Baryshnikov Moves in "Man in a Case"

Tymberly Canale and Mikhail Baryshnikov in "Man in a Case"

Mikhail Baryshnikov's latest project, “Man in a Case,” made a spectacular premiere at Hartford Stage last weekend. The show is unique: a stage adaptation of two Anton Chekov short stories, presented one after the other.

Under the direction of Brooklyn–based Big Dance Theater's Annie-B Parson and Paul Lazar, Baryshnikov and six cast members blend pedestrian choreography and gestures with dialogue and video projections to drive action and illustrate emotion in the play.

With his resonant speaking voice, spot-on comedic timing and, of course, his movement, the ballet icon draws in the audience. Even his hand gestures mesmerize.  And just before the end of the first story dance fans are rewarded with a brief but entrancing Baryshnikov solo. It lasts just thirty seconds, but the moment of pure Misha movement is, in itself, worth the price of admission.

"Man in a Case" continues through March 24.

Photo by T. Charles Erickson


Teacher Voices
Getty Images

In 2001, young Chanel, a determined, ambitious, fiery, headstrong teenager, was about to begin her sophomore year at LaGuardia High School of Music & Art and Performing Arts, also known as the highly acclaimed "Fame" school. I was a great student, a promising young dancer and well-liked by my teachers and my peers. On paper, everything seemed in order. In reality, this picture-perfect image was fractured. There was a crack that I've attempted to hide, cover up and bury for nearly 20 years.

Keep reading... Show less
Health & Body
Getty Images

Though the #MeToo movement has spurred many dancers to come forward with their stories of sexual harassment and abuse, the dance world has yet to have a full reckoning on the subject. Few institutions have made true cultural changes, and many alleged predators continue to work in the industry.

As Chanel DaSilva's story shows, young dancers are particularly vulnerable to abuse because of the power differential between teacher and student. We spoke with eight experts in dance, education and psychology about steps that dance schools could take to protect their students from sexual abuse.

Keep reading... Show less
Nan Melville, courtesy Genn

Not so long ago, it seemed that ballet dancers were always encouraged to pull up away from the floor. Ideas evolved, and more recently it has become common to hear teachers saying "Push down to go up," and variations on that concept.

Charla Genn, a New York City–based coach and dance rehabilitation specialist who teaches company class for Dance Theatre of Harlem, American Ballet Theatre and Ballet Hispánico, says that this causes its own problems.

"Often when we tell dancers to go down, they physically push down, or think they have to plié more," she says. These are misconceptions that keep dancers from, among other things, jumping to their full potential.

To help dancers learn to efficiently use what she calls "Mother Marley," Genn has developed these clever techniques and teaching tools.

Keep reading... Show less

Get Dance Business Weekly in your inbox

Sign Up Used in accordance with our Privacy Policy.