Ballet Is Woman

George Balanchine used to say "ballet is woman." However, if ballet is woman, how come it doesn't always feel that way? 

Women are obviously at the forefront of the art form. Hence the famous quote from the founder of the New York City Ballet. George Balanchine himself always made the ballerina the star, and the men were placed there just to serve her. Also, most 'normal' people (aka non ballet dancers) visualize a ballerina as a woman in a tutu with her pointe shoes, not a male in tights. Let's also take note here, that there really isn't a name for a male ballet dancer in the English language. There is only the word 'ballerina,' and it is meant for the fairer sex. 

However, being that ballet is centered around the ballerina, how come there aren't a lot of females in leadership positions? Where are the female directors and female choreographers? The ballet world is mainly run by males. This issue is also more pronounced in the ballet world than in other forms of dance. Ballet is stuck in the past, and we need to push it forward into the 21st Century.

The discussion of gender is obviously a hot button issue nowadays. I already discussed the issue of gender within the ballet world with an earlier post about English National Ballet's first gender fluid ballerina. This was a discussion about gender fluidity. This current post is different. In this post, I would like to focus specifically on females and their leadership roles within the art form, or lack there of. The #MeToo movement brought the discussion of gender into our homes and also into our theaters. Now the ballet world needs to hold the mirror up to nature and needs to address their issues head on. And one of the biggest issues, is the lack of female choreographers. 

Who knows how we got here. Especially because back in the early days of ballet, there were influential females running the ballet world. For example, Catherine de Medici (wife of King Henry II of France) is credited with bringing ballet from Italy to France. If it wasn't for her influence and her generous patronage, King Henry XVI (The Sun King) would never have discovered the art form and it may have never developed into what it is today. 

Catherine de Medici

There were also multiple influential female choreographers in the 1920s, 30s, and 40s. And that is saying a lot because women just earned their most basic civil rights in America in the 1920s. However, women were taken more seriously as choreographers then, than they are now in the 21st Century. 

Interesting right?

In the 1920s there was Bronislava Nijinska, who was a famous female choreographer with Diaghilev's Ballets Russes. Nijinska amongst the other greats from that era, like Balanchine, helped create the new movement that formed the neoclassical movement within the art form. 

Bronislava Nijinska

In Michael Cooper's article for The New York Times "Breaking the Glass Slipper: Where are the Female Choreographers?", he mentions other influential female choreographers like Ninette de Valois (pictured left) from the 1930s, and Agnes de Mille (pictured below) from the 1940s. Both created influential works that still exist today, especially Agnes de Mille. Her work Rodeo for American Ballet Theater is a pivotal work that is still performed by the company she created it on, and other companies throughout the world. 

Since the 1940s, there has been an overflow of male choreographers and barely any female choreographers following in the footsteps of their female predecessors. The hot new choreographers in the ballet world right now are Justin Peck, Alexei Ratmanksy, and Christopher Wheeldon. There are females trying to burst into the business but these three males have a stronghold and they are controlling the scene. Don't get me wrong, they all equally deserve the praise and attention because their choreography has proven to be fantastic and game-changing, but they have a monopoly that is preventing other females from earning the commissions. 

How do we fix that? Well there are three female choreographers that have made their mark, and I believe their new success is worth analyzing, to see if we can learn from them. 

• Crystal Pite: Crystal danced with Ballet Frankfurt while William Forsythe was the director, so obviously he must have been a big influence on her and her choreography. She made her first ballet in 2002 and created her most popular ballet Emergence for the National Ballet of Canada in 2009. This award winning ballet is so popular, that it has been danced by many other major ballet companies. 

Pacific Northwest Ballet performing Crystal Pite's Emergence

• Annabelle Lopez Ochoa: Annabelle has created works for 50 different major dance companies all over the world. Her most notable work is probably her first full-length ballet Streetcar that was both critically acclaimed and won awards as well. She is debatably, the most sought after female choreographer in the ballet world right now. 

