Photo Credit: Ramsay de Give for The Wall Street Journal
“It was so overwhelming. It was the worst time in my life,” Ms. Fairchild, who is now 27, said recently. “It’s not just a happy thing. It’s a lot of responsibility.” Read the rest of Megan’s incredible story here.
Leslie Rauch, Principal Pacific Northwest Ballet with Angela Sterling, Photographer
And as a little side note, Angela provided the gorgeous photos you see here on Class Act Tutu as well as Vala Dancewear. {Pretty awesome, huh? 
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Thank you, Angela for sharing your talents with the dance world!
Photo Credit: Candice DeTore / The New York Times
A hearty “Congratulations!” to Lauren Fadeley (soloist) and Francis Veyette (principal) with Pennsylvania Ballet on their wedding this past Saturday. The couple met in Philadelphia in 1997 as dance students — she was 12 and he 17 — at the Rock School for Dance Education’s summer program.
“They paired the two of us together in a publicity photo shoot,” Ms. Fadeley said. “I was so young, and he was hot stuff at the time.” You can read more about their exciting courtship here.
When you’re finished, be sure to check out this great interview with Boston Ballet husband-and-wife duo, Yury Yanowsky and Kathleen Breen Combes. (Soooo sweet!)
Here’s a fun “behind the scenes” look at Pacific Northwest Ballet soloist, Lindsi Dec’s photo shoot video with Pointe Magazine!
In the shoot, Lindsi is wearing two ensembles; the first is Class Act Tutu’s V Neck Tutu Bodice (in wine) and Classical Tutu skirt in Wine/Black
The other one (as featured on p 10 of Pointe) is Vala Dancewear’s “Siren” in one of the new fabrics/colors we are testing (consider this a sneak peek!!!), along with Class Act Tutu’s Layered Romantic Tutu in our 5-Layer “Bird of Paradise” palette.
If you want to own one of these georgeous tutus worn by Lindsi in the Pointe Photo shoot, they are in our Sample Sale!
Not your size? No problem! Just contact us.
Check out this great interview with the one…the only…the legendary Mikhail Baryshnikov! {Normally this post would be longer, but after the words “Mikhail Baryshnikov” – there’s really nothing left to say! 
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Olympic Ballet Theatre Artistic Directors, Mara Vinson & Oleg Gorboulev. Photo credit: Alante Photography
For the past 30 years, Olympic Ballet Theatre (OBT) in Edmonds has been synonymous with excellence in classical ballet training. The school maintains a hearty student roster, while their company productions such as “The Nutcracker” and “Coppélia – The Girl with Enamel Eyes”, consistently draw ticket holders in by the thousands.
Over the past 5 years, former Pacific Northwest Ballet principal dancers, Mara Vinson and husband, Oleg Gorboulev served the local company in various capacities, ranging from guest teachers to members of the Board of Directors. Upon her retirement in June, OBT Founder and Artistic Director, Helen Wilkins generously turned the golden reigns of this beloved institution over to Vinson and Gorboulev, thus heralding the dawn of a new era of dedication, fresh artistry and renewed local pride.
Class Act Tutu owner, Rebecca Ecklund and company blogger, Denise Opper recently sat down with the Mara and Oleg to discuss their transition from dancers to studio/company owners and their plans for the future…
What prompted you to go from a career as dancers and teachers to owning your own studio?
Mara: Well, we were on the faculty here at OBT and have been working with OBT for a good 5 years. In our summers off from PNB, we would teach [here at OBT]. Last year I was on the faculty full time and Helen approached us about her retiring and moving on…it just seemed like a good fit.
Oleg: I was all over the place these last 5 years, teaching and driving everywhere, physically exhausting myself. And the idea to put so much work into something that was just ours was very rewarding – it was time to just settle down.
Did you have any mentors or friends that you consulted with before taking on this project? Did they offer any advice besides, “Run! Don’t do it!”
Oleg: [Laughs] We had talked with the schools in the area and I also spoke with a friend of mine who is running a school in downtown San Diego with his wife and asked what he thought. He said, “Take it, it sounds good. You should do it.” Both he and his wife are enjoying their lives and are enjoying what they do. Of course there were some people who said, “Don’t own your own school! Don’t do it!” I won’t say who but yeah, there were a few. But it’s a lot of work. If we were just by ourselves, we probably wouldn’t do it. It’s good that we have each other.
Did it feel better to not have a professional company attached to the school?
