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SideBarre

It takes more than pliés to lift a ballet company to great heights. From dancers to conductors, teachers to makeup artists, this series features fascinating insight from ABT experts and an intimate look inside America’s National Ballet Company®. Take a spot at the SideBarre to get to know the incredible people behind each bourrée of American Ballet Theatre.

Brady Farrar. Photo: Ken Osabon.
Posted In
Explore
July 22, 2024

Brady Farrar's Original Choreography

By Paige Shea

A new choreographic force is rising at American Ballet Theatre, and, this time, it’s one of ABT Studio Company’s own dancers.

Brady Farrar, a member of ABT Studio Company since 2022, recently premiered his original choreographic work Night Falls – a pas de deux set to Frédéric Chopin’s Nocturne No. 19 in E Minor No. 1. – at The Joyce Theater with ABT Studio Company.

The Joyce Theater engagement also featured another one of Brady’s original works titled Flight of the Bumblebee, a challenging and rapid solo for a male dancer, set to the iconic Nikolai Rimsky-Korsakov score.

Brady was overjoyed when his pieces were picked for ABT Studio Company to perform, as it was the first time his choreography was danced in a Company program.

“It gave me more confidence and reassurance that I’m doing something right, which in turn makes me less afraid to express my feelings authentically,” he said.

Kyra Coco and Alejandro Valera Outlaw in <em>Night Falls</em>. Photo: Rosalie O’Connor.
Kyra Coco and Alejandro Valera Outlaw in Night Falls. Photo: Rosalie O’Connor.

This Summer, Night Falls will be featured at the BAAND Together Dance Festival, part of Lincoln Center’s Summer for the City program. BAAND features pay-what-you-want performances from New York City’s most prominent dance companies: Ballet Hispánico, Alvin Ailey American Dance Theater, American Ballet Theatre, New York City Ballet, and Dance Theatre of Harlem.

When Brady heard that Night Falls was chosen for BAAND, he was speechless.

“It was a milestone moment for me,” he said. “With every piece of my choreography that I showcase, there is some self-doubt, but for my work to be recognized and licensed by my dream company, it gives me even more inspiration to push the boundary of what I can do.”

For Brady, original choreography has been a part of his dance journey since the early days.

Since he was 16 years old, Brady has been choreographing works for dance schools to use for showcases or competitions. His knowledge of the “choreographic process” came from his dance teachers, Victor Smalley and Angel Armas, who he accompanied on choreography bookings.

Brady said that his own choreographic process begins with the musical score. “Picking music that takes the audience on a journey is important. I try to match the steps to the music, so it looks as if the dancer is completely embodying what the musician is playing,” he explained.

Brady Farrar in <em>Flight of the Bumblebee</em>. Photo: Rosalie O’Connor.
Brady Farrar in Flight of the Bumblebee. Photo: Rosalie O’Connor.

For Flight of the Bumblebee, Brady tried to “make the movements frantic and fast, to resemble what a bee would look like during flight.” He called the solo his “playful interpretation” of the Rimsky-Korsakov score.

For Night Falls, he was inspired by Chopin’s Nocturne No. 19 and how it “sets the tone of an intimate setting between two characters.”

“In my head,” said Brady, “the pas de deux is a representation of what happens when your day starts to slow down, the tranquil few hours from dusk to dark. As the sun sets, and night falls, how does the light change affect the mood and energy of oneself.”

For Brady, working with ABT Studio Company and teaching them his choreography was “something very special,” as he loves to see his peers’ unique interpretations of his work.

However, for BAAND, Brady was required to teach members of the main Company his choreography: Principal Dancers Thomas Forster and Chloe Misseldine, Soloist SunMi Park, and corps de ballet member Joseph Markey. Although he was nervous at first, he soon became inspired by their artistry.

“Their work ethic and desire to perfect each movement is very inspiring; I loved being able to see how professionals learn and pick up choreography,” said Brady. “They each have their own beautiful ways of hearing the music and executing the steps. Every time I step into a rehearsal with them, I am in awe.”

For Brady, having his original work chosen by ABT is only the beginning of his journey.

“It shows me that the future can be bright, and that there’s nothing to be afraid of.”

"For my work to be recognized and licensed by my dream company, it gives me even more inspiration to push the boundary of what I can do."

- Brady Farrar

The writer, Paige Shea, was an ABT Press Intern for Summer 2024.

