series and other great benefits. Memberships start at $100. Join today! Schedule TILER PECK WITH MERRILL ASHLEY Thu Jul 16 at 3pm On view for seven days through Wed Jul 22 In the first program of the series, NYCB principal dancer Tiler Peck, famous for her prodigious technique and musicality, works with former NYCB star and ballet master Merrill Ashley. Ashley created numerous roles for George Balanchine and is credited with establishing unprecedented levels of technique in the 1970s and ‘80s. Together they will explore a selection of Balanchine solos with Ashley coaching Peck live. SARA MEARNS WITH NINA ANANIASHVILI Thu Jul 30 at 12pm On view for seven days through Wed Aug 5 NYCB principal dancer Sara Mearns has become known as one of America’s foremost interpreters of the dual role of Odette-Odile in Swan Lake. She explores this classic role live alongside Georgian ballerina Nina Ananiashvili—a former principal dancer with Bolshoi Ballet and ABT, among others, and widely known as “one of the twelve greatest ballerinas of all time” (Daily Telegraph). TILER PECK WITH STEPHANIE SALAND Wed Sep 16 at 5pm On view for seven days through Tue Sep 22 NYCB principal dancer Tiler Peck works with former NYCB ballerina Stephanie Saland on the “green” solo from Jerome Robbins’s 1969 classic Dances at a Gathering. The only female solo in the hour-long quintessential piano ballet, Saland was coached in the role by Robbins himself who also choreographed a number of roles for her in the 1970s and ‘80s. SARA MEARNS WITH PAM TANOWITZ Wed Sep 23 at 5pm On view for seven days through Tue Sep 29 NYCB principal dancer Sara Mearns works with choreographer Pam Tanowitz to explore new solo material created for her. Both artists have extended their artistic range in recent years—Tanowitz revealing her distinct choreographic voice through a witty and inventive post-modern treatment of classical dance vocabulary and Mearns expanding her repertory to include works by modern dance pioneers Isadora Duncan, Martha Graham, and Merce Cunningham, among others. MISTY COPELAND WITH ALESSANDRA FERRI Wed Sep 30 at 5pm On view for seven days through Tue Oct 6 In the final program of the series, Misty Copeland, the first African American principal ballerina with the prestigious ABT, revisits Juliet’s solo scenes in Act Three of Kenneth MacMillan’s Romeo and Juliet to demonstrate how a ballerina continually refines her repertory, along with international ballet star and ABT principal dancer Alessandra Ferri. All programming subject to change.
  25. New blog: AMERICAN BALLET THEATRE LAUNCHES SIDEBARRE, A WEEKLY BLOG SERIES FEATURING A BEHIND-THE-SCENES LOOK AT THE ABT COMMUNITY SideBarre, a weekly blog series featured on www.abt.org/blog/sidebarre/, takes readers on a journey of ABT behind-the-scenes with posts from ABT dancers and conductors, staff and production crew. SideBarre offers insights from a cross-section of the Company. Check in each week to hear from members of the artistic, education, music, make-up and wardrobe departments about their careers, mentors and memorable moments. “ABT SideBarre is a window to discover the extraordinary individuals who work behind the scenes at ABT, as well as to discover new dimensions of the performers we all admire on stage,” said Executive Director Kara Medoff Barnett. “During the pandemic, with live performances on pause, we have asked ABT talent to reflect and share their stories. We invite you to enjoy these thoughtful essays and to revisit the SideBarre frequently!” For more information on ABT or to donate to the ABT Crisis Relief Fund, please visit www.abt.org.
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