Scottish Ballet performs Annabelle Lopez Ochoa's Streetcar

• Lauren Lovette: Lauren is worth mentioning because at the young age of 26 and all the while dancing full time as a principal dancer with the New York City Ballet, she has already choreographed two major works at NYCB along with other notable works for schools and festivals. She is just starting out, but she is a force to reckon with. 

Lauren Lovette discusses being a choreographer

What all three of these women have in common, is that they were given a platform to explore their creativity. They were given a chance. They were nurtured by other choreographers. Also, some male choreographers actually used their male privilege to push their female protégés forward. We need to learn from this and we need to give more chances to other female choreographers. 

And you know what? Some companies are actually listening.  Several companies (hopefully it was for reasons other than good press) are starting their own choreographic initiatives that focus exclusively on female choreographers. 

American Ballet Theater announced in May that they plan to create The ABT Women's Movement which will support at least three new female choreographers each season. This grew out of an initiative that they already had which had already supported works by Lauren Lovette and other female choreographers. Even though this initiative is still in its early stages, it is promising. Especially since American Ballet Theater housed the famous Agnes de Mille, they needs to step it up and fill the void that she left behind with fresh new female talent. 

New York City Ballet is another company that started a female choreographer initiative after being panned in the press when their 2015 fall season featured five new choreographers that were all white and male. Since that wake up call, they developed a new initiative through their Choreographic Institute and The School of American Ballet. They are starting them young and nurturing the talent while the young women are still at the school, and still developing themselves as dancers and creative beings. 

It's a start but there is so much more to go. At least the dialogue has started. We also need to stop making excuses as for why there aren't many female choreographers. An article published in The New York Times by Gia Kourlas asked many leaders within the dance world both male and female why there is an absence of female choreographers and the answers were just one excuse after another. We need to stop pushing the blame onto others and take responsibility for our mistakes and push forward. 

Diversity of voices is key in any art form. Diversity of backgrounds and opinions can push any work of art to the next level. The female perspective is also important and should be valued in the ballet world. Because females are at the forefront of the art form they need to take charge of the narrative. It should be "ballet is woman" instead of "ballet is man's version of woman" as Pam Tonawitz (a female choreographer) has been quoted. 

Everybody can lend a helping hand to fix this issue. We can look to role models from the past like Catherine de Medici, Bronislava Nijinska, Ninette de Valois, and Agnes de Mille. We can look at the female choreographers from the 21st Century like Lauren Lovette, Annabelle Lopez Ochoa, and Crystal Pite and follow their example. Male Choreographers like Justin Peck, Christopher Wheeldon, and Alexei Ratmansky can use their influence to nurture future talent. Directors of companies can take a chance on a female choreographers and dancers can treat them with the respect they deserve. 

All in all, I am happy the discussion has started. It means the change is starting. The most important thing is to keep the art form alive and to fill those seats with patrons every night. The art form needs to adapts to 21st Century audiences or it will die out when it's audience dies out. A way they can do that, is by incorporating diverse voices and diverse experiences on the stages every night, especially in New York. Everything on the New York stage needs to reflect the diversity of that great city. And right now, we are falling short. 

A Tale of Love Between Two Companies

Two ballet companies, both alike in dignity,

In fair New York City where we lay our scene,

...a pair of star-cross'd lovers meet and fall in love. 

Photo of Lincoln Center in New York City including The David H. Koch Theater (left) and The Metropolitan Opera House (right).

Please excuse the butchering of the prologue of Romeo and Juliet by William Shakespeare (with certain modifications by me), but the following story is a tale of two ballet dancers from rival New York based ballet companies and their love story. I promise this one has a happy ending! (Well so far, at least.) 

Once upon a time, there was a man who danced in American Ballet Theater. Let's call him "J." He was thirty years old, devastatingly handsome, charming, and not to mention a great ballet dancer. He had recently returned to the stage after an injury that almost ended his dance career prematurely. He made a full recovery and was back to his glory on the stage of the Metropolitan Opera House in Lincoln Center. 