Posted In
Explore
July 15, 2024

Echoes of Mexico

Unveiling the Musical Tapestry of Like Water for Chocolate

By Jackeline Fernandes

“Como agua para chocolate” is a Mexican idiom: translating to “like water for chocolate” in English, it essentially means “your emotions are in danger of boiling over,” referring to the repetitive process of bringing water to the brink of boiling before it can be used to make hot chocolate. Inspired by Laura Esquivel’s novel of the same name, the title phrase of Christopher Wheeldon’s full-length ballet, Like Water for Chocolate, alludes to the intense emotions simmering just beneath the surface in a tale of family saga and forbidden love set on a Mexican ranch during the Mexican Revolution. In this modern classic of magical realism, cooking and the kitchen’s heat suffuse the production, transforming rising passions into balletic movement set to music of a distinctly Mexican essence.

When composer Joby Talbot undertook the monumental task of scoring Like Water for Chocolate, his goal was clear: to infuse the score with a “DNA” of Mexican sound, rather than merely imitating it. Just as Mexican cuisine is rich and varied, Talbot’s score is seasoned with various rhythms from traditional Latin dances to trace the emotional turmoil of the lovesick central character, Tita, and the dramatic influence her impassioned cooking has on those around her.

In Act I, Tita prepares a dish of quail drizzled in rose petal sauce to the slow tempo of a danzón, a sensual dance rhythm that originated in Cuba at the end of the 19th century and later spread to Mexico. This amorous musical tone parallels Tita’s physical desire for her neighbor, Pedro, which manifests as an aphrodisiac in her cooking and consequently has an erotic effect on her sister, Gertrudis.

In another scene, alongside a climactic encounter between Tita and Pedro, Talbot recreated a sentimental petenera, one of the most melancholic and romantic styles of flamenco music. The origins of the petenera are older, dating back to the 17th century with ties to the zarabandas, another dance form popularized in Spain and the Spanish colonies.

Catherine Hurlin in Christopher Wheeldon’s <em>Like Water for Chocolate</em>. Photo: Marty Sohl.
Catherine Hurlin in Christopher Wheeldon’s Like Water for Chocolate. Photo: Marty Sohl.

The joropo, a much livelier Latin rhythm, provides a festive melody to which the troops commanded by Gertrudis energetically dance around a fire at the conclusion of Act II. A grand mixture of African, Indigenous, and European roots, the joropo is a traditional couple’s dance from Venezuela characterized by quick turns and jaunty footwork. According to Mexican conductor and music consultant Alondra de la Parra, Talbot’s musical arrangement for this scene aligns more with cumbia, known for its percussion-heavy, upbeat rhythm with Afro-Colombian roots.

While the blend of diverse Latin rhythms in Talbot’s score brings the characters’ earthly passions to life onstage, the mystical fusion of pre-Hispanic instruments with the orchestra introduces a new musical texture that embodies the essence of magical realism. Playing an indispensable role in the compositional process, de la Parra suggested incorporating the ocarina, a type of Aztec ceramic flute that lends the work a deep, ethereal quality reminiscent of birdsong. The percussion section of the orchestra expanded greatly under de la Parra’s guidance, with the inclusion of two types of Aztec drums—the teponaztli and the huéhuetl—as well as the marimba, featured in a challenging solo piece. Talbot’s complex yet whimsical compositions for the harps further amplify the thread of magical realism that reverberates throughout the work.

Tomás Barreiro in Christopher Wheeldon’s <em>Like Water for Chocolate</em>. Photo: Emma Zordan.
Tomás Barreiro in Christopher Wheeldon’s Like Water for Chocolate. Photo: Emma Zordan.

The main characters in the ballet are meaningfully tied to specific instruments in the composition, akin to a leitmotif: Tita with the delicate ocarina, Nacha with the warm cedar flute, Mama Elena with the tempestuous wooden rattles and chimes, and Pedro with the sultry guitar. Perhaps at the core of this entrancing whirl of sound is the guitar, strummed by Mexican musician Tomás Barreiro to the beat of Mexican sones and other Latin rhythms, both as a solo performance onstage and in the orchestra pit.

For the final pas de deux between Tita and Pedro, Talbot turned to an unconventional musical source, rarely found in the classical ballet repertoire: the human voice. Composed for a mezzo soprano, Talbot’s vocal piece features Spanish lyrics from the 1957 poem “Piedra del Sol,” or “Sunstone,” by Mexican Nobel Laureate Octavio Paz. The soaring soprano section brings the passionate tale of Like Water for Chocolate to a close, delivering a powerful performance about the cyclical nature of time and the transformative power of love, reserved only for those who recognize its constant return.

