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Interviews

  • Amazing Costumes on a Budget: Savannah Arts Academy

    The Wizard of Oz, Savannah Arts Academy - Lollipop

    Lollipop

    To kick-off our "Amazing Costumes on a Budget" series, we'd like to take a moment and introduce you to the talented Christina Powell-Dance Department Chair of the Savannah Arts Academy in Georgia. Christina knows all about creating fabulous, professional-looking costumes--without breaking the bank! When we asked if she'd be interested in sharing some of her best "trade secrets" with our readers, she eagerly accepted. So, if your dance production is in the middle of a financial bind, you might want to take a few notes. So grab a pen (or bookmark this page), and get ready to be inspired!

    Class Act: So tell us, what initially prompted you and the Savannah Arts Academy to be "beautiful on a budget"? Was this something you've always done or did the current economy have something to do with it?

    Christina Powell: Working for a public school in a dance department that is fully supported by fundraising efforts and ticket sales to productions (we receive no funding from the local or state government), we must be extremely creative with our funds. We must work around [financial] issues to be beautiful on a budget. We ask for a lot of help from local seamstresses who donate their time and sometimes even the cost of materials to create costumes for us. For tutus, we order the skirts with basques from Class Act Tutu and the matching basque fabric for the bodices. We then have parent volunteers or local costumers make the bodices for each dancer to complete the look. In addition, we sometimes work with fashion students from our local art college, Savannah College of Art and Design.

    Class Act: Are there any specific actions that you take to do this? How does it all come together?

    Christina Powell: Well, at the beginning of the year, I take inventory of our costume closet and create a list of the most wanted items that I’d like to purchase for the year. Two years ago, we ordered an entire set of white romantic tutu skirts from Class Act Tutu. This was our first big tutu purchase! In order to save money, we had the bodices made to complete the look. We used those tutus for a Swan Lake excerpt and for the Fairy Corps in Cinderella. We used them again this year for the Emerald City Corps during our ballet, "The Wizard of Oz". Each time we use the white tutus, we change the decoration to fit the part. For the Emerald City Corps, a parent volunteer added emerald tulle overlays and a gold ribbon design on the bodice. The tulle was purchased in bulk from Class Act Tutu. Outside of ordering tutus, we also order other costumes that I feel like we’ll get a lot of use out of. For example, we ordered some Rockette-like white costumes that we wore in our Winter Dance Concert. We used them again for a local holiday event in downtown Savannah. The girls dressed up as snowflakes using these same costumes. Then in, "The Love of Broadway", our final show this year, we used these costumes again with added gold accents to perform “One” from A Chorus Line. So, my advice is that you prioritize your costumes needs, determine what costumes you can get the most out of, and take baby steps each year until you create a wonderful costume closet!

    Class Act: You know, I wonder how many other dance companies will read this and think, "Hmm. Why didn't we think of that?" Now, I also heard that you re-decorate your tutus. Would you share some examples of that with us?
    The Wizard of Oz, Savannah Arts Academy - Poppies

    Poppies

    Christina Powell: Yes, we do this a lot! For the lollipop tutus, I ordered that set of costumes at the beginning of the year. For our Winter Dance Concert, we used those tutus for a Sleeping Beauty excerpt. Then, we redecorated them for the Lollipop Corps for Wizard of Oz. We do this for all of our tutus. We always sew decorations onto the costumes so that we can easily take them off to change the look for the next performance. Never use glue! Also, skirt overlays are a great way to add color to costumes and to completely change the original look. The skirt overlays work best on white romantic tutus.

    Class Act: Do you have any final words of advice or any "Top Tips" that you'd like to share before we close?