Enter a woman, a brand new dancer with the New York City Ballet. Let's call her "K." She had big eyes that soaked up her new environment like a sponge. She was only twenty years old and had her whole career in front of her at Lincoln Center's David H. Koch Theater. Little did she know that the love of her life was just across the plaza. 

K and J finally met one fateful night on the roof of a friend's apartment building. They were introduced by a mutual friend. They flirted a little but to no end, because K was intimidated by J's status, and J didn't want to get involved with a younger girl at that point in his life.

However, fate kept bringing them together. They continued to casually bump into each other at the neighborhood dancer hangout, until one night they exchanged numbers. Then they kept bumping into each other on purpose, while still playing it cool (of course). 

In January of 2010, K invited J to her friend's 21st birthday party. It was an innocent invitation, or so K thought. J however, thought she extended the invite because she wanted him there as her romantic interest. All in all, by the end of the night they decided to go on their first date. 

After their first date they couldn't get enough of each other. They shared a lot of interests. Obviously their love for ballet being one, and they enjoyed debating about different ballet styles and techniques into the wee hours of the night. It was exciting, because it was somewhat of a forbidden love. 

Cross company dating barely happens. The reason is that the two companies have completely different performance schedules and every spring ABT and NYCB compete in Lincoln Center. Both ballet companies perform every spring in Lincoln Center right across the plaza from each other. They share the same audience members and every night it is a competition to see who sells the most tickets, and who has the best show. 

It was difficult at first. They had to learn how to mesh their friend groups from both companies. They also had to learn how to balance their work schedules, so they could schedule date nights. But they loved each other, and always found time for each other. K and J discovered that they actually had the best of both worlds. They shared the same experiences of company life, but they didn't have to work together. They could keep their work lives separate, but they each understood the sacrifices necessary to work for a major professional ballet company. It was the perfect match. 

Eventually J retired and K supported him through his career transition. The relationship has continued happily for eight years. Finally (said all of their friends and family) in April 2018, J asked K for her hand in marriage. And they lived happily ever after!

Vale Jewelry 

The key to their success you ask? They claim it is because they both have a passion for ballet and understand the stresses of working in a major ballet company, but they never worked together. They have the luxury of sharing in the same crazy ballet world, but they always left their personal lives at home, instead of dragging it into the office everyday. 

The moral of this story is DO NOT DATE WITHIN YOUR OWN DANCE COMPANY. Just don't do it. It barely ever works out. I have seen many a work relationship crumble in front of my eyes. They get sick of each other, because they spend all day, every day, together. I believe it is important in a relationship to be your own self. To have to have your own interests and your own passions. Absence makes the heart grow fonder. That saying was developed for a reason.

I realize the temptation is almost too hard to resist. You are kept in close quarters with other company members all day long. There is touching and emotions are always running high. It is also super convenient to date somebody you work with, because you don't have to put yourself out there on your one night off, and you don't have to arrange your schedule to make time for them. 

However, if you learn anything from this, my true love story, learn that it is possible to find love outside of the company. It doesn't have to be a dancer from another company it could be somebody in finance or a rockstar. Either way, just please don't dip your pen into the company ink. It isn't worth the pain and heartbreak. And remember if you break up, you still have to dance alongside that person every day. 

Make the extra effort to find the person that is right for you. It is possible to have it all!  

The Future of Ballet As Told By Center Stage

When the movie Center Stage premiered, I was an eleven year old budding ballerina. Little did I know at that time, that I would be on my way to the school that inspired the film, the School of American Ballet. 

This poster brings back so many good memories!

By the time I was sixteen, the film was a cult classic in the ballet world. We would watch the movie on loop in the dorms, because the dancers in the film were superstars in the ballet world, dancers like Ethan Stiefel, Sascha Radetsky, and Julie Kent. Also recognizable in the background were New York City Ballet dancers Janie Taylor, Jared Angle, Craig Hall, Rebecca Krohn and Jonathan Stafford. We simply couldn't get enough of their younger selves personified on the big screen. 

