Podcasts about american ballet theater

On today's episode of "Conversations On Dance", we are joined by Sarah Lane, former ballerina with American Ballet Theatre, teacher, coach and ally to furry, four legged friends everywhere. Sarah takes us through her illustrious career as a principal dancer who spent two decades with American Ballet Theater, to her present day passion working to find rescue animals homes. On Monday, June 2nd at Symphony Space in New York City, join Sarah at the inaugural Dance For Paws fundraising event, a night of charity that funds three different rescue organizations in the city. To purchase tickets to the event or to simply donate visit danceforpaws.org. LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/COD-email Hosted on Acast. See acast.com/privacy for more information.

Karen LeFrak is a celebrated Composer, Pianist and Children's Book Author. She has composed a number of moving music scores, including “Sleepover At The Museum, which have been presented around the world by the NY Philharmonic, National Symphony, American Ballet Theater and the Mariinsky Ballet. Her newest work is called “Miami Concerto for Guitar and Orchestra” and features World Class guitarist Sharon Isbin. As an author Karen has written several acclaimed children's books including “Jake the Philharmonic Dog” and “Best In Show”.My featured song is called “Cousins” from the album Trippin by my band Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Ranked in the Top 1% of all podcasts with listeners worldwide on every continent in 200 countries!Click here for All EpisodesClick here to SubscribeClick here to receive our podcast emailsClick here to rate and review the podcast—----------------------------------------Connect with Karen:www.karenlefrak.com—----------------------------------------ROBERT'S RECENT SINGLES:“DAY AT THE RACES” is Robert's newest single. It captures the thrills, chills and pageantry of horse racing's Triple Crown. Called "Fun, Upbeat, Exciting!"CLICK HERE FOR ALL LINKS____________________“MOON SHOT” reflects my Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

On today's episode of "Conversations On Dance", we are joined by Abigail Simon, ballerina, dancer agent, mother, wife and survivor extraordinaire. Abigail takes us on her journey as a baby ballerina at the School Of American Ballet, through to her professional career at American Ballet Theater and the Joffrey, and finally her exploration of musical theater. Her incredible strength and resolve will be on full display at "Dance Against Cancer" this May 19th when she returns to the stage after her own battle against the disease. All performance information for this incredible fundraiser, including programming and ticket information: https://dacny.acsgala.org/. For those who cannot attend but wish to make a donation to one of the organizations mentioned by Abigail, you can find links below.Resources and places to donate in Abigail's Honor:American Cancer Society: https://www.cancer.org/donate.html5 under 40: https://5under40.org/Memorial Sloan Kettering: https://giving.mskcc.org/LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/COD-email Hosted on Acast. See acast.com/privacy for more information.

Most people dream of breaking into luxury real estate, imagining a glamorous life of lavish parties, jaw-dropping listings, and red-carpet moments.  They see the glossy Instagram photos, the million-dollar deals, and the VIP lifestyle. But what they don't see is the grit, sacrifice, and relentless hustle behind the scenes. The truth is, success in luxury real estate isn't just about "looking the part", it's about building the skills, relationships, and experiences that get you in the right rooms. And yes, sometimes that means “faking it till you make it”, but in the right way.  One of the fastest ways to do that? Joining the right team.  When you're starting out, you might not have a portfolio full of luxury listings yet, but your team's reputation and experience can open doors you couldn't access alone.  By aligning with a strong team, you instantly gain credibility, mentorship, and access to higher-end deals that help you level up faster than you ever could solo. Today's guest, Julia Spillman, is the CEO of the Eklund|Gomes Team at Douglas Elliman, a powerhouse team that's shattered the billion-dollar sales mark and expanded across New York, LA, Miami, and beyond. In this episode, we dive into the real blueprint for making it in luxury real estate, the power of starting from the bottom, and the strategic use of teams to leap into higher price points.   Find the balance between being authentic and still selling to high end clients, looking luxury but also being very approachable. -Julia Spillman   Things You'll Learn In This Episode The right way to “fake it till you make it” How do ambitious agents break into the luxury market without being scammy, and why is teaming the ultimate shortcut to real success? Why teams are a launchpad, not a crutch What makes teams so powerful for growing your price point, client base, and credibility faster than you could solo? The myth of overnight success Why do people think luxury agents just appear out of nowhere? What does the real path look like behind the scenes? How your background becomes your superpower How did growing up in a tiny town, and working through the 2008 crash, prepare Julia for leading a billion-dollar brand today?   Guest Bio Julia Spillman is CEO of Douglas Elliman's celebrated Eklund|Gomes team. The Kentucky native is the architect of Eklund|Gomes' unprecedented nationwide expansion and in addition oversees all operations, sales and agent hires. Energetic, people-oriented and a brilliant communicator, Spillman has been with Douglas Elliman for a decade and has honed her abilities to tap networks, streamline data and watch markets at the micro and macro level. Her dedication and spirit have paid off – in 2018, she led the team to break a billion in annual sales. Spillman's past experience as a residential lender for firms such as HSBC and Merrill Lynch give her an understanding of the importance of providing service at every level of highly complex transactions. Her advisory of a customized Customer Relationship Management platform allows her and the Eklund|Gomes team to pick up precisely where they left off in any relationship or project. Her ability to cultivate and retain high-net-worth clientele is matched by her power to harness and interpret information and to balance a keenly held intuition with a trove of knowledge. Spillman's ambition is matched by her commitment to community. She has provided years of fundraising and service to Big Brothers, Big Sisters, Easter Seals, and the New York City Junior League. She is active with the American Ballet Theater and served as the Former 2015 and 2016 Junior Council Chair and Junior Chair of the 2014 ABT Spring Gala. Follow @juliayagerspillman on Instagram.    About Your Host Remington Ramsey is a speaker, author, entrepreneur, and visionary in the world of real estate. As the creator of "Real Producers", a widely acclaimed magazine connecting top agents and industry leaders, Remington has built an impressive platform dedicated to celebrating and elevating the real estate community. Remington is also the author of Agent Allies: Building Your Business With Strategic Real Estate Partnerships. With a passion for motivating and mentoring, he's shared stages with some of the biggest names in business, helping professionals break through barriers and reach new heights. When he's not busy being a real estate guru, Remington is known for his contagious energy, practical wisdom, and a good dose of humor—because let's face it, navigating life and business requires both grit and a sense of humor. With multiple successful ventures under his belt and a reputation for engaging storytelling, he has the rare ability to make even the driest industry stats sound exciting.    To learn more about the podcast or give feedback and suggest a guest, go to https://podcast.realproducersmag.com/.  Start a Real Producers Magazine in YOUR Market! Learn more about franchise opportunities at realproducersmag.com   Follow the show on our website, Apple Podcasts or Spotify so you don't miss a single inspiring episode! Start a Real Producers Magazine in YOUR Market! Learn more about franchise opportunities at realproducersmag.com

Just in time for Mother's Day, we are celebrating two, very special mothers this week…educator, mother (of 8), grandmother (of 13) and dear friend, Barbara Forste, and her daughter, award-winning actress, producer and publisher, Sarah Jessica Parker. Barbara Forste is a lifelong supporter of the arts and of literacy and education. She worked in market research for Procter & Gamble, as a second grade teacher, and as a child-wrangler at the Metropolitan Opera, the New York City Opera and the American Ballet Theater. She is a co-founder and director of The Children's Circle, a national association for the education of young children. Her very busy daughter, Sarah Jessica Parker, has worked in theater since 1976 from the title role in Annie, to most recently with her husband, Matthew Broderick, in the revival of Neil Simon‘s comedy play, Plaza Suite. From theater to television and film, Sarah Jessica is known most widely for her portrayal of Carrie Bradshaw in Sex and the City and its sequel, And Just Like That; as well as the films based on the show, Sex and the City, and Sex and the City 2. Sarah Jessica is the publisher of SJP Lit, her own imprint in partnership with Zando Books. She recently executive produced the documentary, The Librarians, a film highlighting librarians across the country who have been fighting against book bans. It will be available for streaming soon.  Adelphi University hosted us at their annual Writers & Readers Festival this year where we were delighted to hold this conversation in front of a live audience of students, teachers, readers and writers. The Writers & Readers Festival was founded by Adelphi alumna and bestselling novelist Alice Hoffman. This is a conversation about how mothers can pass down their love of reading to change their children's lives and ours.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Susan Jaffe is a former ballerina who performed for 22 years as a principal dancer with the American Ballet Theater. She is known for iconic roles such as Swan Lake’s Odette and Odile, Kitri in Don Quixote, and Juliet in Romeo and Juliet. Jaffe has performed internationally and her repertoire includes the works of iconic choreographers such as George Balanchine, Jerome Robbins, Twyla Tharp, and Merce Cunningham. After retiring from the stage, Jaffe previously served as the dean for the School of Dance at the University of North Carolina School of the Arts and as the artistic director of Pittsburgh Ballet Theatre. In our conversation, Jaffe shares how she got her start as a ballerina, the impact legendary dancer Mikhail Baryshnikov had on her career, and what it was like reviving ABT after the Covid-19 pandemic.See omnystudio.com/listener for privacy information.

"Dance Talk” ® with Joanne Carey and special guest Lar Lubovitch.In this episode of "Dance Talk” ® with Joanne Carey, host Joanne Carey interviews renowned choreographer Lar Lubovitch, who shares his journey into the world of dance, his artistic influences, and his experiences at Juilliard. Lubovitch discusses the importance of intuition in dance, the correlation between painting and choreography, and the defining moments that shaped his career. He reflects on his first choreographic experience and the evolution of the Juilliard Dance Department, highlighting the significance of mentorship and the transformative power of dance. In this conversation, Lar Lubovitch shares his journey in the world of dance, discussing the importance of movement poetry, the essence of dance as a higher value, and the significance of improvisation in choreography. He reflects on his recent Lifetime Achievement Award and the sense of community within the dance world. Lubovitch emphasizes the ongoing process of learning and evolving as a dancer and choreographer, encouraging others to embrace the journey of creation and expression in dance.Lar Lubovitch is one of America's most versatile, popular and widely seen choreographers. Based in New York City, Lubovitch's company has performed throughout the world, and his dances have also been performed by many other major companies, including American Ballet Theater, Joffrey Ballet, New York City Ballet, Paris Opera Ballet, Royal Danish Ballet, San Francisco Ballet, Alvin Ailey American Dance Theater, and many others. His dances are renowned for their musicality, rhapsodic style and sophisticated formal structures. His radiant, highly technical choreography and deeply humanistic voice have been acclaimed worldwide.THE COMPANY. The Lar Lubovitch Dance Company is internationally renowned as one of the world's best dance companies. Founded in 1968, the company is now celebrating its 56th anniversary. The 50th season kicked off with a preview performance on Nov 13 (2017) at Lincoln Center's Clark Studio Theater, and culminated with performances from April 17-22 (2018) at the Joyce Theater. Celebrated for both its choreographic excellence and its unsurpassed dancing, the company has created more than 120 new dances and performed before millions throughout the United States and in more than 40 foreign countries. During 2023, the company created two new dances. The first, Conversing With Brahms, premiered in Dallas in April, and the second, Desire, premiered at the Guggenheim Museum in NYC on December 5, 2023. During 2024, the company is creating Many Angels, together with Alvin Ailey American Dance Theater.⁠https://lubovitch.org/Company/Lar_Lubovitch/lar_lubovitch.html⁠“Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. ⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/⁠⁠⁠⁠⁠ ⁠⁠Follow Joanne on Instagram @westfieldschoolofdance Tune in. Follow. Like us. And Share. Please leave a review! “Dance Talk” ® with Joanne Carey"Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Susan Jaffe is the artistic director of American Ballet Theater. Called “America's quintessential American ballerina," and “born to dance,” by the New York Times, Susan was a principal dancer at American Ballet Theatre. She performed on stages around the world for 22 years. This summer American Ballet Theatre celebrates its 85th anniversary at the Metropolitan Opera House. Their anniversary season also marks 30 years of ABT Studio Company and two decades of the ABT Jacqueline Kennedy Onassis School. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode Summary: Christina Ricucci, a dynamic artist who blends singing, songwriting, acting, dancing, and choreography. Christina shares her journey from starting dance at age two to competing and training rigorously, achieving national titles, and landing performances featured in Disney projects. She reflects on how Lyme disease, diagnosed in her teenage years, drastically shifted her career, leading her to explore music and acting. This illness ultimately led to the release of her first self-written single, Ophelia, marking a creative milestone. Now teaching dance, choreographing, and producing music, Christina offers valuable advice for aspiring artists, highlighting the importance of adaptability, passion, and creative exploration. This episode is filled with insights for anyone navigating creative careers and personal transformation. Show Notes: (00:00) - Introduction to the podcast and guest, Christina Ricucci (02:00) - Christina's early start in dance and first performances (05:00) - Transition from dance to music and songwriting (08:30) - How Lyme disease impacted Christina's career and forced a pivot (12:00) - Embracing other creative outlets: music, acting, and songwriting (15:30) - The current role of dance in Christina's life: teaching and choreography (18:00) - Advice for young dancers exploring multiple creative avenues (22:00) - Q&A with Business of Dance mentees (40:00) - Christina recommends summer programs and intensives for dancers (44:00) - Reflecting on competitive dance and ballet training (49:00) - Christina shares memories from Showstoppers and other dance competitions (51:00) - Final thoughts from Christina on following your passion and embracing creativity (53:00) - Closing remarks and sign-off Biography: Christina Ricucci is an alternative singer-songwriter, actress, and dancer/choreographer based in Los Angeles, CA. She draws inspiration from life experiences, pain, love, happiness, poetry, and, of course, art, in her creative endeavors. As a dancer and choreographer, Christina has trained extensively in ballet, contemporary, jazz, lyrical, tap, hip hop, and musical theater. She has furthered her training at intensives with prestigious institutions such as The Juilliard School, Nederlands Dans Theater, Cedar Lake Contemporary Ballet, American Ballet Theater, Hubbard Street Dance, Complexions Contemporary Ballet, Martha Graham, Limon, and Batsheva/Gaga. Christina has choreographed award-winning pieces and has taught dance workshops and choreography across the country. Christina is an 8-time National Champion soloist and has toured the U.S. and Canada as a demonstrator with both the JUMP and NUVO Dance Conventions. She was awarded the prestigious National Title of “Best Dancer” from the Dance Awards, the Hope Award from YAGP, and was a Gold Medalist at the World Ballet Competition. She has also appeared on the covers of Dance Spirit magazine as their Cover Model Winner and Inside Dance magazine. Christina's dance career led to her first acting job at age 12, when she was cast as a ballerina in a Disney project. After enduring several years of Lyme Disease treatment, she expanded her creative pursuits to include acting and music. She has won “Best Actress” awards at multiple film festivals. In 2019, Christina was the featured vocalist on Nowhere Near, an international award-winning soundtrack. Her music weaves dark pop with contemporary production, and her upcoming project includes the release of her first single, Ophelia, inspired by John Everett Millais' painting based on Shakespeare's Ophelia. The debut EP is expected to be released in late 2024. Connect on Social Media: https://www.instagram.com/christinaricucci https://www.facebook.com/christina.ricucci

