Mondays at DT equal "city.ballet." recaps, and we’ve now made it to one of my favorite episodes: “Relationships.” This is the really juicy stuff that rarely makes it past the City Ballet threshold, unless the relationship develops into marriage—at which point it becomes public domain.
We’re given glimpses into the relationship histories of two well-known City Ballet couples, Robert Fairchild/Tiler Peck (now engaged) and Megan Fairchild/Andy Veyette (married). It’s impossible not to be charmed by Peck’s sheepish recounting of her off-and-on teenage relationship with Fairchild, just as it’s hard not to smile at Fairchild’s obvious pride over their engagement. But I’m actually much more partial to the other Fairchild, Megan, and her husband Andy. His sense of humor is two parts pure wit and one part sweet sarcasm (“We got married because I could not deal with how awkward it would be if we broke up”), and she seems incredibly down-to-earth. A bit of further investigation, via The New York Times’ vows section, reveals that the two were pretty much polar opposites when they met.
Principal Sara Mearns and soloist Georgina Pazcoguin are surprisingly open about their relationship trials and tribulations, though they are careful not to name names. Mearns admits that she formerly dated someone still in the company, but things are still adult and professional between the two of them. In fact, she says, he’s now one of her favorite partners. Pazcoguin slyly cops NYCB’s penchant for “many an interoffice love affair,” but she is equally professional regarding her company ex(es), mandating that no matter what happens offstage between her and her partner, she will make sure the two of them are radiating nothing but unconditional love onstage together.
I do wish the webisode had spent a little more time discussing the sibling dynamics at City Ballet, though. There are three sets of siblings at the company—Tyler and Jared Angle, Megan and Robert Fairchild, Jonathan and Abi Stafford. It’d be interesting to see if those relationships have any effect on rehearsals or performances.
Finis Jhung's career as a professional dancer began in 1960 in the Broadway and national companies of Flower Drum Song. The Korean-Scottish-English Hawaii native then went on to dance with San Francisco Ballet and the Joffrey Ballet, found his own company, Chamber Ballet USA, and teach his unique classical ballet style to professionals and amateurs all over the world. Now, at age 80, his teaching has gone full circle back to the basics, primarily focusing on what he calls his "adult babies"—absolute and advanced adult beginners—at The Ailey Extension in New York City.
As the director of dance at Fred Astaire Dance Studio in Belmont, Massachusetts, Istvan Cserven organizes the biannual student showcases, prepares dancers for competition and trains new instructors. On top of all that, he teaches the upper-level technique classes. A former ballroom champion in Hungary, he is well-acquainted with both rhythm and smooth ballroom-dance styles.
In an event inspired by the words of President John F. Kennedy, The Washington Ballet will perform the world premier of WHO WHEN WHY this Saturday, June 24, at the Smithsonian American Art Museum's Kogod Courtyard.
After having spent a lifetime looking at ourselves in the mirror, constantly appraising, who of us wouldn't want to take a dance class in the dark? Two Australian dance students, Alice Glenn and Heidi Barrett, had the same thought in 2009 when they founded No Lights No Lycra, a global dance community that offers dancers and nondancers alike the chance to get their groove on in a dark space, where there's no light, no Lycra, no technique, no teacher and no steps to learn. It's just a place to lose yourself in the music and find your own dance mojo. The event became so popular that it spread past its Melbourne beginnings, first throughout Australia and now, globally.
Four incredible educators: Joanne Chapman, Claudio Muñoz, Pamela VanGilder and Kathleen Isaac foster their students' love of dance, whether instilling artistry, offering rigorous training or giving special needs students an outlet through movement.