Watch the Original Jewels Cast Teach PNB Dancers to Sparkle

Original Diamonds cavalier Jacques d'Amboise shows PNB soloist Jerome Tisserand how to properly woo a lady onstage.

To polish Pacific Northwest Ballet’s staging of Balanchine’s timeless Jewels (1967), artistic director Peter Boal called in the experts. He invited the very first interpreters of lead roles in the ballet to offer their guidance to his cast. Once stars of the New York City Ballet stage, these icons continue to shape the dance world as renowned educators and directors. Fortunately, cameras caught clips of them in action during their coaching sessions in Seattle. Jacques d'Amboise, who founded the National Dance Institute, Violette Verdy, who teaches ballet at Indiana University, and longtime Miami City Ballet director Edward Villella offered inspirational nuggets of wisdom for performing the pieces they helped define more than 40 years ago.

When d'Amboise mentors Diamonds’ principals, he demonstrates why less is more and doesn't miss an opportunity to smooch a beautiful woman's (Lesley Rausch) hand:

For Emeralds, the charming Verdy discusses dancers’ motivation and the origin of movements (plus we get to see a nice clip of the beautiful Carla Körbes in motion!):

During his coaching session on Rubies, Villella stresses the importance of making sure the movement expresses Balanchine's signature style:

Health & Body
Getty Images

Talar compression syndrome means there is some impingement happening in the posterior portion of the ankle joint. Other medical personnel might call your problem os trigonum syndrome or posterior ankle impingement syndrome or posterior tibiotalar compression syndrome. No matter what they name it—it means you are having trouble moving your ankle through pointing and flexing.

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News
Scott Robbins, Courtesy IABD

The International Association of Blacks in Dance is digitizing recordings of significant, at-risk dance works, master classes, panels and more by Black dancers and choreographers from 1988 to 2010. The project is the result of a $50,000 Recordings at Risk grant from the Council on Library and Information Resources.

"This really is a long time coming," says IABD president and CEO Denise Saunders Thompson of what IABD is calling the Preserving the Legacy and History of Black Dance in America program. "And it's really just the beginning stages of pulling together the many, many contributions of Black dance artists who are a part of the IABD network." Thompson says IABD is already working to secure funding to digitize even more work.

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Studio Owners
The Dance Concept staff in the midst of their costume pickup event. Photo courtesy of Dance Concept

Year-end recitals are an important milestone for dancers to demonstrate what they've learned throughout the year. Not to mention the revenue boost they bring—often 15 to 20 percent of a studio's yearly budget. But how do you hold a spring recital when you're not able to rehearse in person, much less gather en masse at a theater?

"I struggled with the decision for a month, but it hit me that a virtual recital was the one thing that would give our kids a sense of closure and happiness after a few months on Zoom," says Lisa Kaplan Barbash, owner of TDS Dance Company in Stoughton, MA. She's one of countless studio owners who faced the challenges of social distancing while needing to provide some sort of end-of-year performance experience that had already been paid for through tuition and costume fees.

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