    Christina Powell: It is so easy to get overwhelmed with costuming needs, especially if you are just starting to build a costume closet and you’re on a budget. When I took over as the chair of the Savannah Arts Academy Department of Dance, we didn’t even own a tutu! That was two years ago. Now, we own two complete sets of romantic length tutus (a white set and a pink set), a set of euro-tutus (red for the Poppy Corps for Wizard of Oz),  four romantic tutus for the Cinderella fairies (Summer, Spring, Winter, and Autumn),  and several pancake tutus (Fairy Godmother, Mazurka lead for Cinderella, Wizard for Wizard of Oz, etc). We have already used the white tutus in four shows, and the pink tutus in two shows. The red pancake tutu has been worn for the Mazurka lead in Cinderella, the Spanish variation for Nutcracker, the Don Quixote pas de deux, and the Poppy Lead in Cinderella!  Lots of use out of the red pancake tutu! Also, the winter fairy tutu was also re-worn by Glinda the Good Witch for Wizard of Oz. The best advice I can give someone wanting to build a costume closet, is to prioritize! Think about what kinds of costumes you need for your upcoming shows. Think about what you can get the most out of. Start basic (a set of white romantic tutus is a great place to start! They are so versatile and beautiful on stage!!!), and again--take baby steps! Breathe! And most of all, have fun!

    Thank you so much, Ms. Powell! Your creative ideas are going to come in handy for so many dancers out there. We wish you and the Savannah Arts Academy continued success! If you'd like to learn more about the programs available through the Savannah Arts Academy or attend future performances, please click here.

    Denise Opper ~ Media Relations

  • Madison Abeo - An Interview with a Rising Star

    Young dancers spend countless hours in the studio developing their skills and artistry. While you will often find their peers hanging out at the mall or movie theater, these hard working young men and women will deny themselves the typical pleasures of teenage life for the promise of a shining dance career.

    Madison Abeo, a level VIII student at Pacific Northwest Ballet School, is one such dancer who recently caught our eye. We were not only impressed with Madison's classic beauty and winning smile, but by her charisma, work ethic and dedication to both her family and her art. This young lady is the living, breathing definition of a "class act" - and we're thrilled to introduce her to all of you!

    Ladies and gentlemen, Miss Madison Abeo...

    Grace:  Madison Abeo

    Grace:

    Hello, Madison. Please share about yourself and how you got your start in ballet.

    I was 3 years old and my family and I were living in Zambia, Africa. We had traveled there while I was young to do work in the villages. My parents put me in a local ballet class because I was clumsy and always tripping over my feet. We lived there for 2 years and when we moved back to the states I took classes at a small ballet studio in Monroe, where the teacher was a Cornish graduate. She encouraged me to audition for Cornish and then I danced there for 4 years before moving to PNBS.

    When did you know beyond a shadow of a doubt that a career in dance was right for you?

    When I did my first Nutcracker performance at Cornish, and played the role of Clara – I knew I wanted to dance professionally. Its hard to explain how it made me feel, its something only a dancer understands. I dance because of the feeling I get when I dance, there really is no word to describe it.

    Many locals are familiar with your father's "artistic" side. Can you share a little bit about your family with our readers?

    My dad is local rapper RA Scion, who was in a group called Common Market. My mom manages his music and the business side of things. He has had music videos on MTV and done 5 or 6 CD’s. I am in a few of the videos. We have had an exciting life. I have been to huge concerts and danced on stage with him at Bumbershoot, Sasquatch Festival, and toured to several cities him on the road when I was younger. I have seen the fun side of music festivals, the VIP and green rooms, the backstage life is something that is the same in music as it is in dance.

    How has their influence affected you? Are they supportive of your career or did they caution you against it?

    I don’t feel like they have influenced me in the way of dance. Neither of them are dancers, but they did influence me with how I perform and work. Both are very hard workers. My dad taught me the value of not only hard work but how important the quality of a good performance and show is. How to be a humble and a grateful performer and how to work to do your best for the sake of the audience.

    You've had the opportunity to meet and work with many local artists - both in music and dance. Can you share a little about that? What were some of your most favorite projects?

    I have worked with a few bands and danced in their music videos. My favorite music video was for a local group called Alabaster. It was a fun atmosphere and they gave me a lot of artistic freedom. I was also asked to work with STG/Paramount for their annual DOORS fundraising event, where I was honored to have Olivier Wevers choreograph a piece for me to perform, and PNB was nice enough to loan me a costume. I was the only classically trained ballet dancer highlighted that night, and I got to meet some amazing people that donate to the arts.