"Dance Talk” ® with Joanne Carey and special guest  Paloma Hererra In this episode of "Dance Talk”, host Joanne Carey speaks with celebrated ballerina Paloma Herrera about her journey from a young girl discovering her passion for ballet to becoming a principal dancer at the American Ballet Theater and now serving as the artistic director of the Kaatsbaan Ballet Intensive. Paloma shares her experiences, the importance of mentorship, and her vision for nurturing the next generation of dancers. The conversation highlights the significance of support systems in a dancer's career and the joy of pursuing one's passion in the art of dance. Paloma Herrera was born in Buenos Aires, Argentina, and began her training at the age of seven. In January 1991, having just turned 15 years old, she moved to New York and continued her studies at the School of American Ballet. After only six months, she joined the American Ballet Theatre and, in 1995, became the youngest Principal Dancer in American Ballet Theatre history at age 19. She has appeared in ballets ranging from Don Quixote, Romeo and Juliet, and Swan Lake, to Apollo, The Prodigal Son, and Stepping Stones. She has appeared as Guest Artist with great ballet companies around the world, including New York City Ballet, Kirov Ballet, Bolshoi Ballet, Tokyo Ballet, Teatro Colon, and National Ballet of Cuba, to name a few. She retired from American Ballet Theatre at the end of November 2015, right before turning 40. Since that, she moved back to her home, Buenos Aires, Argentina, and continued to teach all over the world. In 2016, she wrote her autobiography that was presented at Feria del Libro in 2017. That same year, she also launched her own perfume Paloma Herrera, in 2019 her second fragrance Paloma Herrera Passion, and in 2022 her third fragrance Paloma Herrera Fantasy. In Argentina she received the award: Konex de Platino, Maria Ruanova and distinctions by the Honorable Camara de Diputados de La Nación, Medalla del Bicentenario by the government of the Buenos Aires city, among many others, and since 2012 she is a member of the gallery of popular idols of the Argentine Government House.  In 2017, she became the artistic director of Ballet Estable del Teatro Colon, where the company has grown immensely since she arrived. She resigned in 2022. To find out more about Kaaatsbaan Summer Ballet Intensive https://kaatsbaan.org/ “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts.  ⁠⁠⁠⁠ ⁠⁠⁠https://dancetalkwithjoannecarey.com/⁠⁠⁠ Follow Joanne on Instagram @westfieldschoolofdance YOUTUBE:  ⁠⁠https://www.youtube.com/channel/UC4NldYaDOdGWsVd2378IyBw⁠⁠ Tune in. Follow. Like us. And Share.   Please leave us review about our podcast!   “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Dance is a part of my background that I don't talk about often. Years of formal ballet training, pointe classes and company performances. The world of dance always captivated me, felt a part of me, and when it came time for college it presented me with the choice to continue with it or pursue another career. At this time I turned in my ballet shoes and picked up some books. Left always wondering, how differently my story would have looked if I went that route, I always will welcome a conversation about the arts, especially ballet. Join us for a captivating conversation with Melanie Hamrick, a former principal dancer with the American Ballet Theater, who has gracefully transitioned from the stage to the page. Discover Melanie's riveting journey from a young ballet dancer in Virginia to a celebrated 16-year career with one of the world's leading ballet companies. After an injury shifted her path, Melanie turned her creative energy to writing, resulting in her debut novel, "First Position." This episode not only highlights her impressive professional achievements but also opens a window into her personal life, including her role as a mother and life with her partner Mick Jagger. Peek behind the curtain of the ballet world as Melanie shares the relentless schedules and physical demands that dancers face daily. From early morning rehearsals to evening performances and the mental strain of switching between different dance styles, her story shines a light on the often unseen aspects of a dancer's life. We also delve into the intricate dynamics within ballet companies, where tradition, respect, and a blend of competition and camaraderie shape the experience. Whether you are a dance enthusiast or curious about the art form, Melanie's insights offer a compelling glimpse into the discipline and passion that fuel a dancer's career.Melanie's narrative illustrates how movement and dance can play a vital role in storytelling, offering unique means of expression. Encouraging listeners to embrace dance, she highlights its therapeutic benefits and the joy of creative expression, regardless of skill level. This episode is a heartfelt exploration of the transformative power of dance and storytelling, providing inspiration for anyone looking to blend their passions with their everyday life.This Episode is Sponsored By: Feast & Fettle get $50 off your first week of hand crafted, flavor packed meals delivered straight to your door so you can soak up summer with code GATHER at checkout Watch our Youtube episodes here!

Intimacy direction in dance. What the heck is it, why is it important and how can these practices be brought into ballet training? Our guests, Nicole Perry and Sarah Lozoff, respected intimacy coordinators who have consulted with RudduR Dance as well as American Ballet Theater, share their expertise on how effective communication between dancers can help to build trust, respect, and improve collaboration.  Perry and Lozoff explain how setting boundaries and having open conversations can prevent misunderstandings and hurt feelings, ultimately leading to more effective work in the studio. They also discuss real-world examples from their work, offering practical advice for implementing their strategies in various ballet settings, including why these practices need to be adopted by ballet schools. Learn more about Nicole and Sarah and the work they do: Intimacy Direction in Dance Nicole Perry Sarah Lozoff Nicole TikTok and IG: @intimacychorefl Sarah IG @sarahlozoff Links: Ballet Help Desk Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk    

Hoy, nos sumergimos en el mundo del ballet de la mano de Carlos López, Director de Repertorio del prestigioso American Ballet Theater. Con una trayectoria que comenzó en España y lo llevó a los escenarios más destacados del mundo, Carlos comparte su experiencia como bailarín principal y su transición a un rol fundamental detrás de las cortinas. Descubriremos cómo su pasión por la danza y su dedicación al arte han moldeado su carrera y contribuido al legado del ballet clásico. Pero, sobre todo nos habla de lo orgulloso que está de presentar las obras contemporáneas que desafían y deleitan, “Woolf Works” de Wayne McGregor y el emotivo regreso de “Like Water for Chocolate”. Acompáñenos mientras Carlos nos relata los desafíos que enfrentó y como los superó. Además, exploraremos su visión innovadora en cuanto al ballet y mucho más!   Los invito a este Momento Poderoso! ¡Bienvenidos! . . . Invitado: Carlos López The America Ballet Theater IG / TW / FB: @PowerLamas @PLamas7 Clubhouse: @PaulaLamas & @PaulaLamas1  

New York state lawmakers say Governor Kathy Hochul's alternative to congestion pricing would commit the state to sending a billion dollars a year to the MTA without clarifying the source of the funds. In other news, Tommy Lin, a former director at the New York City Mayor's Office, has been arrested and charged with bank fraud. Meanwhile, the Brooklyn Pride Festival and the famous Twilight Parade take place on Saturday. Also, as the American Ballet Theater gears up for its summer season, Alexandra Starr reports that for one young soloist, talent runs in the family. Plus, a lawsuit claiming false advertising over pistachio ice cream is moving forward in Long Island. Finally, WNYC's Ryan Kailath reports on the odds of finding the elusive and wealthy, six-foot-five man with blue eyes.

With an international background, PATRICK SOLURI is a New York City based composer of music for ballet, opera and film/TV. His love of telling stories through music is evident in a large body of work for the stage, screen and concert hall. Mr. Soluri has had 11 ballet scores performed internationally. This includes a commission and eight sold out performances of JUST BEFORE NOW (2017) at Ballet de l'Opéra National de Bordeaux (France). The same creative team, led by German choreographer Xenia Wiest and costume designer Melanie Frost, first collaborated on TO BE CONTINUED (aka “Continuum” 2009) which was commissioned and performed 18 times over two seasons to great acclaim by Staatsballett Berlin. In 2016 this ballet won the Grande Prixe (1st prize) at the Berritz International Choreographic Competition, and the music was a finalist/winner of the Kaleidescope 2020 international composers competition (with over 8,000 submissions). The latest production is in the 2022/23 season by Ballet X Schwerin in Germany.  During the pandemic the same creative team featuring Xenia Wiest collaborated on “Nacht Ohne Morgen” with Xenia also as the ballet director of Ballett X Schwerin (Germany),  receiving rave reviews and 13 performances in the 2021/22 season, plus 4 additional performances in the 2022/23 season. Other notable ballet works include three productions of MADAME X (1999, 2003, 2019), featuring American Ballet Theater principal Marcelo Gomes, and NY City Ballet principals Abi Stafford and Ask La Cour; FIRE & AIR, premiered at The Kennedy Center with Mr. Soluri conducting; and FANCY NANCY, based on the hit children's books. Mr. Soluri's ballets have been performed by STAATSBALLETT BERLIN (Germany), BALLET DE L'OPÉRA NATIONAL DE BORDEAUX (France), BALLETT X SCHWERIN (Germany), INTERMEZZO DANCE CO (New York City), DANCES PATRELLE (New York City), BOWEN McCAULEY DANCE (DC), and CUYAHOGA VALLEY YOUTH BALLET (OH). In opera, Mr. Soluri was a finalist with librettist Deborah Brevoort for ALBERT NOBBS in the 2018 Pellicciotti Opera Composition Prize who then commissioned and work-shopped a 20-minute excerpt in September 2016. In January 2018 ALBERT NOBBS was showcased as part of Opera America's "New Works Forum," with two new scenes added, and won the 2019 Frontiers Competition at FORT WORTH OPERA (FWO). His one-act opera EMBEDDED, commissioned by AMERICAN LYRIC THEATER, also won the 2013 Frontiers Competition at FWO, and had its fully staged world premiere in March 2014 at FARGO-MOORHEAD OPERA, followed by six performances at FWO in their Spring 2016 season where the NY Times praised "Mr. Soluri's skillfully scored music…” Mr. Soluri is also known for his series of 10 minute comic operas which have performed around the world, four of which have premiered at CARNEGIE HALL. With nearly a dozen productions, his most performed short opera is the dark comedy FIGARO's LAST HANGOVER. The sequel, FIGARO & THE ZOMBIE APOCALYPSE was commissioned & premiered by FWO in 2013. His opera INFERNO was featured in the prestigious ‘2003 VOX Showcasing American Composers' by NEW YORK CITY OPERA. In addition, Mr. Soluri's operas have been performed by VIENNE EN VOIX FESTIVAL, NEVADA OPERA, CENTER CITY OPERA THEATER, URBAN ARIAS, OPERA ON TAP, UNIVERSITY OF ALBANY, RTB, JUVENTAS, and L'ARIETTA SINGAPORE. Mr. Soluri has also composed numerous film scores, has a vast library of music for film/TV, and a film trailer that showed on 19,000 film screens in the US. Other projects include orchestrating and arranging for the EMMY AWARD winning WONDERPETS, with Sean Lennon on the film score for ALTER EGOS, and scoring the indie short HOSTILE TAKEOVER (2018). Additionally, he has hundreds of cues in various film/tv music production libraries (including SONY/ATV, ReelTracks, and ScoreKeepers), which has been featured worldwide on various TV shows and networks, such as TLC, LOGO and DISCOVERY - including hit shows like NBC's "World of Adventure Sports" and "America's Got Talent." Other works include various chamber and orchestral commissions, including an orchestral overture commissioned by GULF COAST SYMPHONY with multiple performances in their 2014/15 season. Holding dual citizenship in the US and Portugal, Mr. Soluri was born in Brazil, and raised in NYC attending a Montessori School (in Milan & NYC) and later Rudolf Steiner (a Waldorf School). At Bennington College Mr. Soluri studied composition with Tobias Picker and Alan Shawn, then received a BM in classical composition from Manhattan School of Music as a scholarship recipient studying with Aaron J. Kernis and Nils Vigeland. He received a MM in composition from Univ. of Louisville where he held the Moritz von Bomhard Fellowship for Opera Composition. Additionally, he was selected for various prestigious programs including the first “class” of the Composer Librettist Development Program by ALT, the ASCAP Film Scoring Workshop in Hollywood, and VOX Showcasing American Composer by New York City Opera. If you enjoyed this episode please make sure to subscribe, follow, rate, and/or review this podcast on Spotify, Apple Podcast, Google Podcast, ect. Connect with us on all social media platforms and at www.improvexchange.com

World famous ballerina Misty Copeland has an incredible story to share. When she discovered ballet at the age of 13 she was living in motel rooms and struggling to find a place to sleep on the floor between her five siblings. Thanks to a ballet class offered at the Boys and Girls Club and a mentor that took special interest in her abilities, Misty was on pointe shoes within three months of starting classes. A true prodigy, she began performing professionally less than a year after that.  Misty's mentor and teacher from the Boys and Girls Club invited her to live in her home so that she could provide the stability Misty needed to focus all of her time and energy on ballet. From there Misty continued to excel in every aspect of the ballet world.  On June 30, 2015, she became the first African American woman to be promoted to principal dancer in American Ballet Theater's 75-year history. Since that time she has used her voice to promote inclusion and diversity in ballet through her foundation. You are going to love hearing from Misty. Time codes:  00:50 Photos of her son Jackson that have a fun backstory  13:30 Support your kids dreams and listen to them  14:00 How to be a hands on parent and nurture your kids interests  15:00 If Misty will have her little boy do ballet  17:30 The importance of representation in ballet and the steps Misty has taken through her foundation and philanthropy to make that happen  19:50 Why Misty is hopeful for the future of diversity and inclusion in the dance world  21:30 How to help move diversity and inclusion forward wherever you are  26:25 Misty's ultimate mom hack secret  28:00 The role journaling has and still does play a part in Misty's life  29:30 Creating a Chatbook of her little family and sending it to relatives as a surprise  31:15 Misty on growing her family and writing her next children's book, Bunheads 2  Use code: MOMFORCE for 20% off your first Chatbooks order!  Follow Vanessa Follow Misty  Check out the Misty Copeland Foundation  Follow Chatbooks Try out HeyFam our new family chat app

For our Season 3 premiere of She Pivots, host Emily Tisch Sussman sits down with Misty Copeland—principal ballerina with American Ballet Theater, mother, designer, author, and philanthropist. Misty recounts falling in love with ballet, being part of a difficult public custody battle, and the challenges of injuries in her early career. She also opens up about the isolation of being the only Black ballerina in the room, –an experience that drives her advocacy and philanthropy today–and how becoming a mother has shaped her life. (And for the Swifties: Misty talks about how performing with the superstar at the American Music Awards was “an incredible experience.”)Be sure to subscribe, leave us a rating, and share with your friends if you liked this episode!She Pivots was created by host Emily Tisch Sussman to highlight women, their stories, and how their pivot became their success. To learn more about Misty, follow us on Instagram @ShePivotsThePodcast or visit shepivotsthepodcast.com. Hosted on Acast. See acast.com/privacy for more information.

