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Photo: Patrick Frenette.


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.

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October 13, 2020
In April 2020, the ABT National Training Curriculum Teacher Training Intensives made the leap from in person to online courses. Creators of the National Training Curriculum Franco De Vita and Raymond Lukens share their experience with this new virtual world.

"We are honored to work with teachers from around the world via Zoom."

By Franco De Vita, Raymond Lukens

We are two mature men who still write with pens and pencils, type with two fingers, and go into a panic when dealing with computers and the internet. So, for us, it was a scary thought to teach the ABT National Training Curriculum (NTC) Teacher Training Intensives via Zoom.

But the NTC Team, Molly Schnyder, Sonia Jones and Sayako Harada made it happen. It has been an adventure and we are all gaining confidence with every learning curve that comes our way. The NTC Team, from the ABT Education and Training Department, has proven that the “ABT Miracle” does not only apply to performances on stage but also to the work done behind the scenes by the entire organization.

Our first experiment teaching the NTC via Zoom were courses reserved for ABT Company cancers. It went surprisingly well. And what a joy to work with the dancers and with ABT’s Regisseur, Susan Jones. Every time there was a cyber challenge, it was fixed with a great spirit of collaboration from the NTC team and the dancers, just like the ABT family always does.

Poster from Summer 2020 virtual teacher training intensives.
Poster from Summer 2020 virtual teacher training intensives.

Speaking of the ABT family, it touched us deeply that so many of our ABT Jacqueline Kennedy Onassis School graduates now dancing with the main Company took the course.

It is impossible to describe the happiness we felt seeing their faces and how hard they worked.

We must say that all the ABT dancers’ commitment to learn the NTC was uplifting, especially now with COVID-19. An added plus has been that we were able to visit them all at their homes – virtually of course!

After seeing that the courses were successful for the dancers, the ABT NTC Teacher Training Intensives are being offered to all teachers wishing to participate.

It is mind boggling that we have teachers attending the courses from the entire world, with those in Australia and Asia getting up in the middle of the night to follow the lectures.

We are truly blessed, and we are humbled and honored to be given the opportunity to work with teachers from around the world in this new way online. Still, we look forward to the day we can all meet again at ABT’s historic New York City studios at 890 Broadway.

Franco De Vita and Raymond Lukens designed and codified the ABT National Training Curriculum, which was introduced in 2007. They are now ABT National Training Curriculum Associates Emeriti.

Wig and Makeup Supervisor Rena Most and Principal Dancer Devon Teuscher. Photo: Susie Morgan Taylor.
Posted In
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September 29, 2020
How did you become a wig and makeup artist for ABT?

"I have always been drawn to the intensity and excitement of the show being live. Even though shows are very well rehearsed, mishaps can happen at any moment, so being alert and a quick thinker is essential."

By Rena Most

At the very young age of two, as my parents recall, I was interested in and loved lipstick, the only makeup my mother used. I regularly wanted to wear it and quickly learned how to apply it. My parents supported this strange fascination and my practice grew.

From painting my sisters’ faces and studying different looks in magazines to getting friends ready for events and eventually getting involved with community theater, I knew I wanted to pursue the makeup industry in my early teens.

Von Rothbart Lakeside’s prosthetic headpiece.<br>A disposable baldcap (right) fits over the interior headpiece (left) and is then painted and glued to the dancer. <br>Photos: Rena Most and Jill Haley Gugliuzza.
Von Rothbart Lakeside’s prosthetic headpiece.
A disposable baldcap (right) fits over the interior headpiece (left) and is then painted and glued to the dancer.
Photos: Rena Most and Jill Haley Gugliuzza.

My sister’s high school art teacher recommended I take an art class when I got to high school. Reluctantly, I did. At the age of 16, I discovered a new passion and talent. I continued to take various art classes and went on to study Fine Arts in undergrad. After exploring different avenues of the makeup industry, I had decided I wanted to pursue the theatrical realm.

Working with wigs and hair came later, once I was already pursuing professional theater. I had to learn and practice a lot to catch up to my peers who had been doing hair and wigs for years. I am still learning new tricks and techniques!

Working in theater was appealing to me for several reasons. I have always been drawn to the intensity and excitement of the show being live. Even though shows are very well rehearsed, mishaps can happen at any moment, so being alert and a quick thinker is essential.

