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Thursday, September 15


dirac

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An interview with Richmond Ballet's Garret McNally.

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After being promoted to Richmond Ballet’s main company this summer, Mr. McNally’s days are all about dance. It can be hard on the body and on the bank account, but Mr. McNally said he finds ways to make it work.

“I’m not in it for the money, I’m doing it for me. I need to dance.”

 

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The Atlanta Ballet rehearses "In Creases."

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Peck wasn’t able to travel to Atlanta to set “In Creases” on the company. Instead, he communicated with the dancers on Zoom, while his longtime répétiteur Michael Breeden worked with the dancers in person. “I communicate a lot through metaphor and imagery,” Peck says, “and that can still be done to great effect with Zoom and video.” He and Breeden worked together to decide which eight dancers to cast in the ballet, with Peck having the final say.

 

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Robert Garland will take over from Virginia Johnson at Dance Theatre of Harlem.

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With Garland, Dance Theater of Harlem will remain in the hands of someone with deep roots in the organization: He was mentored early on by Mitchell, becoming a principal dancer in the company and then its first resident choreographer. In that role, Garland has created celebrated works, including “New Bach,” a homage to Balanchine with touches of African American vernacular dances, and “Higher Ground,” a ballet set to a selection of socially and politically minded songs by Stevie Wonder.

 

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Misty Copeland launches her "Be Bold" program.

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Now Copeland, 40, would like to provide similar experiences to a new generation of dancers, especially Black and Latino students, who are underrepresented in ballet. She announced on Thursday that she was starting a free, 12-week program for children 8 to 10 years old, beginning this month with about 120 students at two Boys and Girls Clubs in New York City.

 

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