In this episode, we say goodbye to 2023 and I'm bringing along five amazing artists to help me do just that! Saloon Singer Christopher Collette is a fresh face on the New York cabaret and nightclub scene. His most recent show, “Come Fly with Me: Songs of Travel, Trips, Tours & Treks” was an acclaimed success at The Laurie Beechman Theater in November. A classical pianist by training, he stepped out from behind the keyboard and took center stage in 2018 with his debut performance “This Could be the Start of Something Big: A Saloon Singer is Born” at the Beechman. Subsequent shows took the old-school crooner to Palm Springs, California where he staged multiple productions that celebrated the enduring tunes from the extensive catalogue of the Great American Songbook and America musical theater. Previously, Collette headlined at the Beechman with his revue of Stephen Sondheim's works, “Old Friends: Merrily Rolling Along in the Meanwhile.” Additionally, this past summer he mounted a workshop reading of Kander & Ebb's songbook, “One Good Break” and has been a guest at Jim Caruso's “Cast Party” at Birdland. He studies voice with Neal Harrelson-Keyes and has participated in master classes with Marilyn Maye, Faith Prince, and Alex Rybeck Prince Fleet was born in Akron Ohio where he started his show business career at the age of 5 singing with a local orchestra. Fleet went on to appear in many musicals at the Goodyear Musical Theater. Prince Fleet was a ballet dancer in New York and studied at American Ballet Theater, Ballet Arts and master classes at Julliard. FRANK FERRANTE (Actor/Writer) Please visit his website: https://www.eveningwithgroucho.com/frank-ferrante Kimberly Hawkey's Please visit her website: https://www.kimberlyhawkey.com/

In this episode, we say goodbye to 2023 and I'm bringing along five amazing artists to help me do just that! Saloon Singer Christopher Collette is a fresh face on the New York cabaret and nightclub scene. His most recent show, “Come Fly with Me: Songs of Travel, Trips, Tours & Treks” was an acclaimed success at The Laurie Beechman Theater in November. A classical pianist by training, he stepped out from behind the keyboard and took center stage in 2018 with his debut performance “This Could be the Start of Something Big: A Saloon Singer is Born” at the Beechman. Subsequent shows took the old-school crooner to Palm Springs, California where he staged multiple productions that celebrated the enduring tunes from the extensive catalogue of the Great American Songbook and America musical theater. Previously, Collette headlined at the Beechman with his revue of Stephen Sondheim's works, “Old Friends: Merrily Rolling Along in the Meanwhile.” Additionally, this past summer he mounted a workshop reading of Kander & Ebb's songbook, “One Good Break” and has been a guest at Jim Caruso's “Cast Party” at Birdland. He studies voice with Neal Harrelson-Keyes and has participated in master classes with Marilyn Maye, Faith Prince, and Alex Rybeck Prince Fleet went on to appear in many musicals at the Goodyear Musical Theater. Prince Fleet was a ballet dancer in New York and studied at American Ballet Theater, Ballet Arts and master classes at Julliard. Fleet studied film and tv acting at the Huntington Acting School and with several acting coaches. Fleet has appeared in many film and television shows. Prince Fleet has toured nationally. On Dec 9th 2016 he received STAR 407 on the Palm Springs Walk of Stars.  FRANK FERRANTE (Actor/Writer) iPlease visit his website: https://www.eveningwithgroucho.com/frank-ferrante Kimberly Hhttps://www.kimberlyhawkey.com/

Did you know that 175 million people travel for junior & collegiate & recreational sports? Or that the overall travel segment called sports tourism is valued at $800 billion globally? Today's episode sheds light on the opportunity just waiting to be filled – having the over $650 billion wellness tourism market help serve the recovery, conditioning, and mental wellness needs of the sports world. In keeping with the 2023 trend of “Wellness + Sports: New Business Models for Hospitality” first identified by the Global Wellness Summit, we're speaking today to Patricia Ladis, a former dancer and licensed physical therapist who has used wellness techniques on tennis pros from Wimbledon to the Olympics and on dancers from Broadway to the American Ballet Theater. She also shares insights from her work with Junior and Collegiate players and their individual and family recovery needs on the road. We'll even have a cameo appearance by the mother of a soccer player from a Junior League in Spain as she shares the realities of life on the road for young athletes. Join us as we shed light on this previously overlooked opportunity. Find out the many ways sports needs wellness and wellness needs sports. To learn more, visit Patricia's site at PatriciaLadis.com.Resources:Reach out to Patricia: info@wisebodypt.comFollow Patricia on Instagram: @patricialadisHosted by Kim MarshallProduced by NOVA Media

Join Sally as she talks with ballet master Raymond Lukens, the driving force behind the American Ballet Theater National Training Curriculum. This episode promises to leave you feeling inspired and enlightened.Have an idea or suggestion for a future podcast? Call our voicemail:703-981-0718 or email sally at sallyballet@hotmail.com. We want to hear what you want to hear.Sharing this podcast with other dancers, teachers, and studio owners is extremely helpful and appreciated.How to rate and review this podcast.Step by Step Instructions on Leaving a Review on AppleStep OneOpen the Podcasts app on your iPhone, iPad, or Mac.Step TwoNavigate to the page of the podcast you want to leave a review for. You can find it by searching for The Dance Studio Podcast or selecting it from your library. Just note that you'll have to go to the series page which shows all the episodes, not just the page for a single episode.Step ThreeScroll down to find the subhead titled “Ratings & Reviews.”Step FourUnder the highlighted reviews, select “Write a Review.”Sharing this podcast with dancers, dance teachers, and studio owners is very much appreciated.Thank you!!!Original music and audio production provided by Jarrett Nicolay at Mixtape Studios. www.mynewmixtape.com

Nina and Naomi are back to discuss everything RHOBH, from Dorit living out her sex worker fantasy, to Sutton maintaining it was about the American Ballet Theater. The comedians also discuss the return of Real Housewives of Miami, and the ladies of Salt Lake City. 

It's likely that every single one of our listeners knows the name Cooper Nielson. He briefly broke Jody Sawyer's heart in the cult ballet movie Center Stage, and yet today, we speak with the man who played that role, Ethan Stiefel, who is far more interesting than the notorious Cooper Nielson. Ethan was born in Pennsylvania, and his father was a prison warden, and like many men before him, he was introduced to ballet by watching his sister's dance class. But by age 15, he had been accepted into the School of American Ballet where he trained with the likes of Rudolph Nureyev and Mikhail Baryshnikov. Upon graduation, he was accepted into the New York City Ballet, but the adventures didn't end there.In this wondrous conversation, Ethan talk so candidly about his life and career. We talk about his early years rising through the ranks at the New York City Ballet before defecting across the Lincoln Center Plaza to join American Ballet Theater as a principal, and Ethan and I cover so much more. We discuss what it's like for American men to grow up dancing in the US, how he became artistic director of the Royal New Zealand Ballet, managing a long distance relationship with his now wife, Gillian Murphy, and taking some time off for himself. Finally, we talk about playing Cooper Nielson and his new venture as the artistic director of the American Repertory Ballet.Ethan continues to live with his wife, Gillian Murphy, and their son in New Jersey in the US, while curating the new era of the American Repertory Ballet. For performance times and tickets, head to their website, arballet.org, or you can find them on Instagram, @arballet. While Ethan doesn't have Instagram, you can follow many of his adventures through his wife's Instagram. Gillian Murphy, also a principal dancer at ABT, @gillianemurphy. Ethan and I recorded our conversation remotely with Ethan dialing in from New Jersey on the East Coast of the US.We are thrilled to be sponsored by Energetiks. Energetiks specialise in creating sustainable, world class dancewear for the stars Energetiks is offering Talking Pointes listeners a 20% discount [available until the end of March 2024]. Listen for the code in the episode. Shop their extensive range online at energetiks.com.au or energetiks.com if you're listening from the US. T&Cs APPLY. @energetiks @energetiksusaTalking Points is produced on the lands of the Gadigal and the Wanegal peoples to whom we pay our greatest respects. Talking Points is produced by Fjord Review. Remember to subscribe to get the latest episodes as soon as they're released. If you like us, please leave a five-star review. On the next episode of Talking Points, you'll hear from Evie Ferris.Your host and producer is me, Claudia Lawson, with additional production by Penelope Ford and Clint Topic. Sound production and editing is by Martin Peralta at Output Media. For the latest in all things dance, head to fjordreview.com.

On June 30, 2015 Misty Copeland stepped on stage as the first female African-American principal dancer for the American Ballet Theater and made history! Using the book, "You Should Meet: Misty Copeland" by Laurie Calkhoven and Monique Dong (Illustrator), children can learn about how Misty Copeland became a star dancer, author, and activist despite facing many challenges in her youth. This video also includes a photo montage of some of Copeland's most beautiful performances. --- Send in a voice message: https://podcasters.spotify.com/pod/show/avant-garde-books/message Support this podcast: https://podcasters.spotify.com/pod/show/avant-garde-books/support

 In this episode, we are joined by Patrick Frenette, a dancer with the American Ballet Theater and one of the co-founders of the Boys Ballet Summer Intensive. Mr. Frenette shares his insights into the challenges and triumphs of boys who dare to dance through a candid conversation, heartfelt anecdotes, and valuable advice, shedding light on the transformative power of dance and the importance of breaking gender stereotypes in the ballet community.   Boys Ballet Summer Intensive: https://boysballetsummerintensive.com/ Patricke Frenette in Dance Magazine: https://pointemagazine.com/patrick-frenette-ballet/ Danseur Documentary: http://danseurmovie.com/

Ballet fans out there will recognize the name Misty Copeland – the first African American principal dancer with the American Ballet Theater. Copeland began her ballet career at 13 with a free class at her local gym. Emilia Garrido Vásquez is hoping to give more young people a chance to fall in love with ballet — an artform that has traditionally been focused on white Europeans with many barriers to entry. She is leading three days of no-cost, bilingual dance classes for children aged 7 to 9 who belong to communities that are underrepresented in the ballet world. The program is called “Ballet Explorers,” and those interested can sign up here.

«Como Agua para Chocolate» llega al ballet y les vamos a contar todo lo que tienen que saber sobre la puesta y en dónde la podrán ver. Alondra de la Parra viene a platicarnos sobre «Como Agua para Chocolate» en ballet, que es una adaptación de la novela de Laura Esquivel, que todos conocemos, pero adaptada a la danza e interpretada por la compañía del American Ballet Theater.

Remembering Agnes De Mille with Elizabeth Ferrell and Jenna Rae Herrera Today's episode is a special one, where we look back and remember world-renowned dancer, choreographer, writer, lecturer, and director, Agnes De Mille. Agnes had a successful, yet tempestuous, career that spanned almost 70 years through the world of 20th-century American theater and ballet. We take a look at her through the eyes of Elizabeth Ferrell, formerly a member of the American Ballet Theater, and Jenna Rae Herrera, a principal artist with Ballet West. We hear their recollections of working with De Mille in the studio and performing her work, and we listen to their insights about how the course of American dance was forever changed by her. Stay tuned for a lively conversation about Agnes De Mille and her long-lasting impact; creating strong-willed American female roles. Enjoy! Key Points From This Episode: ·       Beth shares a short (but detailed) biography of Agnes De Mille; Agnes in a nutshell. ·       More about Beth, her background, and how she became part of De Mille's work. ·       Beth tells listeners about De Mille's personality (both in the studio and on stage).  ·       Jenna talks about her background in dance and career at Ballet West. ·       Jenna tells us about learning her role in Rodeo and how it helped her grow as an artist. ·       The process of learning the Rodeo material (and hearing the narrative from Agnes herself).  ·       Jenna shares her experience learning work that was made decades ago (and translating it to her body and the company). ·       We hear Beth's experience doing De Mille's work, both the physical experience and the learning process. ·       Jenna and Beth reminisce about their time performing The Cow Girl in the Rodeo ballet. ·       Why Rodeo was set on ballet companies (as opposed to other genres of dance). ·       Their thoughts on why De Mille's work has become timeless and why it's still being performed today.   “She was really ahead of her time, there's still a real push to nurture and push female choreographers and women's voices [today] — and here she is in the 1940s choosing her own music, dancers, costumes, set designs, and was calling the shots.” — Elizabeth Ferrell   Former member of American Ballet Theatre, Elizabeth Ferrell emerged as a major interpreter of the works of Agnes de Mille, having performed leading roles in De Mille's Rodeo, 3 Virgins and a Devil, The Informer, and Brigadoon. Jenna Rae Herrera is a Principal Artist with Ballet West in Salt Lake City and made her debut last year as The Cowgirl in Agnes de Mille's Rodeo. Connect with Movers & Shapers: A Dance Podcast on Instagram and Facebook More info links from this episode: Movers & Shapers