Oleg: Well, there are pros and cons. For one thing, it’s harder to teach professional dancers than it is children… [Smiles]
Mara: It’s more rewarding working with children…
Oleg: Right, because then you can see the children’s growth as they go along.
Do you personally teach all the class levels then?
Oleg: Ummm…not creative! [Laughs]
Mara: The youngest age we teach is about 9 years old and up. But no, no Creative Movement class. We have a good teacher for that. Besides, we have our own baby at home…
Mini Pantomime Master & Budding Train Engineer. Photo Credit: Alante Photography
How old is your son?
Mara: He just turned three. [Beaming with pride]
Oh my! He is still a baby. How fun! So does he enjoy having you both close to home now?
Oleg: Oh definitely. He likes hanging around the studio too.
Mara: He was watching a pantomime class this summer where Oleg was teaching the girls Carabosse from Sleeping Beauty. He asked, “Papa, where’s my cane? Where’s my cane, Papa? Oh! Maybe it’s backstage!” [Laughs]
Oleg: He owns this place! [Laughs] He has his own big train set that he takes around and sets up here. It’s really huge! It’s got all these parts to it and he just sets it up in the studio and plays. Yeah, he’s enjoying it.
Is your little boy following in your footsteps? Has he expressed an interest in dance?
Oleg: Oh, I don’t know about that. [Smiling, shaking his head.] But we’ll probably try him out here – just because it’s here. He has to go through ballet before he decides what he wants to do. [Laughs]
Were your co-workers supportive of your plans to own your own school?
Mara: Yep, they all said, “Hey you need someone to come and teach?” [Laughs]
Oleg: This past summer we had Otto (Neubert) [Ballet Master, Pacific Northwest Ballet] and Benjamin (Griffiths) [Soloist, Pacific Northwest Ballet] here teaching over the summer. The kids really enjoyed that.
What were some of your own personal fears or anxieties before taking this on?
Mara: The not knowing…the “what if’s”, the “hugeness” of it all; all the work. But then when you’re here in the studio working you don’t even have time to worry. You just go.
Oleg: We had maybe some anxiety during the months before we got started but I cannot remember what we were nervous about. It was exciting like, “What do we have to get done before we get started?” That sort of thing.
Did you have anything to learn – business wise?
Mara: Accounting! [Laughs and says with a hint of exasperation]
Oleg: Quickbooks! She does input, I do output. I just hand out the checks. [Laughs]
{Rebecca} You know, that’s the part I didn’t think I’d like either, but I do! I love the management side of running a business and learning new stuff all the time.
Oleg: It’s probably not ever going to end. There’s always going to learn something new.
Will you continue guest teaching?
Oleg: We’re guest teaching all this week. But I after this – I don’t know.
Mara: I think we’ll be too focused with everything here.
Olympic Ballet School students. Photo Credit: Alante Photography
Any future guesting plans…?
Oleg: For Mara, maybe. I’ll do Drosselmeyer or Dr. Coppelius somewhere but I don’t want to put tights on. No more tights! [Laughs]
Do you feel you have more artistic freedom now?
Mara: Yes (nods) Here we can do what we want and teach what we know. When you’re teaching for other people, you have to teach what they tell you to teach.
Will you change the school’s curriculum?
Mara: No, not really.
What are your plans now for OBT?
Mara: Just to keep going up and producing nice dancers and…
Oleg: Create some good quality shows and productions.
Do you have any productions on the horizon for this next season?
Mara: Nothing brand new but we want to show highlights from Sleeping Beauty, which is something they haven’t done before.
In the past, Olympic really seemed to work with the theatrical aspect of dance, which I really like. Are you planning on bringing in any more of that in too?
Mara: Story ballets? Oh yes. That for me was always very rewarding. We’ll definitely continue that!
Do you have any advice for those who may be interested in owning their own school one day?
Mara: I don’t know about advice since we’re just starting out but…
Oleg: Right now I’d say, “Go for it!”
Mara: Well, we may have to revise that statement a year from now [laughs] but yes, “Go for it!”
To learn more about OBT Ballet Theatre or to enroll for fall classes, please visit Olympic Ballet.com
Looking for a little inspiration to keep your momentum going? Check this story out…
How many people can say they’d like to continue working right into their 90’s? Elissa Fuchs already is….It was nearly 90 years ago when Fuchs was only three years-old that she made the decision dancing is what she wanted to do.
“That was all I wanted to do, go on the stage. And at 16, my dream came true through just a miracle,” she said.