Now as a corps de ballet member with the New York City Ballet, I've had the pleasure of meeting some of these superstar dancers both from ABT and NYCB. Not going to lie, I maybe freaked out a little the first time I met some of them. After speaking with them about the movie (because I just had to bring it up), I became aware that this film only speaks to a certain generation (Millennials). The Gen X dancers were either in the film or already involved in their own careers to appreciate it. And the Gen Z dancers are streaming dance documentaries with the click of an Apple TV remote. 

So why does this movie speak only to Millennials? Well for starters it is because of the reason I listed above, massive principal dancer star power. Second, as a former student of the School of American Ballet, it feels like I actually lived it. While I was a student, a principal dancer was secretly dating a student just like in the movie, and a mom of an advanced student was working on the administrative side of the artistic staff just like in the movie. Crazy right? Third, there were common themes like anorexia, bulimia, the stresses of preparing for the Workshop, wondering if you were going to get a spot in the company, dating for the first time, and experiencing life as a teenager in the city. This movie spoke to us as Millennial teenagers going through this process, and while reminiscing, I couldn't be happier that we found something to relate to in this crazy world. 

After reflecting fondly on this movie, I decided to watch it again this summer. I followed my own advice from a former post, Summer Ballet Fix, and watched a silly movie with some of my closest friends while we shared a house on tour in Saratoga Springs. 

Well let me tell you, this movie is better now than it was when I first watched it! You want to know why? Well, I noticed that three out of the four members of the New York City Ballet interim team are in the movie. Yes, you heard me right. Three out of four of my current bosses are dancers in the background of my favorite film, and it was a hoot to watch them as innocent young dancers, with no idea of what's to come. 

Jonathan Stafford, Rebecca Krohn, and Craig Hall (Justin Peck is a Millenial so therefore not in the film) the current members of the New York City Ballet interim leadership team, were semi featured in the film. Jonathan, the leader of the team, is memorable for marking (step touch, step touch, pas de bourrée, double pirouette) in the back of Cooper Nielson's new ballet for the student workshop. Rebecca Krohn was in the background of all the ballet classes and performances as we as Craig Hall. 

This got me thinking. Does Center Stage tell the future of ballet? Was the film wise beyond it's years? Did the casting agents realize the true potential of some of these dancers? There are so many future professional dancers in that film just starting out, that grow up to be superstars. Not to mention the three members of the interim team that are currently now leading the New York City Ballet. Who would have thought?

Since Center Stage, no other ballet film had that much star power from different ballet companies all over the United States. Who knows if it was the film, or if at that time there was a burst in talent in the ballet world. Either way the film showed us the future and we didn't even realize it. The "students" in Center Stage are now leading professional ballet companies. The future of ballet was right there on the silver screen and we had no idea!

Thank you for indulging my love of Center Stage and also my crazy conspiracy theories about how the film was foreshadowing the future of ballet while also acting as a guide for my young teenage self. Needless to say, I still recommend it to every budding ballerina and male dancer. You can learn a lot about this crazy world, while also watching some ballet superstars in their awkward teenage years. It's the perfect package. 

Discussion with Haglund

Anybody looking for some juicy ballet gossip with a side of sass? Well besides my blog (insert hair flip emoji here), Haglund's Heel is my favorite go to blog for all the drama. I love some good tea, and Haglund never fails to serve it. However, I don't usually involve myself in the discussion, until now. 

While scrolling through Haglund's blog, I noticed that Haglund also reviewed ABT's Harlequinade. I posted my own review here in Bullet Pointes on June 19th, after I attended the performance on June 8th. Haglund reviewed the same cast as me, and it seems like we share a few of the same opinions. Especially, our thoughts on Sarah Lane's performance.

Haglund enjoyed her performance so much, that they awarded Ms. Lane the famous H.H. Pump Bump Award. Click here to read Haglund's full review of American Ballet Theater's Harlequinade. Also make sure to check out the super cute pump he awarded the prima ballerina. 