TRIGGER WARNING: This episode discusses potentially triggering topics including suicide, self-harm, and eating disorders. Welcome back to Analyze Scripts, where a psychiatrist and a therapist analyze what Hollywood gets right and wrong about mental health. As two dancers, Dr. Furey and Portia were thrilled to revisit the 2010 psychological thriller "Black Swan" starring Natalie Portman, Mila Kunis, Barbara Hershey, and Winona Ryder. In this episode, we analyze the masterful depiction of Nina's first psychotic break and wonder if the character Lily was real or a hallucination. We also discussing toxic dance culture and discuss the differences between anorexia, bulimia, and binge eating disorder. We hope you enjoy! Analyze Scripts Instagram Analyze Scripts TikTok Analyze Scripts YouTube Analyze Scripts Website [00:17] Portia Pendleton: Hi there. So, yeah, before we get started today, I just kind of wanted to give a little trigger warning for some of the content. We will be discussing the film Black Swan. And there are some themes of suicide, self harm and eating disorders that we're going to discuss. So if that is something that is triggering or might be upsetting to you. [00:34] Dr. Katrina Furey: Please feel free to skip this episode. [00:36] Portia Pendleton: And catch us next time. Thanks. [00:42] Dr. Katrina Furey: Hi. Welcome back to another episode of Analyze Scripts. I'm Dr. Katrina Fury, a psychiatrist, and I'm joined by my friend and colleague. [00:50] Portia Pendleton: Portia Pendleton, a licensed social worker. [00:53] Dr. Katrina Furey: We are just going to dive right in today. We're talking about the 2010 psychological thriller Black Swan. There's so much to talk about. So we just got to dive right in. Portia oh. [01:04] Portia Pendleton: So I saw this movie in theaters when it came out. [01:06] Dr. Katrina Furey: I think I had a couple of times. [01:08] Portia Pendleton: Yay. Like dance movie. [01:09] Dr. Katrina Furey: I think I went with some of my dance friends. [01:11] Portia Pendleton: Yeah, it was supposed to be I actually don't think I knew that it was like a psychological thriller. [01:17] Dr. Katrina Furey: Do you think it was going to be like center stage? [01:18] Portia Pendleton: Yes. I was expecting it to just be kind of like toxic ballet culture and some relationships. I went with my at the time boyfriend and now current partner. And I think he was traumatized from it. He was very confused. And I left that movie feeling like gross. Oh, yeah, I can remember it. [01:47] Dr. Katrina Furey: I remember you told me when I recommended this, you shuddered. And you were like, well, I'll have to watch it during the daylight hours. [01:54] Portia Pendleton: Yeah, I don't know. And maybe we will talk about this a little bit. Like if it's because it hit on stuff for me. But oh my gosh, there were just so many moments that I feel like physically make my skin crawl and make me feel so uncomfortable and shudder almost. [02:15] Dr. Katrina Furey: Yeah. It's a beautiful movie, period. I think it was nominated for a bunch of Oscars. I think Natalie Portman won an Oscar for best actress, rightfully so. But even like the physical stuff, like her scratches and skin peeling and all of those things. Exactly. And I think it's meant to make. [02:36] Portia Pendleton: You feel that way. Yes. I feel like I'm very. [02:41] Dr. Katrina Furey: Visually impacted. [02:43] Portia Pendleton: I guess in previous episodes, I talked about vomit a lot. Like, seeing actual vomit makes me crazy. But I work with people who sell farm and we've all seen, I'm sure, especially you in your training, like scars and even fresh cut wounds and things like that. That is just not bothersome to me at this point. But seeing someone peel their skin back, that literally makes me shudder. I feel like it's meant not, but. [03:12] Dr. Katrina Furey: I think it's totally meant to there when she's washing her hands on that scene. I think we all know what we're referring to there. But so to give a recap of the plot if you haven't watched it in a while. So this movie focuses on Nina, who is, like, prima ballerina, I think, in New York City Ballet. It seems like they're implying. And she really wants to be the lead dancer, the principal dancer in her company's production. She sort of goes back and forth with another character, Lily, who's played by Mila Kunis. A lot to say about her. And then her mother, nina's mother is played by Barbara Hershey. That dynamic. And their home is fascinating. I'm sure we'll get into it. And then there's, like, this gross director. We'll talk more about him, too, and. [04:11] Portia Pendleton: Then I totally forgot about her. But Winona Ryder makes his parents as Beth, like, the retiring maybe on being forced to prima ballerina. [04:21] Dr. Katrina Furey: Yeah, exactly. And so I believe this movie really amazingly predicts, nina's first psychotic break. Is that how you interpreted it, too, or did you see other things? [04:35] Portia Pendleton: No, I mean, I don't know what else I would call that. Yeah, I think throughout the movie, we see the really the final push right into that. But I have many questions, as I'm sure many people do. It's like, how did you get here and why? So I think the movie just starts off right away. We see this kind of relationship with mom. It almost feels a little bit like Mommy dear. [05:06] Dr. Katrina Furey: Yes, I was going to say the same thing 100%. [05:09] Portia Pendleton: It feels real icky. [05:11] Dr. Katrina Furey: Like, even Nina, she looks like she's meant to be, like, in her twenty s, I would guess, right. She alludes a couple of times to Beth being, like, 27 or 28. So she's, like, too old now to dance. So I think she's in her early 20s, maybe mid 20s. Like, maybe she's getting there. But she's, like, so infantilized, very childlike. Like, her room still has, like, pink flowers everywhere. Her mom tucks her in, brushes her hair. What did you think about when the mom fed her breakfast of a big old grapefruit and egg white? [05:45] Portia Pendleton: I was like, oh, that's pretty spot on, I think, for, like, I'd say, right, like, toxic ballet culture to kind of remain very small in your body. Which is, I think, kind of a crazy feat because the amount of work that it takes to be a ballerina a ballerina. I mean, it's you are so strong, even though you look so small, like crazy. [06:11] Dr. Katrina Furey: Yeah. [06:11] Portia Pendleton: I mean, your entire body physique is just muscle and strength. [06:18] Dr. Katrina Furey: Right. But I thought it would depicted it so perfectly that they're so thin. They're, like, scary thin. I felt uncomfortable watching them. I remembered back then they had talked about Natalie Portman and Mila Kunis had talked about how much weight they had to lose. And they are already petite, period, like, just by themselves. But they both and I looked it up after I rewatched the movie, lost, like, at least £20 following these crazy, restrictive diets. And on the one hand, I'm like, that's really accurate for the roles they're playing. On the other hand, I feel really gross about that, just like in our society. And it makes me worry for them that they were able to sustain that, to play these roles and train. [07:00] Portia Pendleton: Right. [07:01] Dr. Katrina Furey: Mila Kunis said that she survived on carrots and cigarettes, which is shocking. But yeah, I mean, they both looked so gaunt. And there's that physical therapy scene where someone's working on Nina and you just see her ribs, and it's just like, again, talk about feeling, like, visually uncomfortable, right? [07:22] Portia Pendleton: I mean, it's like you're all kind of bones and so even kind of stepping away from the story a little bit. Like when she gets dropped on her knee, like, her ankle kind of snapping. At one point, I was so worried. [07:36] Dr. Katrina Furey: About her bone density, just even from. [07:39] Portia Pendleton: Being a dance, I guess. Specific ballet. I feel like I have a lot of physical. [07:46] Dr. Katrina Furey: How do I say this? [07:48] Portia Pendleton: Physical trauma from the act of dancing. Bleeding toes. Or I have knee problems. And so I think a movie like this, for me, again, really hits me in a physical sensation when she's on. [08:04] Dr. Katrina Furey: Her know what that feels like. [08:05] Portia Pendleton: Oh, my gosh. Definitely my body tightened up exactly how that feels. Her getting the physical therapy, like you were just saying, it's brutal. The amount of training and pain that people at this level, I do believe and will say exist 100%. [08:28] Dr. Katrina Furey: And I did appreciate in this movie that they really did show that. Especially, like, the dancer's feet, because, of course, when you're on point, your feet are disgusting. You have all these blisters, your toenails break. There's such physical trauma to your body and your feet. And they really displayed that in this movie. And I also was so curious. All of the ballerina's outfits, like their leotards, the shrugs they were wearing. All this stuff is just so accurate. And I also feel like now, looking at it as a physician, I'm so worried about all their labs. They probably all have labs suggestive of anorexia. They're probably all freezing all the time. [09:08] Portia Pendleton: They probably all have a mennorrhea, so they are not getting their period. [09:12] Dr. Katrina Furey: They probably every time she fell, I was so worried she was going to break something because I don't think I bet she has osteoporosis because she's not fueling herself. Like how gleeful she was at how pink that grapefruit was. So perfect. Like, such a good scene. But she clearly has an eating disorder. And then when her mom gets her the cake what did you think about that scene and the mom's reaction? [09:38] Portia Pendleton: I thought it was interesting because I feel like the mom, on the one hand, really wants her right to be this, like, prima ballerina. And I feel like, you know what? [09:44] Dr. Katrina Furey: The mom could never be, it sounds like because she got pregnant with her. [09:47] Portia Pendleton: And so she serves her typically because, again, she is treated like a child, typically, like, pretty low calorically, dense food. And then it's like, you get her. [09:56] Dr. Katrina Furey: This cake for a party size. [09:58] Portia Pendleton: You're cutting her this big piece. Nina right. [10:02] Dr. Katrina Furey: To celebrate that, she was chosen to be a Swan Queen. [10:05] Portia Pendleton: So Nina is like, oh, I want a little smaller. And mom immediately is, like, so hurt. [10:10] Dr. Katrina Furey: Yeah. [10:12] Portia Pendleton: Puts it right back on Nina. I'm going to throw it away. Makes Nina feel bad. Nina then apologizes and then eats it anyway. I'm sure she probably threw it up, but it was, like, a very strange moment besides Mom's mental health issues. But just like, you want your daughter to be this person. Let me back up a little bit. I felt like through the movie, the mom comes across as Mommy dearest. Like, kind of like abusive, weird, like manipulative, narcissistic. [10:43] Dr. Katrina Furey: And we did see that dynamic. Remember, in center stage with that ballerina and her mom. [10:49] Portia Pendleton: That's interesting too. [10:50] Dr. Katrina Furey: Do you remember that? I forget that ballerina's name. But that mom was also really involved in calling around and also involved. It's really similar. And I wonder if that's again, part of the ballet culture, if that happens. [11:02] Portia Pendleton: Yeah. So mom, in some ways, is trying to protect Nina. And it's almost like at the end, she sees Nina literally falling apart and losing her mind and doesn't want her to go through the role, obviously. Then Nina feels like then she ends up going to perform. That is later in the movie. But I thought that that was different. At first, mom comes across as just really inappropriate. [11:30] Dr. Katrina Furey: Yeah. [11:30] Portia Pendleton: Just the paintings of Nina all over. [11:34] Dr. Katrina Furey: There's some things in the movie that I'm sure we'll get into more that I really wondered about Nina's perception of it. And I wondered, are those paintings of her or are those examples of her hallucinating? But certainly the mom, it's just weird. It's just weird. They're very enmeshed. Mom strips off her clothes and brings her to clip her nails because she sees her scratching. It's just icky. [12:01] Portia Pendleton: It gives me the ick. [12:03] Dr. Katrina Furey: It's a really dysfunctional relationship. [12:05] Portia Pendleton: Mom emerges from the dark of the apartment. At times. It's always like it's startling. It's scary. It feels like the mom is coming in to be mean. And I think you hit the nail on the head with what I was trying to allude to is, like, it's hard to know if mom is really as bad as she is or if it's Nina's perception paranoia. Right. Like, all kind of coming out throughout the movie. And I think initially, it seems like, really clear mom has all these issues. She's not a good mom. She's, like, making Nina to be this way, in my opinion. Then by the end of the movie, I'm really questioning, was she really that bad? Was she even really in the room? Was she really even coming in? I mean, right? [12:49] Dr. Katrina Furey: 100%. Like, when she finally got that stick of some kind to keep her door shut when she was masturbating and turns over and mom's right there. Those kinds of scenes are just, like, no boundaries. But, yeah, I think it's a really interesting depiction of a toxic mother daughter relationship. But again, I think, like, Ford Nina's story and thinking about her first break. So we know that first psychotic breaks most often occur in that time frame for women. Like, between your twenty s and thirty s. For men, it's a little younger. It might be like late teens into your twenty s. And again, so you're like, okay, so let's rewind. And how did she get here? Like you were saying? So she has this relationship with her mom where she feels like she's supposed to be this prima ballerina her mother never could be. And she even said that thing to her about at one point. Nina is like, what career? To her mother and her mom's like, well, I would have had one if it weren't for you kind of thing. That's really toxic. But just thinking about the stress of that relationship, there's no dad in the picture or even alluded to. So we don't even know what kind of stress was there. What kind of stress was Nina under as a child growing up with this huge expectation on her? Who even knows if she wants it? So that's like A, and then B, we see that she seems to have a very neurotic personality. And I'd love for you to speak more to that, especially in your line of work. [14:22] Portia Pendleton: Yeah, I mean, it seems like, right? Like, one, it's not a causation, but it's often a correlation. Right. So it's narotic a little bit Type A, I'd say, or a lot Type A compulsive. Again, there are a lot of rituals that kind of come out in just like I think the job right. It's like tying your point shoes a certain way. It's like you do all these things that are very ritualized and rich and rigid, and I think it's like a perfect opening for I think there's a lot of ballerinas, in my opinion, who probably do have OCD, probably are perfectionistic, 100%. And I think all of these traits and symptoms really kind of do fit hand in hand with eating disorders, both bulimia and anorexia. I think you see quite frequently in dance self harm. I think it's just, for whatever reason, it breeds just this type of person. Chicken or the egg. [15:25] Dr. Katrina Furey: Right. [15:25] Portia Pendleton: I mean, I think if you think. [15:26] Dr. Katrina Furey: About ballet, to take ballet classes, how many classes Nina has taken over the course of her life? Probably from the age of, like, three. Ballet classes aren't the most exciting thing to do. [15:41] Portia Pendleton: Very repetitive. [15:42] Dr. Katrina Furey: Very repetitive. Boring. It's always classical music. Again, it's beautiful, but it takes a certain kind of personality to tolerate that and to do it to such a degree. These people are taking, like, seven classes a week this isn't like just once a week. You're doing it, and you've done it. [16:02] Portia Pendleton: For years at that level. [16:03] Dr. Katrina Furey: Exactly. And to be on point, point hurts so bad. I remember I was so excited to finally get on point, and I was not the best ballerina, so it was like, late high school, and as soon as I did, I was like, I hate this, it hurts so bad. But to keep doing it despite the pain again, sounds like such a parallel with anorexia, like, being able to keep depriving yourself despite that physical pain, and. [16:31] Portia Pendleton: Ultimately it's sometimes getting a little bit of pleasure from it. I feel like there's two ends of the spectrum. It's either, like, you're kind of numbing everything or you can kind of develop specific to anorexia, like a level of euphoria around starvation. And I think research says that also just fun. Fact anorexia really is the rarest eating disorder by far, and it's the most. [16:51] Dr. Katrina Furey: Fatal mental illness depicted, though. [16:53] Portia Pendleton: So I think when we think of eating disorders, we think of anorexia, but that's not true. Anorexia is more rare, and like you said, it has the most fatalities. And there's really a certain type of profile that can maintain anorexia. Typically, people might start restricting and then kind of lean into bulimia because you cannot do it for that long. [17:17] Dr. Katrina Furey: Right. Your biological drive to eat kicks in. Most people, if you can really push past that, like, whoa. [17:24] Portia Pendleton: Right? I don't want to say normal, but it's really not part of a general experience to be able to do that. That's why we get all these signals. We get hangry, we get irritable. It's like our body's way of cueing us to eat, and most people don't feel good doing that. So it's like, there's this flair. I think it's a lot of genetic research. It's like, what makes some people be able to develop and maintain this disorder for sometimes, really sadly, like, decades. And why, you know, can't others do it? And it seems like there is some sort of a gene marker that makes, like, extreme hunger desirable, almost fascinating. It is really opposite of our human nature. Our human nature kicks in and we need to survive. So food and water and shelter is all a part of that. So it's like when your body is screaming at you that eating is dangerous. It's like that is so injecting that you are able to kind of over. [18:25] Dr. Katrina Furey: In your brain and see the neural networks are just like flip flops. I wonder if there is some sort of, like, if there's so little, like, dopamine, which is, like one of the pleasure neurotransmitters, like, what's their dopamine? Like, does it bump up the longer they go without eating? Yeah, it just sounds so fascinating. [18:47] Portia Pendleton: Like, everything is controlled. And you even see with Nina, like, that night that she kind of goes out on the town with Lily, that's not something that she literally has ever done. She does this routine, she practices. Her life is very controlled. [19:01] Dr. Katrina Furey: Life is all ballet in her mind. Right. [19:03] Portia Pendleton: And I think that is a similar profile. Again, with someone who has really classic anorexia. It's like everything is controlled. There's no small you're not even going out to, like, a concert and having fun. You can't it's stressful to go. [19:14] Dr. Katrina Furey: Right? It's like your world is so small and just totally consumed by this. And then I think with such severe malnutrition, your brain just isn't functioning. [19:28] Portia Pendleton: You're more anxious, you're more depressed. And I always kind of say to patients, like, you don't have depression first. You probably never would have self harmed. You never would have wanted to kill yourself. I think it's about even with death rates of anorexia by medical complications, heart complications, and suicide. [19:51] Dr. Katrina Furey: Yeah. [19:51] Portia Pendleton: And I think it's like most of these people without anorexia would not have these other disorders that arise because your brain is kind of solo functioning, right? [20:00] Dr. Katrina Furey: 100%. I feel like it's interesting, I think our different perspectives here, Portia, because you do this all the time. That's why I'm fascinated to talk to you about this movie. But I see it come up when people are like, I think I have Add, and they come to me and they're like, £90 and we have a totally different discussion, like you're talking about. And I'm like, no. And also, again, it's like, no, you can't focus because you have no energy source in your brain. And I would never start a stimulant on you because your heart is already compromised. You're already so thin. It's just really fascinating. And I did think this movie did such a good job, and Natalie Portman did such a good job just portraying that obsessive pattern that you see in this character and probably in a lot of ballerinas, maybe. And I think it's also the culture. Like, the ballerina body type is so unattainable for, like, 99.9% of the world, I would imagine. And the technique you need, the turnout you need, all of it is so hard. And so you have to practice so much to get there. It's just this unattainable standard and goal that just feeds into breeding, this perfectionism, this obsessiveness, the rituals, the diets, the everything to get to this unattainable point. And I think we see Nina have a psychotic break under that level of stress. [21:32] Portia Pendleton: And I think, too, what I think is really hard is while you are performing oftentimes in a core, so in the corpse, which means with the group of people, you're not the prima ballet arena who's in the lead role, you're. [21:49] Dr. Katrina Furey: All this other swans. Right. [21:50] Portia Pendleton: And it's like that still at a level like the New York City Ballet, american Ballet Theater is like the highest of the high, but it's so uniquely like an individual sport still. Right. Like, you're not a soccer team where it's like you're passing back and forth and the team is celebrating. It's weirdly. Very individual. Even though you're competitive together, it's wildly competitive. And I think, again, feel like a failure. It just breeds this type of person who chooses to go into it, who. [22:19] Dr. Katrina Furey: Sticks with it to this level. And again, you're so right. That's such a blow to their self esteem. You see Nina come home and just fall apart with her mom when she thinks she's not going to be picked. And she's tried so hard and she's still not good enough. It just feeds this almost I want to say narcissistic, but in the, like, I'm never going to be good enough way. But you stay in it and it's like you're flagellating yourself over and over. You're just in this culture where you never feel good enough. Oh my gosh. And then she does get the role, but after the director has assaulted her. [22:59] Portia Pendleton: Right. So we see Tomas. He seems like he's the artistic director of the company. It seems like he has had a history of a relationship with Beth, who all the premium. Right. It seems like this is probably a kind of toxic, abusive, sexual assaulty environment. [23:19] Dr. Katrina Furey: Interesting to watch. It now post Harvey Weinstein in the MeToo movement compared to back in 2010. [23:24] Portia Pendleton: And so he is kind of, I think, like trying to see to test her. That's my impression of first. Right. He's like asking her all these questions. He invites her back, is asking her. [23:36] Dr. Katrina Furey: If she's a virgin, if she has a boyfriend. [23:40] Portia Pendleton: And again, it's like. [23:43] Dr. Katrina Furey: I think that was after she got the role. Yeah, but even before then, they were maybe dancing and he was trying to seduce her, remember? [23:50] Portia Pendleton: And then he kisses her, she bites him, which she thinks is, now it's done, she lost the role, she's not going to get it. But for whatever reason, the bite really got. Exactly. And then she still thinks she doesn't get it. She thinks Lily no, she thinks another random girl got it because she says, oh, congratulations. [24:12] Dr. Katrina Furey: That girl was maybe Michelle Trachtenberg, but maybe not. No. I don't know. [24:16] Portia Pendleton: Not Harry. Looks like, yeah, that's a good call. And then she ends up getting it, goes to the bathroom, calls her mom. You see her at times. I don't think that time she went. [24:27] Dr. Katrina Furey: In to throw up. No, but other times she's feeling a big emotion. You see her go to the bathroom. I thought that was a really smart depiction of bulimia. [24:36] Portia Pendleton: So it would be anorexia. How would you type? Okay, because I'm assuming that she is not binging. So you have to binge in order to have bulimia, which is actually like a lot of people don't know that. A lot of people only associate the purge with bulimia. [24:52] Dr. Katrina Furey: That's so important. [24:53] Portia Pendleton: Many people with anorexia do purge, for example, they might have something that they believe to be a larger meal that would be, I would say, a subjective binge. [25:03] Dr. Katrina Furey: Like someone might come in eggs rather than an egg white, right. [25:07] Portia Pendleton: And then they're going to throw that up versus somebody who is really, truly engaging in a binge behavior, which is about consuming like 3500 calories in kind of around 90 minutes in secret. You almost are dissociative. You're eating a lot of the same food, so it's not like you are going up for your third helping at Thanksgiving and you're feeling really uncomfortable. You have overeaten. [25:32] Dr. Katrina Furey: It's also not like you're sort of mindlessly grazing at dinner time while you're prepping dinner. So 3500 calories in 90 minutes, that's a helpful right? [25:40] Portia Pendleton: So it's really rapid. You might be eating like loaves of bread, right? So you're not going up and taking multiple bound piece items on your plate, bringing them back. It would be like consuming an entire. [25:54] Dr. Katrina Furey: Party sized cake, right. [25:55] Portia Pendleton: And then having a bag of donuts and then having a bag of plain untoasted bagels. It's like it's not we're going through the drive through, like seven times, multiple drive