Fuchs landed a job performing the Vaudeville circuit. That kicked off her career on Broadway, then performing with the world class Russian Ballet and then onto the Metropolitan Opera. Fuchs said she was doing what she was born to do.
“I was someone else on the stage. I loved being on the stage,” she said. Read the rest of this amazing story here.
Photo Credit: Virginia Trudeau
Here’s an outstanding interview with former prima ballerina, Cynthia Gregory. Gregory, who spent more than 25 years with American Ballet Theatre, currently works with Nevada Ballet Theatre and directs the Cynthia Gregory Center for Coaching. “Coaching is what I do best. People would ask me to help them with a role when I stopped dancing. They’d commission me to do that. Teaching has to do with the basics of class and technique. I’m much more interested in helping a ‘finished’ dancer when they’re looking at a role … it’s like finding your voice.” ~ Quote: Cynthia Gregory for the SF Chronicle. Read more…
Class Act's Saucer Tutus at YAGP Finals
Whether you’ve participated in the competition aspect of dance or not, chances are you’ve at least heard of the Youth America Grand Prix (YAGP). The YAGP is the world’s largest scholarship competition open to students 9-19 years of age.
We know how daunting the thought of competing can be, so we decided to provide you with some tips by going behind the scenes with Ms. Carolyn Lovett, teacher, choreographer and artistic director of the Lovett Dance Center in Tustin, California. Carolyn’s students have participated in YAGP since 2004 and routinely receive some of the highest marks at the competition…
When did you and your school first get started with YAGP and why?
I’ve been involved with YAGP since 2004. For the longest time I was afraid to do Grand Prix. I always knew it was out there but it seemed to be at such a high level that I dared not enter. As a Ballet teacher who has been working for studios that compete in the regular/jazz competition scene I have been very successful but I found it to be a bit of a dead end at least for Ballet students. If I was going to grow creatively and if my students were going to have more opportunities I needed to make a change. Finally I decided to take the plunge and what a plunge it’s been. I started by entering just a few soloists and groups to learn what Grand Prix expected and desired of the dancers. It has taken some time, but I feel that we fit in very nicely now and we are receiving the opportunities that come along with it.
What sort of awards or honors have your children and students received at these events?
Oh my….we started receiving awards our 3rd year in.
We have had several top 12 Pre-Competitive placements. My daughter has won twice and placed top 12 in New York City. We have several top 12 placements in the Junior Division including top 3 placements and the “YAGP Award” this year. We have many Ensemble placements including Pas de Duex’s and personally I have received the “Outstanding Teacher” award once, “Outstanding Choreographer” 3 times and this year we received the “Outstanding Studio” award. We have also been fortunate to perform with YAGP in the Spoleto Festival in Italy with an ensemble piece I choreographed on my children and another student. My students have also been awarded scholarships through YAGP. Ultimately that is what Grand Prix is about, exposing students to professionals from around the world that can offer them a road to eventual success.
My students have received scholarships to ABT, Bolshoi, Kirov, The Rock and Australian Ballet.
What sort of planning does an endeavor like this entail? (I’d imagine it’s quite a bit!)
What it takes is time! Time for us to figure out what solos work best on each student, time to choreograph contemporary pieces for each student, time to improve technique, time to work on the chosen solos, and time competing those solos before we get to Grand Prix. I really get started as soon as the first YAGP Regional is over. We always learn from the judge’s critics so we start on those immediately to improve the solos for New York Finals and or the next year. Grand Prix is inspiring so we all start thinking about what to next before we are even done with the current year.
How do you go about selecting your choreography and costumes? Why did you choose Class Act Tutu? (Hee hee…I had to throw that in there.)
Lovett Dance Center
When it comes to choreography, I am at the mercy of my own feelings. If I am going through rough times then my work tends to be a bit moodier and dark, but when I’m feeling more positive my work is lighter and more beautiful. I’m in a positive mood this year. As for costumes, we put what we can together without a costume designer to keep costs down but I do have someone make those costumes I just can’t find through a catalog. We do have to special order our tutus well ahead of time because they take so long to make. I ordered saucer tutus from Class Act Tutu this year because they were the only company out there that makes them! I had a special piece that required the saucer and Class Act makes a BEAUTIFUL one! Very nice quality and a fun selection of colors that fit my piece perfectly. By the way, that particular piece placed 1st at YAGP regional and will be competing in the New York Finals!
Woohoo! That’s awesome! So how do the parents feel about their student’s experiences with YAGP?