 

Sources:

Azar Boldo, Lázaro. “A Well-Seasoned Composition…” Program for Christopher Wheeldon’s Like Water for Chocolate, London, The Royal Ballet, 2022.

Royal Ballet and Opera. “Insights: Like Water for Chocolate – Music and Design.” YouTube, 27 May 2022, https://www.youtube.com/watch?v=KrWsYo8fU9g.

 

The writer, Jackeline Fernandes, was an ABT Press Intern for Summer 2024.

July 12, 2024

Behind the Ballet with Elizabeth Kaye

Like Water for Chocolate

In this final installment of  Behind the Ballet for the 2024 Summer season, ABT Principal Dancer Herman Cornejo joins Elizabeth Kaye to discuss Like Water for Chocolate and its layered three-act story. From adapting to a non-balletic character and demanding acting scenes to onstage sensuality and heartbreak, this exclusive interview offers a unique perspective on two-time Tony Award® winner Christopher Wheeldon’s full-length ballet, based on Laura Esquivel’s iconic novel of the same title.

July 5, 2024

Behind the Ballet with Elizabeth Kaye

Romeo and Juliet

In this installment of Behind the Ballet, Elizabeth Kaye revisits the creation of The Royal Ballet (1965) in the wake of World War II, which sought to bring back “what was lost after the war—the gentleness of life.” Kaye then explains how Shakespeare’s timeless tragedy is translated into movement through four heart-wrenching pas de deux and three acts of forbidden young love that reveal the universal language of ballet in Romeo and Juliet.

June 28, 2024

Behind the Ballet with Elizabeth Kaye

Swan Lake

This episode of Behind the Ballet takes on the third production of the 2024 Summer season: Swan Lake. Described by Elizabeth Kaye as the “crown jewel of classical ballet,” Kaye offers a sneak peek into this production’s premiere in 2000 featuring current Artistic Director Susan Jaffe in the role of Odette/Odile. Kaye chronicles the tragic story of Swan Lake and how Tchaikovsky’s ethereal score shapes this iconic 19th Century tale.

Posted In
Pride
June 27, 2024

ABT's 2024 Pride Night

By Paige Shea

Jacob Clerico - ABT Pride Night 2024
Jacob Clerico. Photo: Emma Zordan.

American Ballet Theatre’s 2024 Pride Night celebration took place on Wednesday June 26 at the Metropolitan Opera House, alongside a performance of Wayne McGregor’s Woolf Works, a ballet triptych inspired by Virginia Woolf’s novels Mrs. Dalloway, Orlando and The Waves. Woolf Works explores questions of sexuality and gender identity, paying homage to Woolf as a queer and literary icon.

The evening was full of festivities celebrating the LGTBTQIA+ community.

Performance

Playbills for the night featured an insert with a welcome and introduction to Pride Night, an article titled “Virginia Woolf’s Queer Imagination,” written by scholar Iseult Gillespie, and spotlights on local LGBTQIA+ organizations, including The Trevor Project, Ali Forney Center, GLAAD, Anti-Violence Project, and NYC LGBT Historic Sites Project.

The performance was preceded by a pre-curtain speech and welcome by ABT corps de ballet dancer Jacob Clerico.

Read the 2024 Pride Night Playbill Insert

"We believe, through dance, we can transcend barriers and unite in a shared expression of humanity."

- Jacob Clerico, ABT Corps de Ballet

The cast of Woolf Works - ABT's 2024 Pride Night
The cast of Woolf Works. Photo: Bethany Beacham.

At bows during the conclusion of the performance, ABT Principal Dancers Devon Teuscher and James Whiteside held up a pride flag signed by ABT’s dancers, a symbol of the Company’s support of Pride Month and the LGBTQIA+ community. The flag will be auctioned until June 30, and all proceeds will benefit ABT RISE – ABT’s Diversity, Equity, and Inclusion initiative program.

Leopold Allen Exhibit

ABT also curated an exhibit honoring Leopold Allen, ABT’s first Hair and Makeup Supervisor, who was a vital member of the Company until he passed away from AIDS in 1989. The exhibit is available to view all season next to the vitrine in the South TV Lounge and in the Richard Tucker Case in the North TV Lounge in the Metropolitan Opera House. The exhibit features personal quotes, photographs of Leopold with the Company, and personal items of Leopold donated by his family.