through. So I think a lot of people kind of say that they binge. I think a lot of and maybe you're serious. Some people I do think we throw that word around a lot. [26:13] Dr. Katrina Furey: Yeah. [26:13] Portia Pendleton: But bulimia really does require a binge. [26:18] Dr. Katrina Furey: Again, I don't have as much experience with eating disorder, so this is really educational for me. I've always wondered, how do you quantify a binge? [26:25] Portia Pendleton: Yeah. So I think that's more of like a research criteria, which I think is helpful. [26:31] Dr. Katrina Furey: No, it's super helpful for me to know. Yeah. [26:33] Portia Pendleton: And then, so I'd ask someone, like, did you have an objective binge, which I just described, or did you have like a subjective binge? Same thing, just with binge eating disorder. So people are then not using a compensatory behavior. So they're not self induced vomiting. They're not taking a laxative, they're not then restricting. [26:50] Dr. Katrina Furey: They're not over exercising. [26:52] Portia Pendleton: Correct. They're not over exercising. But I think a lot of people who do show up with binge eating disorder often do restrict. So they'll maybe restrict during the day at work, intentionally or unintentionally, and then they go home, and then they might consume like a large quantity of food. There is a little bit of difference between night eating syndrome and binge eating disorder, but I think we think of restriction only in anorexia. [27:18] Dr. Katrina Furey: And that's it. I think, like you've told me before, that's super rare to have that form of anorexia where all you do is respect. [27:26] Portia Pendleton: Most people have purged who have anorexia. [27:30] Dr. Katrina Furey: And again, purging being the self induced vomiting which we see depicted in this movie, but also laxative use over exercising. There's a lot of different ways of purging. So, like, your patients you have who meet criteria for the restrictive type but then run a lot. Would you say that's the purging? [27:48] Portia Pendleton: Because oftentimes if they are unable to exercise to a certain degree, they might then restrict more of their food intake because they're not able to compensate for it or have a lot more anxiety. [28:01] Dr. Katrina Furey: And this is where, oh, my God, I just so worry about their hearts. And we've talked about this a lot, just not in the podcast. [28:10] Portia Pendleton: People who have heart rates in the 30s, right? [28:12] Dr. Katrina Furey: They're like running marathons and you're just like, how are you doing this? And again, these ballerinas, this is what they're living in, too. And it just makes me so nervous. Like, if I strapped an EKG on them, I would have a heart attack myself. [28:25] Portia Pendleton: Because restriction does impact your muscles and. [28:29] Dr. Katrina Furey: Your heart is a muscle. [28:31] Portia Pendleton: So I think as someone's just wanting to lose, as so many diets say, that will work, that we're just kind of taking the fat away. Restriction doesn't work that way. Your body doesn't know that. You just want to target this quote unquote problem area right on your left hip. It's like no. Restriction takes from everywhere. It takes from the gray matter from your brain. Yes, we need fats for our brain to work. Well, so seeing Nina's diet is really concerning. And again, she has a really high output of exercise. She should be fueling throughout the day, protein shakes. [29:07] Dr. Katrina Furey: She should be eating like Michael Phillips. Yes, it's just wild. [29:11] Portia Pendleton: But then when we think about ballet culture, right, so I noticed the costume design piece. So in most ballet shows, you tend to do them more than once. So The Nutcracker, Swan Lake, you have. [29:26] Dr. Katrina Furey: To fit in that costume giselle. [29:27] Portia Pendleton: So they keep these costumes, especially the core, and they might refresh the prima ballerina's costume, but they try to use them over and over again. And if you are bigger than the last dancer was who was in your costume that you are getting that is so upsetting and shameful, even if somebody is not directly shaming you, it's like, oh, we have to add this piece of fabric on to make a new one. [29:52] Dr. Katrina Furey: Or you're not in you're not in the show. Right. 100%. I agree. I thought that was like yeah, there. [29:59] Portia Pendleton: Is pride in a really sick way that when you are smaller and they need to take it in and there's shame and guilt when you are too big and it won't class. [30:10] Dr. Katrina Furey: 100%. And also just the lifts, like the male ballerinas lifting the girls, like the lighter you are. I mean, the prima ballerina, I think, until like, Misty Copeland always had the same very small body type. Yeah, misty Copeland was white. And so Men white. [30:26] Portia Pendleton: Copeland kind of came in. And if you don't know about her, she's this really amazing black ballerina. And she is, though, I will say, in a very small body. But she's muscular. [30:37] Dr. Katrina Furey: Muscular? [30:38] Portia Pendleton: I would say like more toned. It seems like she has more muscle mass, but still in a very small body. Right. And I think that there is still way more room to grow. In many literal areas of diversity, in all ways in the ballet field. So that leads me to thinking of Lily, who is played by Mila Kunis. [31:03] Dr. Katrina Furey: Yeah. Tell me what you think about Lily, then I'll tell you what I think. [31:07] Portia Pendleton: So kind of on the surface level, I think Lily is supposed to be so obviously like the black San Francisco tattoo on her back, which is like these black wings. Natalie Portman's character, Nina, is very childlike, dough eyed. Where's pink where's pink ballerina? E. And I didn't know the hair down. [31:27] Dr. Katrina Furey: Sorry to interrupt. I did find it interesting, the first scene we see of Natalie Portman walking into rehearsals, she had some wispies, which in the dance world means, like, your bun isn't totally hairsprayed. Like, there's some stray pieces. And I thought that was interesting because she would not have wispies like that version of her at that point, would not. I just thought that was again, maybe no one thought of it. Or maybe it was sort of purposeful as like, she's unraveling already. Right. I don't know. [31:56] Portia Pendleton: Anyway no, I mean, that's a good point. Hair, I think, is so important. I think, again, it really cared characterized them as so different. But I think there is no way that they would ever allow it's just not ballet etiquette to not have your hair in a box. I know. [32:12] Dr. Katrina Furey: When she's dancing around with her hair. [32:14] Portia Pendleton: Down, like flinging around, you can't spot if you have your hair down, it's going to get in your partner's face. [32:18] Dr. Katrina Furey: Absolutely. There's no way. But she's like San Francisco. That's what I'm trying to do. Right. [32:21] Portia Pendleton: She's like, cool, she's sexy, she eats a cheeseburger. Right. And it's just, again, to me, that's so unbelievable. But it's all, like, triggering Nina because Lily is the exact opposite of her. [32:36] Dr. Katrina Furey: And what she needs to be to play the role queen. Right. I don't think Lily was real. I think she was a hallucination the whole time I. [32:49] Portia Pendleton: Felt that way. [32:51] Dr. Katrina Furey: I didn't think that back in 2010. No, I do. [32:54] Portia Pendleton: I was, like, kind of mind F word in 2010 after seeing it and had a lot of questions about that. I think you are 100% right. I don't think Lily exists at all. I think in so many ways, Lily is this version of Nina that she needs or wants or that she's trying to access. There's so many times when she's not really there. I think it's like when Nina is not herself, she is Lily. Like, Lily goes out to the bar. I don't think she was ever there. Right. [33:26] Dr. Katrina Furey: No. [33:27] Portia Pendleton: When they have sex like that, she was masturbating. I think when she sees Lily having sex with Tomas and then he turns into this swan creature again, I don't think any of it's real. [33:39] Dr. Katrina Furey: I think you're right. That didn't hit me until I was watching this at the end. I remember back when it came out, the sex scene between them was like, that was like all that big draw, see the movie. But now watching it, I'm like, I think the closer she gets to Lily that's representing the further she's going into psychosis. We see, like, at the very early, early on in the movie, when Nina is walking onto the subway, she thinks someone laughs at her. She sees a weird face. We see some of that early on. [34:20] Portia Pendleton: These little ghosts see Lily. [34:22] Dr. Katrina Furey: Right. Or, like, someone's face that I couldn't tell who it was, if it was Lily or that other girl she was feeling competitive with, that Michelle Trachtenberg looking girl. [34:31] Portia Pendleton: And then it always morphs back into Nina, though. [34:33] Dr. Katrina Furey: Right, exactly. And so I thought this movie so artistically and beautifully depicted the descent into Psychosis with some very classic things. Like, again, those little things that can happen at first, where you have, like, a small break from reality. Was it real or was it just in my head? Okay. I think I hear people laughing at me. Are they really or are they not? And then it just growing and growing and growing and growing. Like, the mom's weird paintings, like, laughing at her. I started to even wonder about the scratches on her. Were those real? I think they were. I think she was doing that out of stress, but not realizing she was doing it. Oh, it's so interesting. [35:18] Portia Pendleton: Yeah. I mean, such an artistic way to I think exactly what you just said, to kind of show Psychosis and, like, the descent into it. I am even kind of remembering, which I had talked about before with the mom. Yes, I believe that they do authentically have a strange relationship and national, however, right then, I think it kind of throws me to having all these questions about everything. Is the mom really that bad? I don't know. Is all of this just, like, in paranoia now? [35:51] Dr. Katrina Furey: Some paranoia, yeah. And you even see when Nina shows up late to a rehearsal, I think after their big night out, maybe, or her, who knows? Big night out. And I wondered even about the ecstasy. I don't think she was actually on drugs. I think that was the psychosis. Like, she was starting to feel disconnected from herself. And she shows up, she thinks she sees Lily filling in for her, and she runs after Tomas, like, really tearful, like, really paranoid. She's after me. She's trying to take my role, like, all of that. She's just unraveling. And at some point, her mom tries to stop her from performing. Right. So at some point, the mom, I think, is trying to help. [36:32] Portia Pendleton: I know that's where I was confused, fuzzy. Right. [36:35] Dr. Katrina Furey: Because then mom's in the audience. Right. And the mom but even, like, as she's performing as the swans, like that last half hour of the movie, however long it is, you just see the full descent, like, in such a beautifully. [36:51] Portia Pendleton: She becomes the black swan. I mean, it comes out of her skin. She performs it so amazingly well. Tomas is, like, giving her such good feedback after initially, right? Like, the first scene, she has that fall, the white swan, and I think even that more I think that's real. I think that even catapults her further. [37:09] Dr. Katrina Furey: Because the stress, the stress that she's under, it seems like she has this complicated relationship with her mom, this perfect storm of an obsessive neurotic personality with an eating disorder. And then we add on this level of stress. She has a psychotic break. I don't think she's depicting schizophrenia, which perhaps she goes on to develop. But schizophrenia would involve other things, too, like her thought process, her affect, which is we think of mood as, like, your own subjective experience about your emotions and affect being what other people observe on you. There's negative symptoms associated with schizophrenia. She's not displaying any of that. She's really displaying a first break, which at that age, you don't really know. Is this a one time thing? Is it stress induced? Is it signs of an underlying bipolar disorder or signs of a schizophrenia? We don't know. But oh, my God, it's so masterfully depicted. [38:02] Portia Pendleton: So fun fact, I watched it on Amazon Prime. I rented it, and they give you kind of a running some facts on the side, like, if you move the mouse and who's on screen right now? [38:12] Dr. Katrina Furey: So they always say the characters. [38:13] Portia Pendleton: So I really enjoy that sometimes. And they had shared that Natalie Portman recommended Mila Kunis for the role. She really wanted her to do it. She felt like she would be a perfect kind of counter to her. And then Mila Kunis, I guess, didn't even audition. Like, they just kind of talked to her over Skype or something. And then they gave her the role. They thought she was the perfect fit. [38:36] Dr. Katrina Furey: And I know Natalie Portman said that she did a lot of ballet training. I think she was a ballerina as a kid. Not professionally, but then there was a body double, of course, because the ballet was amazing. Those left sided fuets were just like, oh, my God. But, oh, my gosh. I know. I feel like we should break down just a little bit before we wrap up the final show. Yeah. [39:02] Portia Pendleton: Prior to that, though, I was curious on your thoughts about why is Nina visiting Beth in the hospital? Right. So Beth, like, jumps in front of. [39:10] Dr. Katrina Furey: A car, attempts suicide, and then she's in the hospital. [39:13] Portia Pendleton: Like, her body is damaged, which I think is just like the ultimate I don't even know, trauma and trauma. Right. You had the suicide attempt, and now your body is really more even incapable of being who you identify as, which is a dancer, which now that you're not. That that's why she, I'm assuming, you know, wanted to kind of end her. [39:33] Dr. Katrina Furey: Life, and she was feeling rejected by Tomas and yep. It's terrible. [39:38] Portia Pendleton: So Nina brings her or gives her back the little items that she stole. [39:44] Dr. Katrina Furey: Those weird little things she stole. I thought that was interesting, and one. [39:47] Portia Pendleton: Of them being, like, it looked a letter opener, but I'm assuming it was some kind of knife, maybe even for, like, point shoe stuff, like it was some part of a kick up or something. And then she stops herself. [39:58] Dr. Katrina Furey: I think that was all a hallucination. [40:00] Portia Pendleton: I hope, building all of this energy. I feel like just the watcher, like I'm all over the place. [40:08] Dr. Katrina Furey: That was also super graphic. I do think she visited her initially when she brought her flowers and everything. I was really uncomfortable when she was picking up the blanket to look at her injuries. I felt like that was really a violation. And I think Nina so wanted to be Beth. [40:28] Portia Pendleton: Yes. [40:29] Dr. Katrina Furey: And so maybe it was like seeing her potential future that was, like, haunting her. Maybe she felt guilty that now she's the Swan Queen, and then Beth attempts suicide. Maybe she felt guilty, and then she did. Even before Beth was ousted, there was that scene early in the movie where she leaves her dressing room angry, and Nina goes in and takes all those trinkets, kind of like a Kleptomaniac. I don't know. I was like, Are you trying to become her in a real creepy way? [41:00] Portia Pendleton: I even wonder. And maybe it doesn't add up in the movie, but did Nina push Beth in front of the car? I mean, it just seems like anything could be part of her psychotic break or not. And I think that's the fun of the movie is trying to kind of figure that out. But so she wakes up late. Mom hides the doorknob. She's in her room. She looks at the clock. It's way too late. So she gets ready. She like fights, mom. [41:26] Dr. Katrina Furey: And mom said, like, I've already called and told them you're not feeling well. Which I think, again, for Nina, is like, what the f? I've lived my whole life trying to be this person. [41:36] Portia Pendleton: You want me to be nothing. [41:38] Dr. Katrina Furey: Now I'm here, and now you call me out. I still can't be good enough for you, mom. Right. So anyway, so she rushes in, she gets ready. I was really interested in the fact that she did all of her own makeup. Is that true? Yeah. [41:54] Portia Pendleton: So I thought about this while I was watching it. So in, I guess, traditional ballet production, too, you are not doing you always try to do, like, a dramatic face, dramatic eye, comp dancing, all of that stuff. But again, it was a little triggered by the makeup because I've done that makeup before. You try to make the top of your face really white, so it's, like, reflecting. You draw, like, really wide black eyeliner. So, like, under your eye all the way out. You wing it white in between. And that makeup is so sticky and uncomfortable. [42:33] Dr. Katrina Furey: And she had to redo her makeup multiple times throughout the show. And the makeup and the costumes were so amazing when her eyes turn red as the black swan, but so she starts off as the white swan. She has the fall, which is devastating. And then her and Lily have the physical altercation and she ends up in. [42:50] Portia Pendleton: The dressing room stabbing her with the glass. [42:53] Dr. Katrina Furey: Also, Lily was trying to take the role, remember? Lily was like Toma had said she was going to do it because Nina was late. Again, I don't think Lily is actually real, but that all depicts it so well. And then she stabs her, drags her into the bathroom and just leaves her there. And I thought she really killed her. [43:14] Portia Pendleton: Yeah. There's blood coming out from under the door. She puts the towel on it. She goes and then performs as gets positive feedback, which I think was very interesting because the whole movie, it's like all she's getting is negative feedback. She's not sexy enough from the male partner and from Tomas. Everyone's jealous of her. But then at the performance, besides the fall, you hear all of this positive feedback from her peers, people in the core, Tomas. It's really nice that some of people are asking her if she's okay after she fell. So I'm wondering, too, that doesn't fit her previous view, that's like everyone's out to get her. Everyone's trying to take this role. It's like, I wonder again, was that all in her head? [43:57] Dr. Katrina Furey: There's some competition, of course, or was she unraveling? And people are like, oh, my God, are you okay? I think she's starting to appear psychotic. The way she carried herself was different. She walks up and kisses Tomas after the performance. She dances differently. The way they have her sort of sprout the wings as she's turning, it's like now she's psychotic. Right? It was just so beautifully depicted. But she was hearing them laughing as they were switching. She was in the wings and the core was coming off stage and their faces kind of looked off. She was upstage when she should have been downstage. She was confused. I thought they were asking her that. Not out of I mean, out of caring, but because she was, like, appearing more and more psychotic. And then she gets back to her dressing room. There's no blood coming. [44:52] Portia Pendleton: There's no body. [44:53] Dr. Katrina Furey: There's no body. [44:54] Portia Pendleton: There is a glass, though. [44:55] Dr. Katrina Furey: There is the glass. And she looks and she stabbed herself. And that's when at least watching it again, this time I was like, Billy was never real. It's like a depiction of her wrestling with that part of herself. And then she carries on, puts on the white swan makeup again, goes and does a beautiful performance at the end, and then quite literally jumps to her death. [45:18] Portia Pendleton: Right. [45:19] Dr. Katrina Furey: And at the very end, as she's dying, I think she says it was perfect, or I was perfect or something, and I was like, oh, my God. [45:27] Portia Pendleton: Just floored. [45:28] Dr. Katrina Furey: Just floored. Like, the lengths you go to achieve perfection. [45:32] Portia Pendleton: I mean, it does drive you mad. I feel like at both times that I've watched, I'm always left a little speechless besides feeling unwell and triggered. But yeah, I had a lot of questions, which it seems like the glass was real on the floor, but I don't know if you get stopped, I just don't see you performing. [45:54] Dr. Katrina Furey: But again right, but also, she is the person who can sustain anorexia for that period of time. Right. I don't even think she feels it. And they even kind of show that, but where her wound doesn't grow until she's finally done dancing. God, what a movie. [46:13] Portia Pendleton: Yeah, I think it touches on so much stuff and so much toxic energy that is in the ballet world. I think it talks about also, like a psychotic break. Mom and daughter relationships. [46:29] Dr. Katrina Furey: It's predatory. [46:30] Portia Pendleton: Predatory relationships. [46:32] Dr. Katrina Furey: Touches on so much and it's so artistically beautiful. Yeah. I don't know if I'd say it was a pleasure to watch again, because it's really disturbing, but yeah, amazing movie. [46:48] Portia Pendleton: For me, I think I didn't quite enjoy dance while I was kind of competitive at that level, like, in high school. And I think I really started to enjoy dance again when I stepped away. [47:05] Dr. Katrina Furey: From the ballet world. [47:06] Portia Pendleton: I mean, I think that's not a universal maybe experience, but I think if something doesn't become fun anymore and it's not fulfilling and it's just, like all work and pain, I think it's, like, time to move on to something else. And I think it's really hard for dancers as like, that's your identity for so many people. We don't become professionals. I know. It's just really hard to do that. [47:32] Dr. Katrina Furey: Did you ever have guest teachers be like, raise your hand if you hope to be a professional dancer someday? I feel like they were always asking us that, and I always raised my hand. I think it was just like I. [47:43] Portia Pendleton: Feel like we were some of my instructors at some places. That was the assumption. I mean, this is kind of like a horrifying thing to share, but when we started Point, I think I was probably like eleven. [47:57] Dr. Katrina Furey: Oh, my gosh. Your little feet are still developing. [48:00] Portia Pendleton: We were not allowed to use padding. [48:03] Dr. Katrina Furey: No. [48:04] Portia Pendleton: Yeah. [48:04] Dr. Katrina Furey: So if you're not familiar with point so, like, in the point shoes, actually, same with me. I just started later. But you can put, like, wool or buy these gelburns. There's all sorts of but all these pads in the very tip of your shoes. So your toes have some padding. [48:21] Portia Pendleton: But you're right. [48:21] Dr. Katrina Furey: Same with me. Now that I'm thinking about it, you weren't allowed to use padding because that's. [48:27] Portia Pendleton: Not what the professional a real feel for the shoe and build up your toe. Your calluses. [48:33] Dr. Katrina Furey: I remember I used to cut off dead skin like in between rehearsals. [48:36] Portia Pendleton: You weren't allowed to get a pedicure because you didn't want soft skin, right? [48:40] Dr. Katrina Furey: Yes. If I would get one, I would say, don't remove the calluses. [48:43] Portia Pendleton: So I sneakily brought in cotton balls and put them in my shoe. It was so painful. [48:50] Dr. Katrina Furey: So painful. It's the worst. [48:51] Portia Pendleton: Oh, my gosh. I think dancing now as an adult and doing other forms of dance, like tap, I feel like the joy has returned. And it's fun and it's nice, but I think I do follow. Her name is Isabel Boylston. I think she's a prima ballerina for the American Ballet Theater. I like her content. I mean, I will say, like, she is a small bodied ballerina, pretty traditional speaking. She's an amazing dancer. And I'd like to think and hope that the ballet world is making some efforts to be more inclusive and to be safer for everybody. I'm not in it anymore. I can't speak to that. And I know I feel like we said a lot of negative, bad things about it today, which I think that's just the reality. But I also am hopeful that there are wonderful companies with wonderful instructors and better PT. But I think it's cutthroat. I think it is. [49:48] Dr. Katrina Furey: And at least the way it's depicted in this movie, very cutthroat. So I'm just thinking, like, if you and I experience some of that on such a local dance school level, imagine what it is at the New York City Ballet. Right? Wow. So is there anything else we wanted to touch on? [50:06] Portia Pendleton: No. I'm glad that it's behind us. I feel like it deserves to be. [50:12] Dr. Katrina Furey: Called a film, not a movie. All right, well, this was fun. I'm also glad it's behind us. Thank you all for tuning in. If you could please rate, review, and subscribe, that would be great, and we will see you next time with succession. [50:25] Portia Pendleton: Yeah. [50:26] Dr. Katrina Furey: All right. Bye, guys. [50:27] Portia Pendleton: Bye. [50:33] Dr. Katrina Furey: This podcast and its contents are a copyright of analyzed scripts. All rights reserved. Any redistribution or reproduction of part or all of the contents in any form is prohibited. Unless you want to share it with your friends and rate, review, and subscribe, that's fine. All stories and characters discussed are fictional in nature. No identification with actual persons, living or deceased places, buildings, or products is intended or should be inferred. This podcast is for entertainment purposes only. The podcast and its contents do not constitute professional mental health or medical advice. Listeners might consider consulting a mental health provider if they need assistance with any mental health problems or concerns. As always, please call 911 or go directly to your nearest emergency room for any psychiatric emergencies. Thanks for listening, and see you next time. [51:23] Portia Pendleton: Bye. Our channel, Sam.

