Just for fun

Five of Our Favorite Ballet Trailers

Bucharest National Ballet's 2013 trailer for "La Sylphide,' via YouTube

Few things are more powerful for promoting ballet performances than captivating trailers—especially in today's visually-focused, digitally-connected world.

We've rounded up some eye-catching ads from seasons past and present that not only make us wish we could have seen the show, but also stand alone as short films.

Bucharest National Opera's La Sylphide

Magnifying the scarf which—spoiler alert—brings about the ballet's tragic conclusion, this 2013 Bucharest National Opera's trailer turns that fateful fabric into a beautiful, deadly web. Its windswept movements form a dance of its own.


Nashville Ballet's Peter Pan

With few dance steps, this cinematic 2013 Nashville Ballet trailer captures the sense of wonder and adventure in J.M. Barrie's tale of a boy who never grows up. It likewise builds a kinesthetic anticipation of flight which audiences could witness during the production through stagecraft and, of course, the soaring, gravity-defying magic of ballet.


Australian Ballet's Giselle

In what you might think of as balletic "fan fiction," the Australian Ballet created a haunting dance for Giselle which includes some of her signature steps and set it to original music for this 2015 ad. While audiences wouldn't see this scene onstage, it's a creative take on a classic character and gives ballet fans something fresh to enjoy.


Boston Ballet's Chaconne

Sometimes simple is better. Using just Balanchine's dreamy choreography and a celestial haze of theatrical mist, this Boston Ballet preview of its current Classic Balanchine program casts a spell with its abstract, visual poetry and leaves you longing to see more.


New York City Ballet's A Midsummer Night's Dream

Dancers know that feeling of being lost in a fairytale world onstage—the audience, the wings and every other reminder of reality dissolves around you. This 2016 New York City Ballet teaser gives a sense of that irreplaceable enchantment as it draws viewers into a performer's fantasy realm that comes alive when the house lights go down.

Teaching Tips
Courtesy Jill Randall

Fall may be fast-approaching, but it's never too late to slip in a little summer reading—especially if it'll make you all the more prepared for the perhaps crazier-than-usual season ahead.

Here are six new releases to enrich your coming school year:

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Sponsored by A Wish Come True
Courtesy A Wish Come True

Studio owners who've been in the recital game for a while have likely seen thousands of dance costumes pass through their hands.

But with the hustle and bustle of recital time, we don't always stop to think about where exactly those costumes are coming from, or how they are made.

If we want our costumes to be of the same high quality as our dancing—and for our costume-buying process to be as seamless as possible—it helps to take the time to learn a bit more about those costumes and the companies making them.

We talked to the team at A Wish Come True—who makes all their costumes at their factory in Bristol, Pennsylvania—to get an inside look at what really goes into making a costume, from conception to stage.

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Studio Owners

Jana Belot's 31-year-old New Jersey–based Gotta Dance has six studios, 1,720 students and, usually, 13 recitals. In a normal year, Belot rents a 1,000-seat venue for up to 20 consecutive days and is known for her epic productions, featuring her studio classes and Gotta Dance's pre-professional dance team, Showstoppers. Until March, she was planning this year's jungle-themed recital in this same way.

When the pandemic hit, Belot soon decided to do a virtual recital instead. Due to the scale of the production—300 to 500 dancers performing in each of the 13 shows—postponing or moving to an outdoor venue wasn't practical. (Canceling, for her, was out of the question.)

Unsurprisingly, Belot's virtual recital was just as epic as her in-person shows—with 10,000 submitted videos, animation, musicians and more. Here's how it all came together, and what it cost her.

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