The maidens in Alexei Ratmansky's <i>Firebird</i> wear whimsical wigs. Photo: Marty Sohl.
The maidens in Alexei Ratmansky's Firebird wear whimsical wigs. Photo: Marty Sohl.

Theater often happens at a very quick pace, which adds excitement and sometimes chaos! We often have to get talent ready in 10 – 30 minutes, while someone doing the same thing for print or TV may easily have an hour to prep their subject. This forces us to know our craft inside and out, to be able to move quickly without stopping to think and still produce high-quality results.

Working live also pushes you to work with many different teams in a unique way that is not always required in other types of productions. Theater is known for its magic-like quick changes, the “How did they do that?” moments – the answer is, with a lot of practiced hard work and a whole team of people! It is the quickness and talent of the backstage crew that makes it happen.

Working for ABT has included all of those exciting characteristics plus so much more. Working with ABT is unique because of its repertoire and touring itinerary. We are constantly performing different ballets in different cities. Immaculate organization has been crucial for me to be able to efficiently set up our room and get my team ready, no matter where we are and what ballet we are performing.

We often have a day or two to unpack our giant road boxes and set everything up (including translating our notes for our local team of hair and makeup artists, depending on where we are) before our first performance, so efficiency is key. We perform so many ballets with an endless amount of characters to create – some ballets are harder than others.

Whether it is creating a villain, aging 20-year old dancers to look 80, managing 200 wigs or 50 mustaches, the hair and makeup room is never boring! Bringing these characters to life each night is always fun, but working and forming bonds with the talented, hilarious, kind, intelligent dancers of ABT each day is what truly makes this job so special.

Rena Most is ABT’s Wig and Makeup Supervisor.

Check out Rena's feature in Dance Magazine!See more of Rena's work on her ABT OffStage profile!
Former ABT Soloist Rebecca Wright.
Posted In
Get to know...Mentors
September 15, 2020
Who is your mentor?

"Rebecca Wright had a tremendous impact on my career at ABT."

By Dennis J. Walters

Dennis creates unique ballet experiences for children such as our annual <i>ABTKids</i> performance and workshop.
Dennis creates unique ballet experiences for children such as our annual ABTKids performance and workshop.

In 2000, I joined ABT at age 22, a kid right out of college with a resume that I would now be horrified to share with my interns during resume week!

Somehow, I was hired as the Education Coordinator, and on my first day on the job, my boss Mary Jo Ziesel asked if I wanted to teach the next day’s Make a Ballet class at a High School in Newark, NJ.

I had never taught a class. I had no idea what the curriculum was. The students were only a few years younger than me!

In that moment, I instantly realized that I was going to be presented with opportunities at ABT. Every day I found myself in situations that I had neither the experience nor expertise to handle, but I knew that every uncomfortable situation was an opportunity. Every failure was a kernel of information and a lesson to help me grow and succeed in the future.

Each summer, I volunteered to coordinate one of ABT’s Summer Intensive programs in either Alabama, Texas or California. In the early 2000s, the program was run by former ABT Soloist Rebecca Wright, who had a tremendous impact on my career at ABT. Rebecca was a ball of energy that could light up a dance studio or office. She had the uncanny ability to see talent where others didn’t and then find a way to instill confidence in those that needed it.

She saw something in me from the very beginning, and she was always there to encourage me when I was unsure of myself. It sounds strange, but I feel like I can trace my entire career back to a conversation we had over dinner in California in either 2001 or 2002.

“The advice was so simple. She said, ‘If you can instill change in just two things every year, then that is success and you have been successful.'”

This sentence had a profound impact on me. It made me shift my attention away from my insecurities and lack of knowledge or skills and redirect it to the areas where I was succeeding. I couldn’t fix everything at once, but I could lay the foundation now, and then year after year, build upon that foundation until I have created something much bigger than I could ever have imagined.

These words told me to trust myself. They told me not to wildly swing for the fences but to focus on keeping the ball in play and be confident that good things will follow.

Sadly, Rebecca passed from cancer in 2006, far too early and certainly before I was able to fully comprehend the impact she had on my life and career.

In 2010, I had the opportunity to design ABT’s Internship program, and today I can clearly see Rebecca’s influence throughout this program. Her mentorship meant the world to me, and it warms my heart to know that her legacy is still touching so many lives and careers.