Raised in Poverty + Dance Prodigy = Black Principal American Ballet TheaterOn this episode of SLB, John Moffett speaks with Ballet Prodigy, Best-Selling Author, and the first African American Principal Dancer for the American Ballet Theater, Misty Copeland. Tune in to hear Misty tell her story, including her childhood adversities, her experience being a minority in the dance industry, and her path to success. Learn more about Misty by visiting https://mistycopeland.com/And check out her books: https://mistycopeland.com/store/Season Sponsor: ROKA Use code "SLB" for 20% off your purchase at Roka.

Welcome to “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real." Join host, Joanne Carey, Wednesday, March 8th, as she brings her popular Instagram Live series Dance Talk” ® with Joanne Carey , that began in December 2021 , to the podcast airwaves! Dance Talk® welcomes dance artists from around the world each week to sit down and share their stories, goals and dreams for themselves, the dance community and future generations. Listen in, as we take a peak inside the career of each artist who shares their enthusiasm, wisdom, insight and inspiration, leaving you, the listener, with the transformative power of dance through each artist's voice. Joanne Carey, dancer, author, artistic director, teacher, coach, entrepreneur, has been named one of the "Top 30 Inspiring Woman" two years in a row for 2022 & 2023 by Entrepreneurs Herald Magazine, is the recipient of the award "The Best of the Best Children's Dance Studio 2020", nominated for the "Readers Choice Award, by TCK Publishing in 2021 for her book, "The Other End of the Barrel, One Woman's Journey Back to a Life filled with Joy, Laughter and Love after the Tragic Loss of a Child, which rose to #2 on Amazon in one day for New Releases in the Psychology Reference Category. Joanne Carey has been in the dance industry for over 30 years. She began her career as a modern dancer, dancing with a modern company in NYC. Joanne spent 23 of those years as the owner and artistic director of a popular children's dance studio, where she brought dance to thousands of families in Central NJ and was one of the first local dance studios to implement a Special Needs Dance Program. She was a board member of Dance New Jersey for 5 years, representing the dance studio voice, successfully raising the level of conversation and collaboration between the neighborhood dance studio and the professional dance sector in NJ. Joanne is also a member of NDEO and the Le Conseil International de la Danse. Joanne holds a BA Degree from Rutgers College as a double major in French and Political Science, studied in the graduate program at NYU for Dance Education K-12, holds an AOA Degree in acting from The American Academy of Dramatic Arts and received her teacher certification from American Ballet Theater in the ABT® Teacher Training Intensive in Pre-Primary through Level 3 and is an ABT® Certified Teacher. Welcome to the place "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real." Let's get this Dance Talk® started! Tune in. Subscribe. Like us. And Share.

