DDP Talks To
"The Devil Ties My Tongue" by Amy Seiwert performed for the SKETCH Series, 2013. Photo by David DeSilva. Courtesy of Amy Seiwert's Imagery
December 31st: New England Presenter Travel Fund, December 31st: Central Pennsylvania Youth Ballet Scholarship, December 31st: 24 Seven Dance Convention, December 31st: National Theater Project Presenter Travel Grant, December 31st: Breck Creek Artist-in-Residence Program
×"The Devil Ties My Tongue" by Amy Seiwert performed for the SKETCH Series, 2013. Photo by David DeSilva. Courtesy of Amy Seiwert's Imagery
By Laura Bradley
When Flint Town director Jessica Dimmock first decided to urge the Directors Guild of America to change its parental leave policies, one dim worry crept into the back of her mind: What if she was starting this battle only for herself? What if she was the only person who had lost health insurance because having a baby made it impossible for her to meet the minimum income requirement to stay on the plan? “In my gut I knew this wasn’t going to be the case,” Dimmock told The Daily Beast in a recent interview. “But there was a slight moment where I was like, ‘Huh, maybe this doesn’t happen to people and I’m just super inefficient, or…’ I don’t know.”
Once the campaign launched, however, a flood of responses confirmed Dimmock was not alone in this frustration—not remotely. “And they weren’t just the DGA,” Dimmock said. “They were also from the Writers Guild, they were also from producers, they were also from people that are part of [the Screen Actors Guild].”
For coverage under the DGA’s health insurance—a separate entity called the DGA-Producer Health Plan, which is jointly administered by the guild and producer associations representing the film, TV, and commercial production industries—members must surpass a minimum income threshold from directing guild projects within a 12-month period. Having a baby complicates that task for obvious reasons—and as a result, after Dimmock gave birth in 2017, she lost her guild insurance. She switched to COBRA, which carries higher premiums, at a time when she needed to visit the doctor more often than ever. Dimmock’s directing partner, the baby’s father, lost his insurance for a quarter but, she noticed, was also not as intensely impacted overall.
And so last summer, once Dimmock was back on her feet and directing once more, she decided to explore what she might do. By December, she had gathered dozens of signatures on a letter calling for new parents to be granted extensions to the time period required to meet their minimums, which she presented to the Eastern Council Board. The proposition extends to all new parents, including those who have adopted.
“They were receptive and they said, ‘We’d like to explore this,’” Dimmock said of the council’s reaction, “but there was nothing else that happened.” Dimmock took her campaign public in January ahead of the DGA’s national board meeting in the hopes of keeping the pressure on. But that gathering came and went. The path forward at this point is unclear; she has received no next-steps.
Read the full article here.
11 February 2020
Boston Ballet Artistic Director Mikko Nissinen announces programming for the 2020-2021 season. The season opens with a world premiere as part of a three-ballet program of William Forsythe‘s works. Nissinen’s The Nutcracker returns to capture the imagination of audiences of all ages. The spring season includes a second world premiere by William Forsythe, Alexei Ratmansky’s Symphony No. 9, and George Balanchine‘s Ballo della Regina, plus the Company premiere of Christopher Wheeldon‘s A Midsummer Night’s Dream and the return of Marius Petipa’s The Sleeping Beauty. The season concludes with a female-led program, part of Boston Ballet’s ChoreograpHER Initiative. The Company’s 57th season runs November 5, 2020 through May 30, 2021 at the Citizens Bank Opera House.
“Our upcoming season is a dream come true with many new works by today’s greatest living choreographers paired with beloved classics,” said Artistic Director Mikko Nissinen.
The season opens with Triple Bill (November 5-15), featuring three works by creative powerhouse and internationally-acclaimed choreographer William “Bill” Forsythe. Just prior to the season opening, Boston Ballet will return to New York City to present this program at The Shed in October, which features a world premiere by Forsythe, co-commissioned by The Shed and Boston Ballet. Blake Works I returns by popular demand, transforming James Blake‘s “The Colour in Anything” into “sheer joy” (The New York Times). The international sensation Playlist (EP) returns after a record-breaking world premiere in Boston in March 2019 followed by the Company’s successful Paris debut in June. Playlist (EP) pulls pop and R&B music from Forsythe’s personal playlist to fuel the piece’s “high-kicking exuberance” (The Boston Globe). The program continues Forsythe and Boston Ballet’s long-term partnership formed in 2016.