    What programs are you looking at for summer?

    I auditioned for 4 schools, ABT New York, San Fran Ballet, Boston Ballet and Houston Ballet and I was grateful to get into all 4! I have recently made the decision to attend San Fran Ballet summer intensive, after discussing it with my parents, my teachers I decided it was best for my future.

    Even with partial scholarships, summer intensives can be quite expensive! Unlike many students, I've heard you're actually working to help off-set some of the costs associated with your intensive. Tell us a little more about that.

    Yes they are very expensive! I am always shocked at how parents can afford to send their kids every year to these programs that are $4-7,000 and then you have airfare, spending money, etc. My family has never been able to afford such things. I am grateful to my grandparents that have helped with the costs in the past. Now that I am old enough to help work to earn the money, I have been babysitting and saving every penny! I also have created a Facebook fan page, at the suggestion of my Aunt, and people who had no children for me to babysit, that wanted to donate and invest in my future. It means so much to me that so many people not only believe in me, but that they are helping me reach my dream.

    Working, going to school and taking dance class...that's quite a load! Please share what a typical "day in the life" is like for you.

    A typical day for me is – waking up around 6:45am to get ready for school. Packing a lunch and all of my school and dance gear. School until 1:30pm, and I attend the Center School, which is at the Seattle Center, so I just walk to PNB from there. I take about an hour to change, tape my feet and stretch. Then class, which is always on pointe at this level (Level VIII) is from Mon-Sat from 3:00 until 5:30. I stretch briefly after class, get home around 6pm, eat a quick dinner. Then if it’s a Friday, I babysit from 7 until Midnight or spend the rest of my night doing homework. Saturdays are usually the longest dance day, my level dances from 11:30am until 4pm and I arrive early at 9am to take the Pilates class that is provided to help with my core strength.

    strength

    Strength:

    Many young dancers have strong mentors in their lives who encourage and inspire them. Who are your mentors and how important has their influence been to your success?

    Some of the people I consider to be mentors are Olivier Wevers (Former PNB Principle dancer and director of Whim W’him dance Co.), Andrew Bartee, Sarah Pasch (PNB dancers), Rena Robinson-Steiner (Former PNB Teacher and dancer with Dance Theater of Harlem), and Colleen Dishy (former RAD and Cornish college teacher). In one way or another, all of these people have spent one on one time with me, giving me advice, encouragement and have been amazing examples for how to be the best dancer I can be.

    You've also done some modeling for Vala Dancewear. Can you share how that partnership came about?

    My mom likes to take photos for fun and some of the pictures caught the eye of an amazing dance mom (You! Lol) who gifted me a leotard and my mother took photos of me in it. Rebecca, the owner loved the photos and was so nice - gave me even more leos for my mom to take photos of me in! I love the leos because they are a great twist of classic styles, they are comfortable and SO much more reasonable than some of the other brands. The most recent photoshoot we did was with professionals, La Vie Photography / Bamberg Fine Arts Photography – in which I wore Vala leos AND Class Act tutus. It was kind of a fashion ballet photo shoot, with some partnering photos that included my class dance partner Levi Teachout. We spent all day taking photos in different tutus and outfits, and we have already seen a couple of the shots and they are so beautiful! I am so excited to see how the rest turned out!

    Beauty:  Madison Abeo

    Beauty:


    Okay...loaded question time! Who are your favorite dancers?

    My favorite dancers are: Carla Korbes (PNB Principle dancer) – She is the perfect dancer. Not only does she have amazing feet, lines and expression – she is one of the nicest and most down to earth ballerina’s at the ballet. She is kind, humble and smiles at you when you say hi. When I watch her dance, she takes my breath away. Lucien Postelwaite (Ballet Monte Carlo) was the main reason I wanted to dance with PNB. He is a star. The perfect blend of grace and strength. As a younger dancer and before he left PNB, I often said I wanted to someday dance a piece with him! Andrew Bartee (PNB dancer) can do things with his body that I have never seen other people do. He is a true artist and isn’t afraid to be himself.