As Director of Education Operations and Director of ABT’s Internship Program, Dennis Walters inspires the next generation of dancers and arts administrators. He celebrated 20 years with ABT in 2020.

Check out our new online learning platform, ABTKids Daily, dreamed up by Dennis and the Education team.

Go to ABTKids Daily
September 8, 2020
Apprentice Kanon Kimura reflects on her two favorite cities, Tokyo and New York City.

"I love being able to call both NYC and Tokyo my home. I get the best of both worlds and have learned so much from these two amazing cities!"

By Kanon Kimura

Hello, my name is Kanon Kimura! I am an apprentice with American Ballet Theatre. I am a native of Tokyo, Japan. I came to New York City two years ago to audition for American Ballet Theatre Studio Company over the summer. To my delight, I got in! I was promoted to apprentice after one year with ABT Studio Company and will be continuing my apprenticeship through the 2020/21 season!

I’ve lived in the USA for six years now; two of them in New York City. I’ve noticed many differences between Japan and America. My first observation is that everything is so much bigger in NYC than in Tokyo! It wasn’t just the buildings. The food is served in larger portions and the people are taller. Way taller than I am! Another difference is how organized and clean Japan is compared to New York. Sometimes New York can be really rough; however, I’ve grown to like the wild and sleepless culture of NYC.

Kanon Kimura and Melvin Lawovi in George Balanchine's <i>Tarantella</i>. © The George Balanchine Trust. Photo: Kyle Froman.
Kanon Kimura and Melvin Lawovi in George Balanchine's Tarantella. © The George Balanchine Trust. Photo: Kyle Froman.

In regard to the ballet world, the biggest difference is how big the ballet companies are. There are almost double the number of dancers in ABT than in companies in Japan. In NYC, the dancers come from all around the world – the best of the best! It’s incredible to work among many legends of the ballet world, past and present. ABT also performs a lot more than many Japanese companies.

At the end of the day, I love being able to call both NYC and Tokyo my home. I get the best of both worlds and have learned so much from these two amazing cities!

Kanon Kimura joined ABT as an apprentice in 2019.

Read more about Kanon's time in ABT Studio Company in Pointe Magazine.
Diva Goodfriend-Koven. Photo by Matt Dine.
Posted In
Get to know...Volunteering
September 1, 2020
On May 27, American Ballet Theatre debuted ABT Heals, a bi-weekly music and dance program to provide comfort and the beauty of ballet to patients, physicians and staff at Mount Sinai Kravis Children's Hospital.

"It really gave me a reason to practice, and what we were doing was very worthwhile in terms of outreach and education."

By Diva Goodfriend-Koven

My name is Diva Goodfriend-Koven, and I have been performing in the ABT Orchestra on flute and piccolo since 1976 – I joined just before ABT’s first season at the Metropolitan Opera House in 1977.

Since ABT’s 80th Anniversary Spring Season was cancelled due to the pandemic, I was hoping to have some outlets to continue to make music and be of service somehow. It seemed important during the worst days of Covid-19 in New York City to support the essential caregivers and children during that time. I was sad not to be playing music with my colleagues, and none of us knew, or even know now, when it will be possible for us to work together again as an orchestra.

I was already working on a couple of solo flute videos for the American Symphony Orchestra, of which I’m also a member, when one of ABT’s conductors, David LaMarche, asked if I would be interested in participating in the ABT Heals project. Being involved with live-streaming music to the kids who were patients at Mt. Sinai felt like a great idea. My partner of many years happens to be an Infectious Disease Pediatric Specialist there, so I had been hearing about the troubling cases he was dealing with during the critical months of the lockdown in NYC.

Image from an <i>ABT Heals</i> performance.
Image from an ABT Heals performance.

I had recently joined the ABT Orchestra Committee and found myself being called on to lead some of the Zoom meetings we were having with the management and an All-Orchestra meeting for us to make contact with each other, and see how everyone was doing at home. As a result of my leadership, David asked me to be the emcee for the second ABT Heals show, which was designed around musical families.

I was a bit nervous at first, but it was so wonderful to be introducing my colleagues and hearing everyone play and speak about the music for the benefit of the children that were hospitalized.