Read More About Leopold Allen
Connor Holloway and DJ Remeice at the 2024 ABT Silent Disco.
Connor Holloway and DJ Remeice at the ABT Silent Disco. Photo: Ming Chen.

Silent Disco

Pride Night concluded with the ABT Silent Disco  as part of Lincoln Center’s Summer for the City, a free, public performing arts series that audience members and New Yorkers alike could join following that evening’s Woolf Works performance. The Silent Disco was co-hosted by former ABT dancer Conor Holloway and DJ Remeice. Despite inclement weather, the ABT Silent Disco was still held after a brief delay and celebrated Pride Month with the city.

The writer, Paige Shea, was an ABT Press Intern for Summer 2024.

June 21, 2024

Behind the Ballet with Elizabeth Kaye

Woolf Works

This segment of Behind the Ballet delves into the contemporary masterpiece that is Wayne McGregor’s Woolf Works. Elizabeth Kaye’s informative lecture offers a rich understanding of choreographer Wayne McGregor’s history and a glimpse into the ballet’s layered content. Join ABT for an enlightening discussion that promises to leave you with much to think about and even more to anticipate on stage with this electrifying performance.

June 18, 2024

Pride Feature:
Honoring Leopold Allen

A Visionary in Hair and Makeup Artistry

As part of ABT’s Pride Month initiatives, the ABT RISE Legacy Committee is honored to feature Leopold Samuel Allen (1945-1989), the first resident Hair and Makeup Artist for American Ballet Theatre and a cornerstone of the Company from 1978 to 1988.

"Leopold was a lovely person; talented, caring, fun and with a huge heart."

- Mikhail Baryshnikov

Leopold Allen and Michael Owen. Photo: Paul B. Goode.
Leopold Allen and Michael Owen. Photo: Paul B. Goode.

Born on November 17, 1945, in New York City, Leopold was the only boy and fourth of five children born to his mother and father, Leopold and Louise Allen. From a young age, Leopold displayed extraordinary talent for drawing and painting. He inherited a love for fashion and creativity from his father, a tailor from Antigua, and his mother, a seamstress from North Carolina.  

By junior high, Leopold was designing outfits for his four sisters, Joan, Glenda, Rose, and Bertha, which led him to attend the High School of Fashion Industries in NYC. After graduating, he began his career with Diane Martin Wigs, where his talent caught the eye of pioneering Black supermodel Naomi Sims. 

"Leopold was such a light at ABT. He made the process of putting makeup on so much fun. He had the funniest sense of humor and was always making us laugh. He just made everything delightful. Every night his makeup was a work of art. I always felt safe in Leopold’s Artistic hands. After he passed away and I began doing my own makeup I followed his every detail so in a way he lived on through me."

- Susan Jaffe

"Leopold’s make up room was always a haven for me during some difficult times. There was music, laughter, and genuine caring there. He was a very special person….talented, professional, intelligent, and sympathetic to all. I loved going to visit his “oasis” even when I didn’t need any makeup or hair assistance."

- Cynthia Gregory

"As one of the dancers who got to spend time in the chair in Leopold's room, I can say that it was a refuge. He always had music playing and it felt light and happy."

- Lisa Rinehart

Leopold Allen and Alessandra Ferri. Photo: Paul B. Goode.
Leopold Allen and Alessandra Ferri. Photo: Paul B. Goode.

Leopold’s innovative work with wigs and makeup earned him positions at the Metropolitan Opera House and later American Ballet Theatre. At ABT, under the direction of Mikhail Baryshnikov, he traveled extensively with the Company, including on the Baryshnikov & Co. tours. Leopold expertly honed his craft in beauty and character makeup, hairstyling, wigs, and prosthetics, blending artistry and technical skill to create stunning looks that captivated both audiences and performers. 

His career was distinguished by bringing to life many incredible productions and notable characters, including Carabosse in MacMillan’s The Sleeping Beauty and the Bronze Idol in La Bayadere. His work has been featured in books such as Ten Dancers and Private View: Inside Baryshnikov’s American Ballet Theatre. 