    Is there anything from your past (dance or otherwise) that if you could - you'd change?

    My parents have taught me that all of the challenges we face help make you who are now, so I don’t think I would change anything!

    Developing as a dancer and artist takes dedicated, consistent effort and tons of "sweat". How do you stay so motivated?

    Family, friends and my passion for dance is what keeps me going.

    Do you have friends outside of dance? If so, do they support you in your efforts?

    Yes I have friends outside of dance. My true friends understand my passion for dance, they often ask me about my progress and shows and they know how much it means to me to have them at performances, so they come to as many as they can.

    What is your "dream" role?

    My dream role is of Odette/Odile in Swan Lake. I have always been mesmerized by the beautiful upper body movement of that role. The back and arms are amazing in that part. Also it is a huge test as a dancer to be able to play the pure and dark side of a character, really pushes you to the limits! I hope I get the chance to someday dance that role.

    A dancer's career is often very short. What can you see yourself doing after the final curtain goes down?

    I want to stay in the dance world, I would love to teach classes. I love kids and I think I would do well as a teacher.

    What final piece of advice would you give to other young dancers out there?

    Don’t make yourself try to fit into the “box” that some people and teachers think you need to be in order to be a good dancer. Its unrealistic. Instead, be the best dancer you can be by working on your strength and being healthy. Most of all, respect your teachers, they may not dance anymore, but they all were amazing when they did. They have learned tools that will only make things easier if you just listen. Lastly, dance is hard – on your body and on your spirit. Make sure you love it and that the love shows when you dance, or else its not worth all the pain and effort.

    To see the rest of the photos from the shoot Madison did with La Vie Photography – and to visit Madison’s dance support page, please visit https://www.facebook.com/MadisonRaynAbeo .  You can see Madison dance next in an excerpt from Balanchine’s Serenade – performed by the Level 8 dancers as part of the PNB School’s, End of Year performance on June 15th , 7pm at McCaw Hall.  Tickets can be purchased by visiting http://www.pnb.org.

  • In a Relationship!

    Huffington Post has an in-depth interview with Pacific Northwest Ballet's Artistic Director, Peter Boal and Principal Dancers, James Moore & Kaori Nakamura about Jean-Christophe Maillot's version of Roméo et Juliette.

    Pacific Northwest Ballet Principal Dancers James Moore & Kaori Nakamua in Jean-Christophe Maillot's Roméo et Juliette.       Photos: Angela Sterling

    Pacific

  • Valentine’s Day with Seth Orza & Sarah Ricard Orza

    Seth Orza, Soloist and Sarah Ricard Orza, Corps de Ballet, Pacific Northwest Ballet.  Shown here in "Petit Mort".

    Seth

    Ah, Valentine’s Day! It’s the time of year when we shower our true love with tokens of affection, whether they be in the form of a box of chocolates, a gushy card, or a dozen roses (or all of the above!).

    In the dance world, Valentine’s Day can be especially wonderful as couples not only live, but oftentimes work, together. We decided to get an inside look at the blessings of Valentine’s Day through the eyes of the dancers themselves. First up is Seth Orza and Sarah Ricard Orza of Pacific Northwest Ballet!

    Class Act: “How did you two meet?”
    Seth: “We met in New York at the School of American Ballet’s when we were both 13.”
    Sarah: “We met at the summer course. Then we got together and started dating seriously when we were both at the School of American Ballet for their year round program when we were 17. And we’ve been pretty much together ever since then. We’ve been together now for 12 years and married for 2 ½ years.”

    Seth Orza and Sarah Ricard Orza shown here at SAB Summer Course, 1995 (Age 14). Seth & Sarah met at age 13.
    Seth Orza and Sarah Ricard Orza shown here at SAB Summer Course, 1995 (Age 14). Seth & Sarah met at age 13.