It was strange not to be able to see or hear the kids’ reactions or applause, but we were applauding each other! We feel like we’re part of a family of musicians, especially since many of us have known each other and been colleagues for many years. I ended up participating in two more of the programs, and it really gave me a reason to practice and to feel like what we were doing was very worthwhile in terms of outreach and education.

Now that we’re into the sixth month of the pandemic, it’s been getting harder to feel motivated to practice and come up with projects. I’ve done some gardening, cooking, yogurt-making, and like so many others, cleaning and reorganizing my house!

Fortunately I was recently asked to perform some contemporary music solo flute and alto flute pieces for the Locrian Chamber Players (I’m a founding member), and a specially commissioned chamber music piece for another group I belong to, the American Composers Orchestra (all the orchestras I currently perform with start with the letter “A”!)

I’m really hoping that ABT will have some kind of Fall Season that includes the Orchestra, and that we will be able to continue ABT Heals concerts. We heard that there was a great response from the doctors and patients, which was gratifying.

Diva Goodfriend-Koven plays flute and piccolo for the ABT Orchestra.

ABT Heals Press ReleaseABT Heals on Spectrum News NY 1
Annellyse Munroe.
Posted In
Get to know...Occupations
August 11, 2020
How did you get your start in ballet and how did it lead you here to ABT?

"I remember seeing Misty Copeland in the hallway, and she instilled in me a measure of hope and confidence that I could be a professional dancer because there was someone who looked like me. My early experience at ABT solidified my aspiration to move to New York one day and become a professional dancer."

By Annellyse Munroe

My connection and love affair with dance began at the age of five. When my father would play the piano, I could not help but dance. Or when Molly from the children’s TV show The Big Comfy Couch would come on, I couldn’t help but do her famous clock stretch, my leg naturally extending to the six o’clock position.

I begged my parents to enroll me in cheerleading, but they put me in gymnastics. Although I excelled in gymnastics, I was told that I was a bit too tall, which led me to ballet.

Annellyse Munroe as a child in one of her first ballet classes.
Annellyse Munroe as a child in one of her first ballet classes.

I remember arriving to my first ballet class in Payless ballet slippers, pink tights and a light pink leotard, with flowers around my messy bun. I was the only Black girl in my class, and I was tall, skinny and introverted. As time progressed, my teacher at South Florida Ballet encouraged my talent. I thank her for believing in me and not treating me differently based on my skin color. She made it clear that talent in ballet does not have a race appended to it.

In middle school, I began to audition for ballet summer intensives, one of them being at American Ballet Theatre. I attended my first summer intensive at ABT’s studios in New York. Again, I was the only Black girl at my level. I remember seeing Misty Copeland in the hallway, and she instilled in me a measure of hope and confidence that I could be a professional dancer because, after all, there was someone who looked like me. My experience at ABT solidified my aspiration to move to New York one day and become a professional dancer.

I continued to pursue my passion for dance at New World School of the Arts in Florida and discovered various dance styles, such as Limon, Graham and Cunningham. When I was in the eighth grade, my family took me to see Alvin Ailey American Dance Theatre at New York City Center. I remember sitting in the orchestra, watching the curtain rise and seeing Black women who looked like me. It filled me with joy, happiness and admiration for being an African American woman.

It was then that I told my parents of my intention to attend that school. So, I auditioned for the Alvin Ailey Summer Intensive every summer through high school and attended programs at other New York schools including Dance Theatre of Harlem (DTH) and the Martha Graham School.

Annellyse models skin tone tights and pointe shoes for Gaynor Minden.
Annellyse models skin tone tights and pointe shoes for Gaynor Minden.

While attending DTH, I was introduced to wearing skin color tights and pointe shoes for ballet class. After that experience, I never wore pink tights or dance shoes again. I thank DTH for instilling in me the beauty of my skin color and showing me how amazing my lines look with matching tights and pointe shoes.

I went on to earn a BFA degree in dance from the University of Florida through the conservatory program at New World School of the Arts, graduating Cum Laude in three years.

Soon after, I auditioned for Alvin Ailey and made it to the end of the final round. Although I was not selected, I was asked to return the following day to audition for their second company, Ailey II. I was chosen to join this fantastic organization that I had dreamt of being a part of, and as they say, the rest is history.