After reading through Haglund's post, I wish they elaborated more on what they actually enjoyed about Sarah Lane's performance. I was so curious as to why the award was given to Ms. Lane, that I decided to comment and ask. 

Hey Haglund,

Can you elaborate on what you loved about Sarah Lane's performance that evening? Unfortunately, that was the only cast I was able to see that week. However, she blew me away when I saw the performance on June 8th at 8pm. She breezed through the extremely difficult choreography with ease and grace. Were the other trinas able to pull off those hops on pointe the way she did? Just curious. 

Also, that was a fantastic analogy. Couldn't have said it better myself. Totally captured how I felt about the reconstruction of this dated ballet.

Haglund never fails to respond to a good question, especially one from a fan. Haglund responded a little over 24 hours later.

Hi, Kristen.

I saw Sarah's performance and the opening night when Isabella Boylston managed the hops on pointe in a rather anxious and lumbering fashion. I didn't see the other two casts.

I wish Haglund elaborated more on what he liked about Ms. Lane's performance, but nevertheless I am happy I received a prompt response. However, I am thankful Haglund answered my second question. Seems like the other principal ballerinas were not as proficient in their hops en pointe as Sarah Lane.  

After reading Haglund's response, I am happy I was able to see the cast featuring Sarah Lane as Columbine. Good for you Sarah Lane! Can't believe it took them so long to promote you to principal dancer! Glad to see you thriving. 

Review: ABT's New Harlequinade

American Ballet Theater’s new Harlequinade was a feast for all senses. The costumes, the music, the dancers, and the choreography all worked together to create a stunning performance at the Metropolitan Opera House on Friday, June 8th at 8pm. Alexei Ratmansky has done it once again.

With the help of his wife Tatiana, Alexei Ratmansky has been reconstructing different ballets by Marius Petipa using Stepanov notation found at the library at Harvard. Last time it was Sleeping Beauty, powdered wigs and all. This time it was Petipa’s famous commedia dell’arte, Harlequinade. 

This was an odd choice of ballet by Mr. Ratmansky as noted by Brian Seibert, a critic from the New York Times. Mostly, because Harlequinade isn’t your typical story ballet. It is not as familiar as Sleeping Beauty, probably because the story hasn’t been Disneyfied. Also, there are only two other versions currently done in the world, and one is often danced right across the plaza by the New York City Ballet at the David H. Koch Theater. 

However, Ratmansky has a talent for breathing new life into a dated story. One of his strong suits is his comedic timing evident in almost every ballet he does. Even though this was a reconstructed work by another choreographer, you could still find some of Ratmansky’s unique humor throughout the evening. 

One particular section that had the audience rolling, was when Léandre (the heroine Columbine’s wealthy suitor) showed up with his two lackeys to serenade Columbine with his poor singing. Keith Roberts played this role with aplomb and his two lackeys, played by Carlos Gonzalez and Luis Ribagorda, were the perfect goading sidekicks.   

Another highlight was Ms. Sarah Lane, the true star of the evening. Sarah played Columbine with grace and ease even while she was dancing the most difficult choreography compared to her costars. During one of her variations she had to do rotating hops on pointe while also performing a grand rond de jambe with her leg. It was extremely impressive and had both my guest and I grabbing each other with excitement.  

My only qualm with Ms. Lane, was that her shoes were very loud. It was distracting as an audience member. After watching her hop en pointe throughout the ballet, I understood why she needed those hard shoes, but I wish that next time she performs she could take some time to bang her shoes against the wall. A technique often used by ballerinas so their pointe shoes don’t make so much noise.  

After reviewing the performance, I believe that this ballet is a must see for theatergoers in New York City. It might not be the best ballet for ABT's Met season audience (there wasn't much applause at the end of the ballet) but if you are a fan of commedia dell'arte, Harlequinade will keep you laughing in your seat. Sometimes it is nice to go to the ballet and laugh instead of cry.