Continuing our Black History Month series, ballet sensation Misty Copeland shares her journey to believing she was special. As the first African American woman to be a principal dancer at the American Ballet Theater in 2015, Misty Copeland made history. Now, she continues to shape the future by inspiring young dancers and sharing not just her story, but also her inspiration in her memoir “The Wind at My Back: Resilience, Grace, and Other Gifts from My Mentor, Raven Wilkinson.” Copeland joins host Kai Wright to talk about her upbringing, mentorship that shaped her and the future she envisions for Black ballerinas. Companion listening for this episode: Billy Porter on Bringing Blackness, Queerness and Fullness to Art (12/19/2022) What does a next-level victory look like for an Emmy, Grammy and Tony winner? For actor Billy Porter - it's an authentic sense of self. “Notes from America” airs live on Sunday evenings at 6pm ET. The podcast episodes are lightly edited from our live broadcasts. To catch all the action, tune into the show on Sunday nights via the stream on notesfromamerica.org or on WNYC's YouTube channel. We want to hear from you! Connect with us on Instagram and Twitter @noteswithkai or email us at notes@wnyc.org.

She's a world famous prima ballerina and the first African American principal dancer with the American Ballet Theater. Misty Copeland has a long history of overcoming obstacles, breaking barriers, and inspiring her many fans. Now, in her first full-length public conversation about parenting since the birth of her son Jackson, Misty joins Carol to talk about her life as a new mom: how it's been, how it's going, and what she hopes lies ahead for herself and her family. They discuss how mentors can play a vital parenting role and Misty shares the influential and supportive impact mentors have had on her life, which she details in her latest book, The Wind at My Back: Resilience, Grace, and Other Gifts from My Mentor Raven Wilkinson.  You'll hear from Misty Copeland as you've never heard before in this candid, informative, and heart-warming episode. Follow us at @GroundControlParenting and on www.groundcontrolparenting.com  See omnystudio.com/listener for privacy information.

When Misty was a young girl, she was told she had a gift for ballet. But when Misty became a teenager, she was told she didn't have a dancer's body. Instead of giving up, she just worked harder and became the first African American principal dancer for the American Ballet Theater. You should meet Misty Copeland! --- Support this podcast: https://anchor.fm/avant-garde-books/support

On September 8, SHACK15 hosted the internationally recognized choreographer and the first black female choreographer to make works for the New York City Ballet, Sidra Bell, who was also a 2022 Djerassi Artist In Residence, in conversation with Alexander Djerassi, the program's acting director, as well as Kristine Elliot, a former soloist of the American Ballet Theater. Sidra Bell's career has spanned over 20 years and her choreography has been seen throughout the United States, Europe and Asia. She has created over 100 works, notably for BODYTRAFFIC, Ailey II, The Juilliard School, the Boston Conservatory at Berklee College, among many others. The Djerassi Resident Artists Program was founded by the late Dr. Carl Djerassi, the father of the birth control pill. Located in Woodside, California, the program sits on a 600-acre ranch established in a land trust for the program which is recognized internationally for its pre-eminence as an artist residency, and has provided over 2,500 artists with the gift of time and space to create since 1979.

A lot of creating, especially writing - whether it be music, prose, poetry or nonfiction - is a solo pursuit and often happens in isolation which is why this conversation about Collaboration is so inspiring to me. My guests for this episode, composer and author Karen LeFrak and creative facilitator and strategist, Cathleen Murphy, explain how they came together to collaborate and what they did to translate Karen's vibrant music to a global, digital audience and over 18 million (and counting) streams worldwide.  Theirs is a mature creative partnership built on trust, mutual respect, active listening, open communication and joy. Key Takeaways Find opportunity Adapt to new platforms Conform to industry standards of quality Be open Ask questions Know your audience Go to where your audience is Show up consistently Build relationships Find the right partners Think strategically and long term Be discoverable You Can Find Your Voice at Any Age Karen has released seven studio recordings since March of 2021, including her latest, Renewal. Her works have been commissioned and performed by the New York Philharmonic, the American Ballet Theater, and the Shanghai and Miami Symphony orchestras. She is an ardent champion of musical and literary education for children and has received wide accolades for her children's books. Discover more about Karen at KarenLeFrak.com Cathleen is a widely respected music industry professional and the CEO of Key Of C Entertainment, who has established one of the industry's most diverse and creative driven careers leading initiatives, major labels and music publishing companies, working with a staggering list of acclaimed Grammy, Tony Pulitzer Prize and Academy Award-winning artists, including Yo-Yo Ma, Tedeschi Trucks Band, Billy Porter, Idina Menzel, Nile Rogers, the Blind Boys of Alabama, 2 Cellos, Bobby McFaren and Cindy Lauper, among many others. Find Cathleen at KeyOfCEntertainment.

For All We KnowSince American Idol premiered in 2002 and crowned Kelly Clarkson its first winner, the show has been an unstoppable juggernaut – Nicki Minaj and Mariah Carey's sometimes ridiculous, sometimes hilarious diva battles notwithstanding. Unlike many talent-shows, Idol's contestants and winners have gone on to have major careers beyond the scope of its cameras – Carrie Underwood, Jennifer Hudson, Adam Lambert, and Chris Daughtry to name a few. The producers struck gold with Simon's acerbic tongue, Paula's idiosyncrasies, and Randy's good cop to Simon's bad cop routine. And the kids could really sing, usually, and we the viewing audience got to pick the winner. All ratings gold. 20 years later, Skyler Maxey-Wert walked into the audition hall in Nashville, TN this past year as the last audition of the day. Imagine his surprise and delight when the now judges, Katy Perry, Lionel Ritchie and Luke Bryan gave him an enthusiastic and genuine standing ovation after his rendition of Donny Hathaway's For All We Know. Like the kids in Willy Wonka, Skyler booked his golden ticket to Hollywood.For All We Know in its own way was the perfect song for Skyler. Just by putting himself out there on social media crooning to us from his home in Dresden, Germany, during the pandemic, he was inviting and entertaining the possibility of something wonderful and unexpected happening in his life. A life that has already been filled with such wonder and magic. If you recall from our conversation in Season One, he left his home in Lancaster, PA to study ballet in New York City at the Jacqueline Kennedy Onassis School the American Ballet Theater. Very heady stuff for a 13-year-old. Now in his mid-twenties he's dancing professionally with the ballet in Dresden and developing himself and his voice as a singer.   In a life defined by such highs and superlatives and exclamation points, Skyler remains quite unaffected by it all. In fact, he's quite contemplative about his life as an artist and creator. He draws profound parallels between his job as dancer and his civilian life as a young man within the context of the multifaceted world we are all living through today. For all he knows? As Skyler will tell you, “You have everything you need.”Skyler on IGPatrick's WebsitePatrick on FacebookPatrick on IGAt the Podium on IGPatrick on LinkedInFor more information contact Patrick at patrick@patrickhueyleadership.com

Rising star, Skyh Black, knows what it's like to experience full transformation as an artist. Starting out as a dancer to some of the biggest music names in the business, Skyh can now be seen lighting up the screen as Amp ‘Addiction' Anthony in BET's “All the Queen's Men,” as well as roles in “Sistas,” “Stranger Next Door,” and more. Today, Skyh shares how he built a new career as an actor from the ground up and emphasizes how everyone is on their own unique journey as an artist. These are the unforgettable stories that landed Skyh Black right here. LINKS: IMDB: Skyh Black INSTAGRAM: @skyhblack TWITTER: @skyhablack CREDITS: A Haitian Wedding Stranger Next Door All the Queen's Men Sistas Lace Black Monday Lucifer South Central Love Hello Cupid 3.0 THAT ONE AUDITION'S LINKS: TNTT ACTING MEMBERSHIP: The New Triple Threat Membership PATREON: @thatoneaudition CONSULTING: Get 1-on-1 advice for your acting career from Alyshia Ochse COACHING: Get personalized coaching from Alyshia on your next audition or role INSTAGRAM: @alyshiaochse INSTAGRAM: @thatoneaudition WEBSITE: AlyshiaOchse.com ITUNES: Subscribe to That One Audition on iTunes SPOTIFY: Subscribe to That One Audition on Spotify STITCHER: Subscribe to That One Audition on Stitcher

Eleena began dancing as a child and rose to become a member of the Corps de Ballet at the American Ballet Theater. She takes us inside that remarkable life. What does it require to pull off those jumps and create that grace and magic? Her story is about grit, art and also knowing when to stop. This episode was produced by David Manahan. After Hours Entrepreneur: An Entrepreneurs Guide to 6-FiguresTake action. Build a business and life you love!Listen on: Apple Podcasts Spotify

Prince Fleet Easton: Was born in Akron, Ohio where he made his singing debut at the age of 5. Soon after he began his show business career by appearing in many Broadway musical productions at the Equity Goodyear Musical Theater. He has an extensive background in dance, acting and singing. He studied at American Ballet Theater, Ballet Arts and took master classes at the world-renowned Julliard School.  Now living in Palm Springs, California Fleet has devoted his spare time appearing for many benefits, believing that you must give back to move forward. Fleet worked for several years with the 'Well In The Desert' feeding the homeless and those in need of a hot meal.  He has performed on the 'Joey English TV Show' 'Joey English Radio Show' 'Eye On The Desert' and 'KMIR 6 Morning Show' 'Pink Lady Presents' just to name a few. On February 2008 he sang with 'Musical Chairs'. In 2007 Fleet joined the cast and became one of the stars of the Bella Da Ball Cabaret Dinner Show and was with them for 8 years. He has been the soloist and musical director for 'Innerfaith Spiritual Center Worldwide now for 12 years. In 2008 Fleet won the Desert Idol competition for Palm Springs California. On June 7th 2009 Fleet made his debut as one of the 'National Anthem' singers for the Palm Springs Powerball Baseball team and now is a spokesperson for them. He has also sung the National Anthem for the Empire Polo Club in Indio California. While living in Florida Fleet was a 'National Anthem' singer for Micheal Jordan's Blue Ducks Basketball Team and the Florida Marlin's Baseball Team. On December 9th. 2016 Prince Fleet received the 407th Star on the 'Palm Springs Walk Of Stars'. On April 22nd. 2017 Fleet received the 'Lifetime Achievement Award' again from the White house along with acknowledgements from the United States Congress, the United States Senate and from the California Senate and the California Congress. In 2018 Prince Fleet Easton received the 'Presidents Choice Entertainer Of The Year' in Hollywood California from the Southern California Motion Picture Council. In January of 2018 he once again received the 'Lifetime Achievement Award' from the White House.Prince Fleet can soon be seen in the feature film 'Hashtag Blessed' and heard in the soundtrack of the movie. Singing the orginal song 'Why Can't Christmas Be Here Everyday'Prince Fleet can be also be seen in the new action comedy film 'Team Of Two' as Detective Johnson.  He  has now released a single, a inspiritational anthem for the Ukrainian War titles "We Will Carry On'.  In 2023 Prince Fleet will be honored in Paris France with the Fabulous Celebs Global Award.Contact Prince Fleet Easton via his email: Fleeteaston@yahoo.comPhoto: Copyright Wilkinson/2022Opening and closing music courtesy the very talented Zakhar Valaha via Pixabay.To contact Wilkinson- email him at BecomingWilkinson@gmail.com

For Video Edition, Please Click and Subscribe Here: https://youtu.be/39lU5PjEjPo JUDITH “JUDY” BLAZER began her career in opera, oratorio, and recital in New York City and throughout Italy. She moved into Broadway theater with leading roles in Me and My Girl (Sally), A Change in the Heir (Prince Conrad), Titanic (Lady Caroline), Neil Simon's 45 Seconds from Broadway (Cindy), LoveMusik (Brecht's mistress) featuring the music of Kurt Weill, and A Gentleman's Guide to Love & Murder (Miss Shingle). Off-Broadway, she has appeared in Candide (the Old Lady) and Sweeney Todd (the Beggar Woman) with New York City Opera, The House of Bernarda Alba (Magdalena) and Hello Again (The Nurse, Drama Desk nomination) for Lincoln Center Theater, and Richard Greenberg's Hurrah at Last (Gia) at the Roundabout Theater. She also performed a solo work for Primary Stage's Inner Voices series, Whida Peru: Resurrection Tangle. A few regional theater credits include: Long Wharf Theater (Maria in Twelfth Night), McCarter Theater (title role in The Night Governess), Paper Mill Playhouse (Eliza in My Fair Lady, Maria Merelli in Lend Me a Tenor and most recently the sequel, A Comedy of Tenors). Judy sang at the Met as a soloist in Twyla Tharp's Everlast with the American Ballet Theater and played Bessie Thomashefsky in Michael Tilson Thomas's touring concert documentary The Thomashefskys (on PBS' Great Performances in 2012). Other TV credits include Leonard Bernstein's New York, and In Performance at the White House on PBS; regular appearances on As the World Turns (Ariel), The Guiding Light (Marissa), and two episodes of Law and Order. Judy is heard on over twenty recordings. 