    Class Act: “Congratulations, that’s wonderful! So what’s the best thing about being married to a fellow dancer?”
    Sarah: “Well, I think that the dance world is just so small and intimate; sometimes it’s hard to explain or even relate to people who aren’t in the world on a daily basis—what’s going on, or what the daily ups and downs are like. So, if I’m having a bad day, Seth already knows why and that’s good.”
    Seth: “We try to help each other out along the way through the pressures of ballet, performing, and all that.”
    Sarah: “Oh, and travelling. If we tour, it’s great. It’s really nice to have your loved one with you when you’re going to all those places.”

    Class Act: “How do you two plan to make this Valentine’s Day special?”
    Seth: “Well…” he says with a sly tone, “it’s kind of a surprise.”
    Class Act:(Laughing) “Oops! I don’t want to ruin anything!”
    Seth: “We try to do something special every Valentines day, but it’s hard after twelve years to do something different every time.”
    Sarah: “There was one year when I had the genius idea of getting chocolate covered strawberries from Godiva. So I got a dozen chocolate strawberries only to find that in the fridge at home, Seth had also gotten a dozen Godiva strawberries!” she laughs.
    Seth: “We had a lot of chocolate strawberries!” he chuckles.
    Class Act:“Great minds think alike! So, do you have any last words of advice for fellow dancers out there?”
    Seth: “It’s nice being in a relationship with a co-worker—or a dancer—and it does work out.”
    Sarah: “It’s definitely a balance, though. I mean, we’re together at work all the time and then at home all the time. So sometimes there’s days when one of us has to step back and take some space—be it at work or at home. You just find that balance with spending all of your time together.”

    Seth Orza and Sarah Ricard Orza on their Wedding Day

    Seth

    Class Act: “Do you ever have a day when you really don’t want to be with the other person but you still have to work with them?”
    Seth/Sarah: “Oh no, never!” they laugh in unison.
    Seth: “Of course, but I think that happens in any relationship.”
    Sarah: “We have partnered together a lot, and that has challenges…”
    Seth: “Yeah, working together professionally…I mean, if she’s just around it’s one thing, but if we’re working together, it’s kind of hard sometimes.”
    Class Act:“Well thank you both so very much! I really appreciate you taking the time to do this and I hope you have a wonderful Valentine’s Day!”
    Sarah: “Thank you! You have a happy Valentines Day, too!”

    by Denise Opper, Media Relations Class Act Tutu & Vala Dancewear

    This post first appeared for Valentine's Day, 2010.

  • Behind the Scenes: YAGP Competition with Carolyn Lovett

    Saucer Tutus at YAGP Finals

    Class

    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

    Lovett


    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

    Lovett

    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!! :)

    _________________________________________________________________________________________________________________________________________________________________________________________________________

    *All photos appear courtesy of Carolyn Lovett/Lovett Dance Center*



  • NYCB's Megan Fairchild Blossoms as an Artist

    Photo Credit: Ramsay de Give for The Wall Street Journal

    Photo

    Her story is one of rapid promotion—and the struggle to live up to it. She joined City Ballet in its corps de ballet in 2002, and was boosted to the rank of soloist by February 2004. Less than a year later, at age 20, she was a principal dancer.

    "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.

  • Angela Sterling: Ballet Photographer

    Leslie Rauch, Principal Pacific Northwest Ballet and Angela Sterling.  Lesilie is wearing Class Act's V Neck Bodice and Classical Tutu Skirt

    Leslie

    Check out this great video featuring dance photographer, Angela Sterling! Pay close attention to the clip because at approx. 3 mins, 50 seconds, you'll see Leslie Rausch, Principal Dancer, Pacific Northwest Ballet, wearing Class Act Tutu's V-Neck Tutu Bodice and Classical Tutu Skirt.

    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? ;) }

    Thank you, Angela for sharing your talents with the dance world!

  • Love & Marriage

    Photo Credit: Candice DeTore / The New York Times

    Photo

    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!)

  • Behind the Scenes with Lindsi Dec (Pointe Magazine Photo Shoot)

    pointe_lindsi_decHere'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.

  • Exclusive Interview with Mikhail Baryshnikov

    mikhail-baryshnikovCheck 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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