I had the honor of traveling the world with Ailey II, doing what I love. I was featured on the cover of Dance Spirit Magazine alongside two of my colleagues. This life-changing opportunity will forever be with me. I lost my mother to cancer before joining the company, and dance saved me during this time. It provided an outlet to for self-expression and helped me learn to find myself, love myself and grow.

Annellyse's <i>Dance Spirit</i> Magazine cover with fellow Ailey II dancers.
Annellyse's Dance Spirit Magazine cover with fellow Ailey II dancers.

At the end of my two years with Ailey II, I auditioned for many companies and Broadway shows. However, I made it to the end of my audition marathon without securing a job. I decided to apply for graduate school and studied for the GMAT test, accepting dance gigs on the side. I randomly received a phone call from my former director, who informed me that a choreographer needed dancers for a televised awards show.

Without hesitation, I showed up at the rehearsal, and a dream I could have never imagined happened: I performed with Beyoncé at MTV’s Video Music Awards.

Upon this opportunity, I signed to Bloc Talent Agency and went on to participate in various engagements, including the H&M x Kenzo New York Fashion Show SS17, Desigual’s SS18 collection at New York Fashion Week and a commercial for Carolina Herrera’s 212 VIP fragrance.

A new chapter in my life opened when I was accepted to grad school at Columbia University. There, a colleague who was a former dancer, informed me of an internship at ABT where he worked. I found myself back at 890 Broadway, interning in the Education and Training department. During my internship, I successfully applied for a position as Resident Manager at ABT.

Upon graduating from Columbia with my Master of Science in Nonprofit Management, I applied for the role of Student Life Coordinator at the ABT Jacqueline Kennedy Onassis School. It means the world to me to utilize my background as a professional dancer and the knowledge gained from my Master’s degree as I help ABT JKO School students find their footing in New York.

Did I stop dancing professionally? The answer is a resounding “no.” In addition to my full-time job at ABT, I am a professional dancer part-time for the NBA. A day in my life begins with waking up at 7 am to arrive at ABT by 9 am, working until 5 pm. I make it to rehearsal 6–10 pm and repeat that schedule daily. On game days, I will come in to ABT in the morning with a suitcase filled with all of my dance necessities and leave early to make it to the arena for court rehearsal by mid-afternoon. I have been doing everything to make this opportunity happen, which sometimes means making up work hours on Saturdays.

I admire everyone ABT because they are willing to work with you as long as you plan out your schedule in advance. I also love how supportive my colleagues are, and some have even come to see me perform. I will say anything is possible if you communicate and plan accordingly. Yes, it is difficult sometimes, but I am thankful to fulfill both of my passions, and that is what drives me to make this unique opportunity work.

Annellyse Munroe is the Student Life Coordinator at the ABT Jacqueline Kennedy Onassis School, as well as a professional dancer herself.

"My teacher at South Florida Ballet made it clear that talent does not have a race appended to it."

"Fun fact: I served as a supernumerary in ABT's Swan Lake and watched their tech rehearsals when they performed at Miami’s Adrienne Arsht Center."

"I am so thankful to ABT for granting me this job as Student Life Coordinator."

"I hope this inspires other dancers that they can have a full-time job and still perform."

July 16, 2020
How did you become ABT's Company Manager?

"There's no one path to finding your ideal job in the arts."

By Kyle Pickles

My career started on the stage.  Oh no…not like the stage of the Metropolitan Opera House as a professional ballet dancer…but rather as an energetic five-year-old at the annual recital for the run-of-the-mill Miss [insert anyone’s name] Academy of Dance.  I dipped my toe in the ballet world, when I was a supernumerary for a local production of The Nutcracker – first as a party boy and soldier, then a year or two as Fritz, before landing the role of the Nutcracker Prince.  My ballet career was relatively short-lived, but I found another outlet, musical theater, and was fortunate enough to perform summer stock at the “nation’s oldest and largest outdoor musical theatre,” the Muny, in St. Louis for seven hot-and-humid summers.  My joy from dancing and performing far exceeded my technical prowess, and I easily accepted that a professional career in the arts would be offstage. But I was left wondering, “What exactly would I do?”

