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| Posted by Sloan
The fairies in “A Midsummer Nights Dream” all wear super-long fake braids that get attached to our normal hair-do’s. The ends then get safety-pinned to our costumes, so the heavy whip-like things don’t take us out when we do a big jump or turn. It must have been pretty painful before that cool little trick was implemented.
| | Posted by Sloan
Doug in my headpiece for the fourth movement of Brahms-Schoenberg Quartet. These things are pretty heavy, but its the long ribbons in the back that jerk your head back when your partner grabs you that are the REAL hazard.
This movement has a gypsy flair to it. It looks like Doug doesn’t feel like being a gypsy today.
| | Posted by Sloan
Me in my wig for Christopher Wheeldon’s “Carnival of the Animals”. I dance the part of a “cinema siren”, in case you couldn’t tell.
The orignial wigs for this part were much bushier. Michael Avedon, the super creative and talented makeup/hair guru at nycb, was going for the Marilyn Monroe look.
After a few seasons, however, he was admittedly bored with “looking at a bunch of Marilyns”, so the wigs got shorter, and he made us into a bevy of Jean Harlowes.
| | Posted by Sloan
Putting on a skit for a gala event still requires rehearsal! Monday, the day of the event, everyone participating gathered at the promenade of the New York State Theater at 3:00 PM to do the final tech rehearsal for our “Glamour of Cannes” Dance With the Dancers skit.
The skit was choreographed by Melissa Barak, a dancer in the corps who is also a very gifted choreographer. It started with bikini-clad ladies dancing to beachy french music, then turned into a Cannes red carpet scene, complete with paparazzi, starlets, producers, and our very own Joan Rivers played by Ashley Laracey.
Celebrities at the event included Tatum O’neil, Tom Filicia, Cynthia Rowley, Ian Schrager (married to ex-nycb dancer Rita Narona), Arthur Elgort, amoung others.
Click here to see Patrick McMullen’s photos of the event.
| | Posted by Sloan
This is one of two beautiful Elie Nadelman sculptures, acquired by the late great Lincoln Kirstein, on the promenade of the New York State Theater at Lincoln Center.
These figures always seem to look even more fabulous under the spotlights of galas and benefit parties, however, they’re always controversial amoungst young ballet students due to their graceful portliness.
| | Posted by Sloan
Me in my Diamonds headpiece. This section is always a little intimidating. Bounding on stage with like 32 other people ALL dressed in white with super-bright lights can be a bit disorienting.