I think the YAGP brings out many feelings. It can be very exciting and rewarding, but can also be disappointing for those with high expectations but lack the preparation or physical attributes required for such an endeavor. When competing in Grand Prix, it is important to remember the level of talent is exceptionally high, and in New York it’s mind blowing! Grand Prix is truly International is scope so my students have been able to meet kids from all over the world. Performing along-side kids from Brazil, China, Japan, Australia and numerous others countries is enriching to say the least. Even those students who do not compete as soloists find the experience exciting and enriching. The Gala alone is worth going for and the camaraderie it brings between the parents and students can last a lifetime.
How has your involvement with YAGP (or competitions in general) enhanced your student’s training?
It has upped the game you might say. Grand Prix has pushed me to become a better teacher, therefore my students technical level has steadily increased over time. It is also encouraging me to choreograph work that I might not otherwise create. This gives my students a greater depth of movement to master.
Lovett Dance Center
What advice would you give to a school or student looking to compete in their first YAGP competition?
Be prepared! Mentally and physically prepare and be willing to learn along the way.
Thank you so much, Carolyn and congratulations to all of your terrific dancers!
*STOP THE PRESSES!* We’ve just received the following announcement from Carolyn:
“Things went great in New York! My son and daughter, Devyn and Tiana, both made it to final rounds. Tiana placed in the top 12 junior women. Both received scholarships to Princess Grace Academy in Monaco and Devyn also received a scholarship to Washington Ballet. My boys trio “Insight” (Devyn Lovett, Sam Zaldivar and Patrick Frenette) placed 2nd in ensembles and also got to perform in the Gala! This is a piece I choreographed for Dmitri Kulev Classical Ballet Academy. So…it was a good week!” We’d have to agree! Congratulations to you ALL!!
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*All photos appear courtesy of Carolyn Lovett/Lovett Dance Center*
The Rock School's "Nutcracker 1776" Photo: Tiffany Yoon
The Rock School for Dance Education’s ‘Nutcracker 1776′ provides a delightful patriotic twist to a traditional holiday classic. Nutcracker 1776 “tells the tale of two children entrusted with an enchanted key and Nutcracker that lead them far from their home in colonial Philadelphia.”
Not only were we at Class Act Tutu proud to have created some of the production’s costumes, we were curious about the inspiration behind this beloved production.
We posed our questions to The Rock School’s directors, Bojan and Stephanie Spassoff.
What was the inspiration behind Nutcracker 1776? Why did the school decide to “travel off the beaten path” and branch out like this? (Which by the way, was an awesome idea!)
We wanted to “re-invent” a new Nutcracker. Distill it and make it Philadelphia-centric. Ben Franklin is our “Drosselmeyer” figure – a cross between Dumbledore and Drosselmeyer. Instead of a German Parlor in the opening scene we are in Ye Olde City Tavern Inn, a real Philadelphia tavern during colonial times where virtually all of the Founding Founders met, discussed and planned the issues of the day. This seemed to us to make it much more personal for our Philadelphia audience as well as sneaking in some actual history.
How has the community received the production over the years?
This is only our third year of doing this production but the response has been overwhelmingly enthusiastic. The School’s Rock Reach outreach program has a special dress rehearsal for over 1,800 under served children from schools in Philadelphia, Camden and Chester County. The children are thrilled to see what may be their first and only Nutcracker. The response rivals a rock concert!
That’s amazing! So do you offer a more traditional production as well? If so, how do attendance/ticket sales compare between the two?
No, we do not as this production is specifically geared to be more accessible for families with young children and fathers who do not want to sit for two and a half hours. It is truly still a traditional Nutcracker. We try to keep it fresh every year by adapting to the students enrolled in The School.
In closing, what advice would you give other dance schools or companies looking to spice things up over the holidays?
Just look at your audience to see what is going to make it more feasible for them to go and enjoy something for the whole family, that is beautiful, elegant, and yet dynamic. It is also important to review show times, assess when the performances are better attended, and to take into consideration feedback from the audiences. Incorporating elements of magic, the unexpected and a variety of smaller charming little parts for children in the production is pleasing to both participants and the audience. Keep the joy in the dancing!
For more information about Nutcracker 1776 or to purchase tickets, please visit their website at TheRockSchool.org.
Class Act Tutu created the V-Neck Tutu Bodices and the Romantic Skirts with Basque (color: White) for The Rock School’s Snow Scene as well as the “Betsy Ross” Classical Tutu Skirt (color: Royal Basque/Red Skirt style: soft classical).
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