After college, and after a few odd jobs in my attempt to figure out what I wanted to be when I grow up, I was ready to take the leap into arts administration. I decided to go to graduate school to get my Master’s Degree in Performing Arts Administration – which just between you and me, is not necessary for a career in arts management – but was a path that I chose to get me closer to my dream of living in New York and working in the arts.  After graduating with an advanced degree, and some student debt, I still didn’t know what avenue to pursue.  Theater?  If so, not-for-profit or commercial?  Dance?  Ballet or contemporary?  This is where the buzzword “networking” comes into play.

After graduation, I landed my first job through a recommendation from an event producer I met during an internship in grad school.  She was hired by a small not-for-profit theater to produce their fundraiser, and we hit it off.  We kept in touch, and when I mentioned to her that I had graduated and was eager to get in the field, she reached out to her contacts in the commercial theater world – and a week later, I was hired.  As an office assistant, I saw first-hand what it was like to work ‘on Broadway.’ It was crazy…it was exciting…it was intense.  But during this tumultuous year of the company’s Broadway hits and misses, I got to know some of the company managers of the various productions coming out of our office and began to envision a career in company management.  As luck would have it, one of the company managers was leaving to become the Company Manager of American Ballet Theatre, and a few months later, he wrote to ask if I was interested in joining the company management team…and I jumped at the opportunity!

I joined ABT in October 2007 as the Assistant Company Manager, and eventually was promoted to Associate Company Manager, before becoming the Company Manager in 2012.  I have had the pleasure of traveling the world with this amazing company of dancers and staff. Over the past few years, we have performed in cities across the United States, as well in countries such as Australia, China, France, Japan, Oman, Russia, South Korea, Spain, the UAE and the United Kingdom.

Despite having ‘stumbled upon’ company management, I know it’s the right fit for me.  I am surrounded and inspired by the performing arts, especially ballet, but my skill set – critical thinking, attention to detail, strong organizational skills, good interpersonal communication – lends itself to my individual role in the organization.  People often ask, “How did you get into company management?” and although I’ve charted my course for you, I often tell people – follow your instincts.  There’s no one path to finding your ideal job in the arts.  Get your foot in the door.  Just because you start in one department doesn’t mean you can’t explore other departments.  Work hard.  Be a team player.  Hone your skills.  Seize opportunities.  Through the journey, you may just find *the* job for you that you didn’t know existed.

July 14, 2020
What gets you up in the morning?

"During a time when reality is confined within the same four walls every day, we need hope to keep the dreams alive."

By Claire Davison

What gets me up in the morning? Especially during a global pandemic? Off the top of my head, I can think of two things. This first is coffee. When everything is uncertain, there is one thing that I can guarantee will be there each morning (as long as I make it): cofffeeee. The other thing is less tangible. It’s what makes the actor go onstage each night, knowing the play will end in tragedy but imagining that this time might be different. It’s what turns every figure in the distance into a certain someone. It’s what gets Charlie Chaplin off the crate after the circus has left him behind and makes him click his heels as he walks away. It’s hope. During a time when reality is confined within the same four walls every day, we need hope to keep the dreams alive. This is a time when fantasy is more important than reality. As humans, we’re storytellers. Whether we do it through our art or something else, we are constantly telling stories: “I like this. I don’t want that. If I do this, I’ll feel that.” Why not embellish our stories with hope?

An acting/clown teacher of mine, Gabe Levey, has an exercise where you imagine a dream and a nightmare scenario. First, he asks us to imagine what the best possible thing to happen in this moment would be. Maybe it’s a unicorn coming through the wall and taking you away to a huge pile of money. Maybe it’s simply being surrounded by loved ones. Then he asks us to imagine the worst thing that could happen in this moment. Sometimes this is easier to imagine, especially when pleasure and happiness can feel out of reach. After we’ve fully experienced both, we pick ourselves off the floor and make our way to somewhere in between the nightmare and the dream. This, he tells us, is where we mostly live our lives.

I sometimes think of it like walking a tightrope. You could fall or you could continue to walk ahead and eventually reach the landing. It’s the story we decide to believe that pushes us over or keeps us steady. Why not proceed with hope? So it’s a little windy. You focus, find your balance and hope that you’ll make it across to safety. Or you hope that today might be the day you do see the person you’ve been trying to make out of the crowd. Maybe you hope that you’ll be back portraying the star-crossed lovers soon, even if you know the ballet ends in despair. At the very least you can hope that someone else made the coffee today, and that there’s still half and half in the fridge.

Mmmmm coffee…