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The final program of the season is ChoreograpHER (May 20-30). The female-led program celebrates innovative voices across the art world with four new works. Dutch choreographer Nanine Linning will create her first work for a major ballet company in North America, pairing vivid imagery with strong physical movement. New York City Ballet Principal Dancer Tiler Peck will create a world premiere. She recently received accolades for her work at Vail International Dance Festival and directed movement for the film John Wick 3: Parabellum. Choreographer and Norwegian National Ballet Principal Dancer Melissa Hough, formerly a Boston Ballet Principal Dancer, returns to create a world premiere on the company where she got her start. Visual artist Shantell Martin-internationally-acclaimed for her landscape of lines and existential questions-will create a work in collaboration with Boston Ballet Principal Dancer and choreographer Lia Cirio. The program will also feature conceptual art by writer, researcher, and artist Emma McCormick-Goodhart. This program is part of Boston Ballet’s ChoreograpHER Initiative, a multi-year commitment in support of emerging female choreographers. It was established in 2018 to give female dance students and professional dancers an opportunity to develop choreographic skills.
Read the full article on Broadway World.
10 February 2020
Dubbed “a Nashville miracle” by the New York Times, Tennessee’s premiere ballet company returns for the 2020-2021 season with a spectacular repertoire of fantastic favorites and electrifying new works. With a continued commitment to presenting powerful and transformative art, Nashville Ballet’s next season is meant to uplift, inspire, and engage audiences with impeccable storytelling, athleticism, and artistry.
Season highlights include the return of Vasterling’s celebrated blockbuster adaptation of Peter Pan, a reimagined and expanded take on the gothic tale of Dracula, and a series of works created exclusively by female choreographers and composers. Additionally, the season will feature a choreographic workshop offering audiences a first look at Vasterling’s next major project, new additions to the holiday classic, Nashville’s Nutcracker, and much more.
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February 12-14, 2021
TPAC’s Polk Theater
Orange choreography by Gabrielle Lamb
Music composed by Caleb Burhans
NEW! Choreography by Mollie Sansone
Music composed by Larissa Maestro
Live music performed by Lockeland Strings
NEW! Choreography by Suzanne Haag
Music composed by Fanny Mendelssohn
Superstitions choreography by Jennifer Archibald
Music composed by Cristina Spinei
This popular series known for unique musical collaborations and shedding light on important cultural themes brings female perspectives to the forefront this season with a production featuring new works exclusively from women!
Read the full article on Broadway World.
4 February 2020
In sixth grade, right before the first school dance of the year, I had a fight with one of my best friends. We had been growing apart for a while in a way that can only be worsened by middle school. I was a shrimpy Chinese girl with glasses and a Les Miserables obsession. She came from a wealthy family that owned two dogs and could afford Juicy Couture tracksuits. I had to beg my mom to take me to Walmart for new clothes.
We were both in the girls’ bathroom when it happened. I was wearing a new outfit: a skirt, Dr. Scholl’s platform sandals, and a pink flower shirt with ruffle sleeves. For the first time in my young teenage life, I felt beautiful. But Emily S., with her new posse of girls who used curling irons and Wet ’n Wild lip gloss, was determined to nip that right in the bud.
“You’ve been nothing but mean to me since school started,” I told her. Outside, Usher’s “Yeah!” started to raucous cheers.
“Why are you sticking your boobs out?” she replied, sneering. The girls in her posse tittered.
“Stop sticking your boobs out! Jenny’s sticking her boobs out!”
That was the first time I experienced what Mean Girls coined as “girl-on-girl crime.” In that dingy bathroom, as Usher orchestrated 300 sweaty, hormonal bodies into dance moves we would all regret later, my body was used against me. That day, she left the bathroom victorious, and I stared at myself in the mirror, wondering if I had indeed been sticking my boobs out or if I was just trying to stand up straight.
Read the full article in The Cut.
By Ann Hornaday
7 Feburary 2020
LOS ANGELES — Geena Davis arrives for lunch at a beachside hotel looking as understated as humanly possible for one of Hollywood’s most recognizable celebrities. Dressed modestly, her hair in a bob and her famously sculpted cheekbones and pillowy lips adorned with minimal makeup, she makes small talk about the brush fires raging just two miles from her Los Angeles home, where she lives with her three teenage children. “I’ve never gotten so many texts in my life,” she says of concerned acquaintances checking in.
Davis speaks softly and with careful consideration, her thoughts often giving way to free-associative digressions. It’s October, and she looks preternaturally relaxed for someone who, in a few days, is scheduled to deliver a speech at one of the movie industry’s most exclusive events. Davis was being honored at the Governors Awards of the Academy of Motion Picture Arts and Sciences, where she would receive the Jean Hersholt Humanitarian Award for her work in promoting gender parity on screen.
It promised to be a tough room, as sexism and what to do about it continue to fuel contentious debate in certain precincts. But Davis is unfazed.
Read the full article in the Washington Post.
29 September 2019
It was at the end of an in-house Studio Sessions showing of contemporary works by full time students that Michael Pappalardo announced the immediate closure of Melbourne City Ballet. It was the evening of June 27. Four days earlier, company members had received an email stating that activities would be suspended for 14 days. This was the first they had heard that the company was in peril. By the next morning, MCB was no more. The company’s wonderful purpose-fitted studios in Melbourne’s Pentridge precinct in Coburg bore a ‘breach of lease’ notice. The company was debarred from entering the premises. It was all over.