I feel like I have been studying Joe McNally's work since I first picked up a camera, so this should be the easiest show post I have ever done. He is an absolute master of light, and I own his "The Language of Light" Volume One, I need to get Volume Two. I have watched classes through KelbyOne and CreativeLive, and twice I have sat at the end of his PhotoshopWorld Keynotes wishing it wasn't over. Yeah, this should be easy. But no, this is a tough one. Joe McNally is a legend, and most anyone you ask would agree that he's one of the top photographers working today, perhaps ever. He is in that very elite group of photographers know as Nikon Ambassadors, along with the likes of Moose Peterson (who has been on the show twice - for Wildlife & Wild Places & Aviation Photography), Deborah Sandidge (who was on the show for the episode on Better Travel Photography), Todd Owyoung and others. Joe is also a Capture One Ambassador, a Gitzo Ambassador, and is affiliated with Printique (an Adorama company), Synology, Lastolite, Tether Tools, and Powerex. Writing about someone I respect as much as Joe creates a flood of thoughts, and putting them in the right order matters. Let me start here... Joe McNally won the first Alfred Eisenstaedt Award for Journalistic Impact for a LIFE coverage titled, “The Panorama of War”. He has been honored numerous times by Communication Arts, PDN, Graphis, American Photo, POY, and The World Press Photo Foundation. His career has led to international acclaim, more awards than I could list here, and assignments that have taken him to 70 countries. With all of that said, we have only just begun to scratch the surface of Joe's career. Joe has shot numerous cover stories, and highly complex features, for legendary publications such as LIFE, National Geographic, and Sports Illustrated, along with cover stories for TIME, Newsweek, Fortune, New York, Entertainment Weekly, The New York Times Sunday Magazine, and Men's Journal. He has also managed to do something few people can... bridge the worlds of photojournalism and advertising. His client list includes FedEx, Sony, Nikon, Land's End, General Electric, MetLife, Adidas, American Ballet Theater, Epson, the Wildlife Conservation Society, ESPN, MAC Cosmetics, USAA, the New York Stock Exchange, and Lehman Brothers, and that's a short version. American Photo listed Joe as one of the 100 Most Important People in Photography, and described by the magazine as “perhaps the most versatile photojournalist working today", and in 2010 he was voted as one of the 30 most influential photographers of the decade in an industry wide Photo District News survey. As an educator, McNally is unequaled. He is an author, teacher, and highly sought after speaker. His newest book, "The Real Deal: Field Notes from the Life of a Working Photographer" - available through Rocky Nook or Amazon - was released on February 8, 2022. I pre-ordered it, and can't wait to read through it. In fact the photo we discuss on this show triggers a whole chapter in the book. His other titles include "Sketching Light", "The Hot Shoe Diaries", The Moment It Clicks", and "The Face of Ground Zero". The latter is based on Joe's "Faces of Ground Zero, Portraits of the Heroes of September 11, 2001 Collection", which consists of 246 Giant Polaroids - life-size photos (9' x 4') shot during a three-week period shortly after September 11, 2001, with additional images shot in 2002. I mentioned above my experience watching Joe give a Keynote at PhotoshopWorld a few years ago. Joe McNally is hands down the best I have ever seen. I don't know how to even begin to describe his speaking and teaching ability. All I can do is suggest that, given the opportunity, you don't miss him on stage. Be sure to check out his classes too, like The Language of Light class mentioned above, or through places like KelbyOne and CreativeLive. I can only imagine how great his live workshops are, and,

Today we are joined by educator, repetiteur, and former principal dancer with American Ballet Theater and New York City Ballet, Robert La Fosse. Robert was born in Beaumont, Texas. He moved to New York City to further his dance education with David Howard at Harkness House and Stanley Williams at The School of American Ballet. […] The post (266) Robert La Fosse, former principal dancer with ABT and NYCB appeared first on tendusunderapalmtree.com.

Danielle Rowe is the guest for episode four of  'A Body's Language'.Dani Rowe was born in Shepparton, Australia and trained at The Australian Ballet School. From 2001-2015 Dani was a Principal Dancer with the Australian Ballet and Houston Ballet, and also danced with the prestigious Nederlands Dans Theater. She now lives in San Francisco and works as a choreographer, film director and creator and writer. She is the former Associate Artistic Director of SFDanceworks.We speak about how during  the COVID-19 pandemic, Dani pivoted to film making. Her creations included Shelter, created, directed and choreographed with Garen Scribner and Alexander Reneff-Olson, Wilis in Corps-en-tine for The Australian Ballet, written, directed and choreographed with Garen Scribner, I Am Spartacus for The Australian Ballet, written, directed and choreographed with Garen Scribner and The Animals for Ballet Idaho. The films garnered positive attention from Vogue, The New Yorker, The Guardian and Dance Magazine.We also speak with Dani about her career as a choreographer and how she never imagined herself 'making dances'.  Dani has created works for San Francisco Ballet, most recently creating 'Wooden Dimes' for their digital season, Nederlands Dans Theater's SWITCH program, Royal New Zealand Ballet, Co.Lab Dance (featuring dancers from American Ballet Theater), Ballet Idaho, Grand Rapids Ballet, SFDanceworks, Diablo Ballet, Oakland Ballet and Berkeley Ballet Theater. She also choreographed for the award-winning dance film Sirens Tango (featuring principal dancers, Sasha de Sola and Luke Ingham of San Francisco Ballet), and we speak about her cross-disciplinary immersive theater production of FURY (a collaboration between San Francisco Ballet, Alonzo King LINES Ballet and indie-pop band YASSOU).Dani also reflects on her incredible dancing career.  She originated roles in creations by Paul Lightfoot/Sol Leon, Christopher Wheeldon, Wayne McGregor, Alexander Ekman, Crystal Pite, Marco Goecke and Medhi Walerski and worked with choreographers Mats Ek, Jiri Kylián, Hans van Manen, Alexei Ratmansky and Christopher Bruce. Rowe has also performed in works by Kenneth McMillan, Jerome Robbins, George Balanchine, Mark Morris and Nacho Duato as well as the title roles in Giselle, Cinderella, Sleeping Beauty, Kitri in Don Quixote and Sugar Plum Fairy in The Nutcracker. https://www.youtube.com/watch?v=K8PMw7NuaPM Link for Danielle Rowe as 'The Baroness' in Graeme Murphy's Swan Lake.The Australian BalletChoreography - Graeme MurphyThe Australian Opera and Ballet OrchestraConductor - Nicolette FraillonThe Sydney Opera House - 2008https://www.youtube.com/watch?v=CISGInB-bagLink for 'Shoot the Moon' trailer. Music: Philip Glass: Movement II from Tirol Concerto for piano and orchestra © Dunvagen, New York / Albersen Verhuur B.V., 's-Gravenhage | Light: Tom Bevoort | Choreography, decor and costumes: Sol León and Paul Lightfoot.

This episode delves deep into how art and creativity can bring awareness to modern-day slavery, being a creative from an ethnic minority and the process of creating new artistic work. Welcome to Season 4 Episode 2 Creating New Work, an interview & discussion with professional creative: Julianna Rubio Slager & with show host Lara Bianca Pilcher.  More about Julianna: Ballet 5:8 Artistic Director and Resident Choreographer Julianna Rubio Slager is originally from Spring Arbor, Michigan. Slager began her dance training with Mrs Lori Ladwig and went on to study under notable teachers from Ann Arbor Ballet Theater, New York City Ballet, the Vaganova Academy and Puerto Rican National Ballet. Slager enjoyed dancing under Barbara Smith at Greater Lansing Ballet during her training, and also under Kathy Thibodeaux and Sol Maisonet at Ballet Magnificat. Upon moving to Chicago, Slager had the opportunity to work as a freelance artist, teacher and choreographer in the Greater Chicago area. Slager was instrumental in the co-founding of Ballet 5:8 in 2012. Beginning in 2014, Ballet 5:8 began touring nationally, bringing Slager's critically acclaimed ballets such as The Space in Between, Scarlet, Compass, and The Stor(ies) of You and Me to audiences across the nation. Slager is also a groundbreaking figure within the field, as one of the few Mexican-American Artistic Directors and Resident Choreographers of professional ballet companies in the world. She hopes that her leadership and creative work at Ballet 5:8 will pave the way for other women and minorities in professional ballet. Over the past decade, Slager has enjoyed training and mentoring the next generation of aspiring artists in Ballet 5:8 School of the Arts' Pre-Professional and Conservatory programs and in the Ballet 5:8 Trainee Program. She has had the joy of watching her students be accepted into many prestigious summer intensive, trainee and year-round programs, including the Kirov Academy, Pittsburg Ballet Theater, Houston Ballet, Washington Ballet, Joffrey Ballet Trainee Program, Alonzo King Lines Ballet, Oklahoma City Ballet, Gelsey Kirkland Academy of Classical Ballet, American Ballet Theater, Ellison Ballet, School of American Ballet, and others. To find out more visit: https://www.ballet58.org/   About AHI - Lara Bianca Pilcher, the host of the Artist's House International Podcast (AHI), is a seasoned host and international speaker in the Faith and Art sphere. Her career in the arts industry spans over 20 years. Artist's House International is a not for profit that uses the tool of creativity to help transform lives, form a global community and capture the global voice of believer artists. AHI founders, Andrew and Lara Pilcher have been married for 15 years and have two awesome kids. -We invite you to subscribe to this Podcast and share it with others! -We invite you to support this Podcast financially by visiting us on Patreon -To find out more about AHI visit: www.artistshouseinternational.com -Instagram: @artistshouseinternational -Twitter: @artistshouseint -Facebook: @artistshouseinternational    

Misty Copeland is the first African American woman to be promoted to principal dancer in The American Ballet Theater's 75-year history. She is considered a dance prodigy even though she didn't begin ballet until she was 13. At the age of 15 she won first place in the Music Center Spotlight Awards and would study at the prestigious, American Ballet Theatre and has been with them ever since. Not only is she an incredible ballerina, Misty is also public speaker and a celebrity spokesperson that understands how powerful and impactful her voice is for young black girls aspiring to be the first in their fields. In this conversation, Misty talks about the enormous pressure that comes with breaking boundaries and some of the hurdles she faced as she achieved her success. Also, she talked about her new instant New York Times bestselling children's series opener Bunheads inspired by her own early experiences in ballet. It's an inspiring tale for anyone looking for the courage to try something new.Follow The Brownprint on Instagram @thebrownprintpodcast and on Twitter @brownprintpod. Email us at brownprintpod@gmail.com. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Daniela Il Grande started dancing professionally when she was fourteen years old when she joined the Miami City Ballet. At fifteen, she was selected to train with Mikhail Baryshnikov and his coaches. At sixteen, she went on to perform and tour with the American Ballet Theater, Joffrey Ballet, Connecticut Ballet, St. Louis Ballet, and Charleston Ballet. Now, Daniella enjoys a successful career in corporate America in her role as the Executive Director for Dean & DeLuca Specialty Food Markets and Cafes. Daniella sits down with Tess Baum to share her exclusive zigzag story in a retelling that moves us as easily as her dancing career.Love the show? Subscribe, rate, review, and share!Here's How »Join the Zig-Zag of Life Community today:tesabaum.comTwitterFacebookPinterest

This week we are joined by Christin Hanna and Constantine Baecher of the Lake Tahoe Dance Festival.  Christin and Constantine met twenty years ago as students at American Ballet Theater. Constantine's career as both choreographer and dancer has led him to the Hamburg Ballet School, Royal Danish Ballet and Compagnie de Carolyn Carlson amongst others […] The post (143) Christin Hanna and Constantine Baecher of the Lake Tahoe Dance Festival appeared first on tendusunderapalmtree.com.

On this episode Robert Caplin chats with the formidable Joe McNally about his life, career, and the business of photography. They discuss Joe's path from his earliest days in college, getting his feet wet as a copy boy for the NY Daily News, his growth into a trusted and proven photographer working for the likes of LIFE Magazine, National Geographic, Sports Illustrated, just to name a few. They talk about Joe's transition from staff to freelance, editorial to commercial, and how he expanded upon his talents to also start lecturing, holding workshops, writing books, to endorsements and collaborations with brand manufactures and much more. Sit back, relax, and enjoy this episode of The Photo Brigade Podcast. SUBSCRIBE! https://www.youtube.com/c/t...Connect with The Photo Brigade on social!Facebook: https://www.facebook.com/Ph...Twitter : https://www.Twitter.com/Pho...Instagram: https://Instagram.com/Photo...Google + : https://plus.google.com/+th...MORE Audio Podcasts on iTunes:  https://itunes.apple.com/us...Robert Caplin: http://RobertCaplin.comJoe McNally (http://JoeMcnally.com/) is an internationally acclaimed photographer whose career has spanned 30 years and included assignments in over 50 countries. He has shot cover stories for TIME, Newsweek, Fortune, New York, Entertainment Weekly, The New York Times Sunday Magazine, and Men's Journal. He has been at various times in his career a contract photographer for Sports Illustrated, a staff photographer at LIFE, and currently, an ongoing 23 year contributor to the National Geographic, shooting numerous cover stories for those publications.Joe was listed by American Photo as one of the 100 Most Important people in Photography and described by the magazine as "perhaps the most versatile photojournalist working today". He has been honored as a member of Kodak-PDN Legends Online, as well as being a Nikon Legend Behind the Lens. In 2010, he was voted as one of the 30 most influential photographers of the decade in an industry-wide Photo District News survey. McNally won the first Alfred Eisenstaedt Award for Journalist Impact for a LIFE coverage titled "The Panorama of War." He has also been honored numerous times by Communication Arts, PDN, Graphis, American Photo, POY, and The World Press Photo Foundation.In the aftermath of 9/11, McNally, using the world's only life-sized Polaroid camera, created a project called "Faces of Ground Zero," which traveled through 2002, became a book, and helped generate approximately $2 million for the relief effort. It is considered by many museum and art professionals to be one of the most important artistic endeavors to evolve from the 9/11 tragedy. His fine art work is represented by Monroe Gallery of Santa Fe, and his prints are in numerous collections, most significantly the National Portrait Gallery of the United States.He shot the first all-digital coverage of the history of the National Geographic, called "The Future of Flying," a 32-page cover story commemorating the centennial observance of the Wright Brothers' flight. The coverage was deemed noteworthy enough that it has been incorporated into the archives of the Library of Congress. In the last two years, McNally has written two books, The Moment It Clicks, and The Hot Shoe Diaries, both of which cracked Amazon's top ten list of best sellers. His advertising and commercial clients include FedEx, Epson, Sony, Nikon, Land's End, General Electric, MetLife, Adidas, American Ballet Theater, and the Wildlife Conservation Society, among others.He's known internationally for his ability to produce technically and logistically complex assignments with expert use of color and light. As part of his teaching activities, he conducts numerous workshops around the world.