"Leopold was among the first people I met when I joined the company in August 1985. I arrived from London directly for a performance of Act 2 Bayadere at Wolftrap. He made me feel welcomed immediately with his joy and his smile. I was very nervous about my debut, but he made me laugh, teasing me about my British/Italian accent. We all loved him; he was one of us. "

- Alessandra Ferri

"Characters like Carabosse were very involved and took a lot of time, so I spent a lot of time in his chair. I always knew going into his room that he was going to be prepared. When I premiered a role, I was nervous, but he understood and knew exactly what to do. It was like he was taking care of his own family. He transformed us. He was a special and gifted artist, and when he passed stage makeup lost a star."

- Michael Owen

"He had the best smile, which made us feel confident and happy before the most terrifying of ballets. I don’t think I ever felt as glamorous as when he did my hair and makeup. He was an original and I am so fortunate that he passed through my life in ABT."

- Cynthia Harvey

Cheryl Yeager and Leopold Allen. Photo: Paul B. Goode.
Cheryl Yeager and Leopold Allen. Photo: Paul B. Goode.

American Ballet Theatre fondly remembers Leopold as a radiant light, always filled with joy, comfort, and positivity. He constantly lifted spirits with music and singing, filling rooms with laughter and making everyone in his chair feel ready to take the stage. 

A proud gay Black man, Leopold was gender nonconforming and undeniably himself from a young age. His life was tragically cut short by AIDS on October 27, 1989, but his legacy lives on in the dance, fashion, and performance worlds he helped shape, and in the lives of those he impacted. 

"The joy and comfort in Leopold’s makeup room was infectious. Even though I did my own makeup... I always went to Leopold for final touches. It was a ritual. It wasn’t about the powder or what he was doing but how he made me feel. I felt cared for... He was a magician."

- Cheryl Yeager

"My first few years at ABT, I spent most of my free hours at the theatre hanging out with Leopold. listening to his music and watching him work. He always made me feel welcome...his wonderful sense of humor and warm personality made his makeup room feel like home. When I had my first solo roles to perform (like in "Sleeping Beauty" and Clark Tippet's "Rigaudon"), he would "touch up" my makeup which always made me feel special and glamorous."

- Julie Kent

"He was a consummate professional and a wonderful artist. Most importantly, a caring and kind individual who loved his work. We loved sharing the creative process with him."

- Victor Barbee

Leopold Allen. Photo courtesy of Sharon Kyle.
Leopold Allen. Photo courtesy of Sharon Kyle.

At the start of the month, ABT dancers, staff, and faculty gathered with members of Leopold’s family to kick off Pride Month and honor this legacy by unveiling a photo of Leopold on the wall of ABT’s 890 Broadway studios where he can be remembered for years to come.

For more on Leopold’s personal impact on his family, please read the following LA Progressive article:

LA Progressive

"He loved to make people beautiful, but he also loved to make people believe they were beautiful."

- Sharon Kyle, Leopold's Niece

Photo: Emma Zordan.
Photo: Emma Zordan.

During ABT’s 2024 Summer season, please take a moment to visit our exhibit to honor Leopold Allen’s legacy at the vitrine in the South TV Lounge, near List Hall in the Metropolitan Opera House.

 

Celebrate Pride with ABT
June 14, 2024

Behind the Ballet with Elizabeth Kaye

Onegin

The first installment of Behind the Ballet for the 2024 Summer season unearths the emotionally charged classic ballet Onegin. ABT Dance Historian and New York Times #1 best-selling author Elizabeth Kaye gives us an in-depth glance of the plot structure in this ballet adaptation of the original verse-novel by Alexander Pushkin, and explains exactly why this ballet remains an audience and dancer favorite. 

Posted In
History
June 12, 2024

Tutus and Their Glory

The Evolution of Costuming in Ballet

By Camron Wright

From tying satin ribbons to wearing dazzling sequined tutus, what a dancer wears on stage captivates the audience’s attention as much as their flawless pirouette or stunning penché. As the world of ballet enters a contemporary era of storytelling, costuming is living beyond the tulle tutus of Swan Lake to a statement of inclusivity with Wayne McGregor’s Woolf Works.

The Wilis from <em>Giselle</em>. Photo: Amos Adams/Charleston Gaillard Center.
The Wilis from Giselle. Photo: Amos Adams/Charleston Gaillard Center.

Before the creation of modern tutus and pointe shoes in the seventeenth century, male dancers wore tonnelets or fabric wired skirts, while female dancers wore costumes that resembled court dresses. No matter the gender, both males and females danced in heeled shoes. By the eighteenth century, costuming began to shift with everyday fashion trends. Male dancers wore vests and breeches while female dancers began to shorten their court style dresses for more flexibility to dance.

