In her new book, Balanchine and the Lost Muse, Kendall explores the choreographer’s life in Georgia and Russia and particularly his work with Lydia Ivanova.
From 1917 until he left Russia in 1924, Balanchine worked and danced with Ivanova. Kendall shares passages from the book and archival material, while choreographer Troy Schumacher, Artistic Director of BalletCollective explores the work created at this time and how it influenced Balanchine’s iconic “American” works. Troy Schumacher presents two new works, danced by Jared Angle, Rebecca Krohn, Ashley Laracey and Schumacher himself, inspired by Balanchine’s early choreographic choices in Russia.
Jared Angle was born in Altoona, Pennsylvania where he began his early dance training at age six at the Allegheny Ballet Academy. He entered the School of American Ballet (SAB), the official school of New York City Ballet, in the fall of 1996. In 1997, Mr. Angle received the Rudolf Nureyev Scholarship to continue his training at SAB for the 1997-1998 school year. Mr. Angle became an apprentice with New York City Ballet in March 1998 and joined the Company as a member of the corps de ballet in July 1998. He was promoted to the rank of soloist in February 2001. On November 11, 2005, during a Company visit to Denmark for the reopening of the Tivoli Concert Hall, Mr. Angle was promoted to principal dancer. He has performed principal roles in numerous ballets, including George Balanchine’s Duo Concertant and Symphony in Three Movements, Peter Martins’ Swan Lake and Jerome Robbins’ The Four Seasons and I’m Old Fashioned.
Rebecca Krohn was born in Vestal, New York. In 1995, she entered the School of American Ballet (SAB), the official school of New York City Ballet, as a scholarship student. Ms. Krohn was invited to become an apprentice with New York City Ballet in the fall of 1998, and she joined the Company as a member of the corps de ballet in spring 1999. In March 2006 she was promoted to soloist and was made a principal dancer in May 2012. She has performed principal roles in many ballets, including George Balanchine’s Episodes and Symphony in Three Movements, Peter Martins’ Fearful Symmetries and Jerome Robbins’ The Cage and Dances at a Gathering.
Ashley Laracey was born in Sarasota, Florida. She began her dance training at the age of five with Cheryl Carty and Christine White at the Carty Academy of Theater Dance in Bradenton, Florida. At age 12, she began training with Pavel Fomin, Diane Partington, and Isabel and Javier Dubrocq at Sarasota Ballet of Florida. She continued her studies at age 15 with Victoria Schneider, Olivier Pardina and Svetlana Osiyeva at the Harid Conservatory in Boca Raton, Florida. Ms. Laracey entered the School of American Ballet (SAB), the official school of New York City Ballet, in the fall of 2001. In October 2002, Ms. Laracey became an apprentice with New York City Ballet, and in February 2003 she joined the Company as a member of the corps de ballet and was promoted to soloist in February 2013. She has performed principal roles in a number of ballets, including George Balanchine’s Agon and Ivesiana, Peter Martins’ The Infernal Machine and Todo Buenos Aires, and Jerome Robbins’ N.Y. Export: Opus Jazz.
Troy Schumacher formed BalletCollective as a twenty-first century model inspired by historic ballet, music and visual art collaborative efforts. Its mission is to present ballet-based work in an intimate setting with live music that represents contributions from the choreographer, dancers, musicians and artists who engage in an ongoing give and take process. The chief dance critic for The New York Times, Alastair Macaulay, selected Troy Schumacher’s BalletCollective collaborative work “The Impulse Wants Company” as one of the top ten dance events of 2013. In his review of the group’s sold-out performances at the Joyce Theater, he described Schumacher as “an intriguing new dance voice” and the piece as “direct and unforced, experimental and refreshing.” In addition to founding and directing BalletCollaborative, Schumacher has received choreographic commissions from the 92nd Street Y Fridays at Noon series, School of American Ballet, New York Choreographic Institute, Salon/Sanctuary with Anthony Roth Costanzo and Atlanta Ballet. Schumacher is active in other cultural media, and has participated in a number of cutting-edge collaborations including choreographing shoots for Carine Roitfeld’s CR Fashion Book, Aritzia and producing a performance for Creative Agency V Group's Zero Zero Project. As a dancer with the New York City Ballet, Schumacher has performed principal roles in several ballets, including George Balanchine’s A Midsummer Night’s Dream and Stars and Stripes, Peter Martins’ Swan Lake and Jerome Robbins’ Interplay.