In the following days there was an outpouring of sadness and sympathy for Melbourne City Ballet. Dance Australia’s Karen van Ulzen broke the story with an interview with Artistic Director Michael Pappalardo who cited lack of funding as a key factor in the company’s sudden closure after five years’ operation. The magazine’s social media pages were blitzed with messages of support and appreciation as well as disgust at the government’s refusal to adequately support the small- to medium-sized arts community. People cared about the fate of this company.
Dance Australia, like other individuals and organisations, had been a great supporter of MCB. We started attending and reviewing performances from the outset. It was wonderful to have a local company bringing dance to audiences that might not be able to access the very prohibitively expensive professional offerings of the likes of The Australian Ballet. Better yet, as Pappalardo proudly announced, the company provided jobs for dancers.
Read the full article in Dance Australia.
By Chava Lansky
4 February 2020
Wonder what’s going on in ballet this week? We’ve rounded up some highlights.
In 2016, prolific choreographer Annabelle Lopez Ochoa created Broken Wings for English National Ballet, a short piece diving into the life of iconic Mexican artist Frida Kahlo. Soon after, Dutch National Ballet artistic director Ted Brandsen offered her the chance to expand that work into a full-length ballet. The result, simply titled Frida, makes its premiere February 6-25 in Amsterdam.
In collaboration with British composer Peter Salem and Dutch designer Dieuweke van Reij, Ochoa’s ballet explores Kahlo’s fraught relationship with artist Diego Rivera, her bisexuality, the physical and emotional pain she endured and the way that she crafted her own image through her paintings. Dutch National Ballet has put out a series of YouTube videos exploring the creation of the piece; catch the first one above.
Read the full article on Pointe.
10 February 2020
PARIS • The director of a French ballet has been sacked for firing a dancer after she had a baby, the French culture ministry confirmed last Friday.
The unions had called for Greek-born Yorgos Loukos to go after he lost his appeal over discrimination against dancer Karline Marion, who was 34 at the time.
He was ordered to pay Marion €5,000 (S$7,600) in compensation.
Loukos, 69, who had been director of the Lyon Ballet for 33 years, was fired last Thursday.
Like the vast majority of ballerinas in France, Marion was on a temporary contract during her five years at the ballet.
In 2014, with her post about to become permanent under French law because she had worked through five contracts, Marion was let go two days after she returned from her maternity leave.
At the time, Loukas told the municipal authorities who pay the dancers’ salaries that he was sacking her because of her “physical and stylistic weakness”.
During a meeting with the dancer, which she recorded, Loukos told her: “If between the ages of 29 and 34, you did a fair bit, though not a lot, you are not going to do much more between 35 and 40, particularly with a child.”
Read the full article in the Strait Times.
By Elizabeth Yuan
6 February 2020
Nina C. Young recalled a visit by her mother in September when a brochure from the New York Philharmonic arrived in the mail. “Oh it’s you! Next to Haydn and Mozart.”
She is among 19 composers whose works will have their world premieres as part of the Philharmonic’s Project 19, billed as the largest women-only commissioning initiative, in celebration of the centennial of women’s suffrage. Ms. Young’s “Tread softly,” which references a W.B. Yeats poem and thwarted dreams, on Wednesday kicked off the first of six this month. Two more world premieres will follow in May and June, with the other 11 in coming seasons.
Read the full article in the Wall Street Journal.
By Lauren Wingenwroth
2 January 2020
Uri Sands has resigned as co-artistic director of TU Dance, according to a release issued by the company this week. A recent lawsuit alleges sexual misconduct claims against him, which he denies.
Toni Pierce-Sands, his wife and co-founder, will continue to lead the Twin Cities-based company as artistic director.
Both Sands and TU Dance deny the allegations made in a lawsuit filed in October by an unnamed former company member, including sexual misconduct and negligent supervision of Sands by the company. But according the release, Sands is resigning to “help TU Dance move forward in providing a safe and healthy environment for all.”
Sara McGrane, the lawyer representing both Sands and TU Dance, acknowledged that Sands did have a sexual relationship with the former company member during the time in question, but maintains that the claims in the lawsuit are untrue, according to the Minneapolis Star Tribune.
This is not Sands’ first time facing misconduct allegations: According to the Star Tribune, an anonymous complaint filed in 2017 led to TU Dance adopting a sexual harassment policy, and a policy barring Sands from traveling alone with female dancers. Sands consequently participated in counseling and therapy.
Read the full article here.
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"The Devil Ties My Tongue" by Amy Seiwert performed for the SKETCH Series, 2013. Photo by David DeSilva. Courtesy of Amy Seiwert's Imagery