In 1832, there was a substantial change in costuming with Marie Taglioni debuting the Romantic tutu and the first version of pointe shoes at the Paris Opera. In the ballet La Sylphide, Taglioni’s multilayer below the knee-above the midcalf tutu caught the attention of other dancers who wanted to dress in the same style on stage, thus creating a future for costuming in ballet. Today, versions of the Romantic tutu are worn by current ABT corps de ballet members in Giselle.

Scene from <em>Swan Lake</em>. Photo: Rosalie O’Connor.
Scene from Swan Lake. Photo: Rosalie O’Connor.

During the1880s, the Romantic tutu was shortened as footwork became more intricate. From the cut of the Romantic tutu, the Classic tutu that is seen in Swan Lake was created. There are four versions of the Classic tutu that vary in different framing, netting, hoops, and pleats, with all tutus protruding from the hip and shorter in length. The pancake tutu is short, has a wired hoop, pleated, and has layers of tulle. The platter tutu is like the pancake tutu but has a flat top layer that is decorated instead of pleats. On the other hand, the bell tutu has layers of netting and does not have a wired hoop allowing for the tutu to fall into a bell shape. Finally, the powder-puff tutu does not have a wired hoop and has layers of netting allowing it to be more free forming. These tutus are seen in majority of classical ballets worn by female dancers.

Both the Romantic and Classic tutus have become a universal symbol to represent ballerinas. Along with their stunning designs and the ability to display complex footwork, their original intent was for female dancers to look weightless to connect with the femineity of the characters they portrayed on stage. When male dancers switched from tonnelets to vest and breeches in the hopes of matching fashion trends, they were trying to distance themselves from the connotation between long skirts and womanhood. Once this distinction was made, using gender fluid costuming became a storytelling element, as it is used in Woolf Works to focus on versality of character.

Jake Roxander in Wayne McGregor’s <em>Woolf Works</em>. Photo: Emma Zordan.
Jake Roxander in Wayne McGregor’s Woolf Works. Photo: Emma Zordan.

Inspired by the life and work of Virigina Woolf, Wayne McGregor’s full-length ballet, Woolf Works, does not limit costuming by gender when paying homage to the novel Orlando. Written in honor of the romance of Virginia Woolf and Vita Sackville-West, Orlando is the story of discovering one’s identity across centuries and gender.

From Orlando, McGregor created “Becomings,” during which costume designer Moritz Junge uses costuming inspired by the seventeenth century to remind the audience of internal identity being genderless. One example of this being: in the act, both male and female cast members are draped in a solid gold dress that has similar properties as the classic tutu by protruding from the hip but with a skirt that extends to the floor level further than a romantic tutu. To allow for movement the costume’s seam is backed with elastic fabric.

Additionally, as “Becomings” is performed, the cast is seen in gender androgynous costuming that includes calf level leggings and miniature tutus in solid gold fabric. The fabric of the tutu is folded on top of itself, creating its own structural support. Both types of costumes include Elizabethan style collar that are tributed to the seventeenth century. Additionally, some of the female characters in the scene wear black, platter tutus that have an addition of black sheer like fabric that is in between the length of the gold dress and a Romantic tutu.

The costume’s color gold is used as a reflective element for dancers to stand out on stage against the dark background. Ninety percent of the fabric is metal and is from a fabric manufacture based in Switzerland. This fabric stylistically complements the use of lasers throughout the ballet. These lasers are used during Woolf Works to show a change in time.

Chloe Misseldine and Patrick Frenette in Wayne McGregor’s <em>Woolf Works</em>. Photo: Marty Sohl. .
Chloe Misseldine and Patrick Frenette in Wayne McGregor’s Woolf Works. Photo: Marty Sohl. .

Woolf Works’s innovative costuming makes a statement on character and casting in the ballet industry. The beautiful collaboration between choreographer Wayne McGregor, costume designer Mortiz Junge, and lighting designer Lucy Carter shows how the future of ballet can explore gender identity.

The evolution of court dresses to Romantic tutus to Classic tutus for female dancers and from tonnelets to vest and breeches for male dancers is disregarded as “Becomings” in Wayne McGregor’s Woolf Works highlights the styles of the seventeenth century while using Virigina Woolf’s influence of gender androgyny.

 

The writer, Camron Wright, was the ABT Press Intern for Spring 2024.