#The Harlem Nutcracker

[strazcenter]

It’s a Time-Honored, Familiar Classic. Use It Everywhere!

One year ago in this very blog, we nominated “Nut Rocker” as a candidate to join the batch of holiday songs with which we’re currently being bombarded. We contended that this lively, rock and rolling interpretation of The Nutcracker would give all of us a two-minute respite from Mariah and George and Elvis and Bing and everyone else on that too-tight playlist of songs you are legally required to…

[balanchine-ballet-master]

Nutcracker Kids Grow Up

Terry Trucco has a lovely article in Playbill about three current NYCB dancers who performed in The Nutcracker as children.

The Polichinelles in 1985. Photo: Martha Swope --------------------------------------------------------------------------

A hallmark of George Balanchine’s The Nutcracker is its roster of 126 children, aged 7 to 13, in two alternating casts, who all study in the Children’s Division at the School of American Ballet (SAB), New York City Ballet’s official school. A small percentage of those students will eventually move up to the Advanced Division at SAB, and at the end of their studies, a few will be invited to join NYCB, achieving the total Nutcracker experience—returning to Balanchine’s quintessential holiday ballet to perform as adults.

That storied third group includes former NYCB Principal Dancers Peter Boal, Jennie Somogyi, Gelsey Kirkland, and Judith Fugate, among others, as well as current corps de ballet members Shelby Mann, Mckenzie Bernardino Soares, and Rommie Tomasini, who each enrolled in SAB at the age of 6. Now coming back to the production as members of the corps de ballet, which they joined in 2022, they shared their fond memories of those formative years performing in George Balanchine’s The Nutcracker.

Shelby Mann’s earliest recollections of being in The Nutcracker are of playing jacks, a favored pre-show ritual for young cast members, and of her trailing hairpiece in the Party Scene. “My memories of The Nutcracker are so heightened,” she says. “Every time I smell hairspray, it’s like I’m back in the lower concourse of the theatre during The Nutcracker.”

From her debut at age 7 in the Party Scene, Mann sprinted up the Nutcracker ladder, appearing as an Angel, a Polichinelle, a Mouse, and then, at the ripe age of 11, a Candy Cane. “We would all look forward to The Nutcracker each year. It was what defined our childhood and our winter,” she says.

Born into a dance-world family in Harlem—her grandfather Jacques d’Amboise, grandmother Carolyn George, and uncle Christopher d’Amboise all danced with NYCB, and her parents are acclaimed Broadway performers Charlotte d’Amboise and Terrence Mann—Mann discovered her passion for dance through the iconic holiday ballet. “I loved that in rehearsals, because you were playing a character, you got to build your performance. Being in The Nutcracker made me realize that this is what I wanted to do.”

Since joining NYCB, Mann has danced Dolls, Snow, Hot Chocolate, and Flowers, and her affection for Balanchine’s two-act masterpiece—and the camaraderie that develops naturally among the cast, no matter what age—remains undiminished. “I love how The Nutcracker connects to the holidays,” she says. “We all decorate our dressing rooms, have Secret Santas, and bring cookies.”

Left: Shelby Mann as a Polichinelle in 2013. Photo: Paul Kolnik Right: Mann in Waltz of the Flowers, 2022. Photo: Erin Baiano

During his childhood performances in The Nutcracker, Mckenzie Bernardino Soares made a point of watching the effervescent Hot Chocolate. “The music, the spice—I just loved it,” he says. “And I remember thinking, dancing this is all I want to do in my life.”

Fast forward to 2021. As a freshly minted NYCB apprentice, Soares landed his dream role and repeated it last year as a member of the corps de ballet. The verdict? “It’s always a fun time on stage, and you get to show your personality,” he says. “And if it gets a little repetitive sometimes, I just think, well, little Mckenzie would have loved to do this.”

Growing up in Danbury, Connecticut, Soares’ Nutcracker experience was punctuated by long hours in the family car, driving 65 miles each way to rehearsals and performances. “Being on stage made it all worth it,” he says. He also enjoyed supervising the younger dancers backstage during “the gap” when SAB students are too old for children’s parts, and he relished hearing advice from Company members backstage and in the wings. This season, Soares, who added Mouse King to his Nutcracker repertory last year, looks forward to using the roles he dances to expand his artistry. “It’s actually nice that the choreography is the same every day, so it becomes about what you bring to each performance,” he says.

Left: Mckenzie Bernardino Soares as a Soldier in 2012. Photo: Paul Kolnik Right: Soares with Shelby Mann in Hot Chocolate, 2022. Photo: Erin Baiano

Rommie Tomasini remembers begging her mother to let her audition for SAB, where her older sister was a student, and quickly discovering a love of dance. At age 7, she was cast as the Bunny in The Nutcracker. A season as a Mouse and a Polichinelle followed, and for two years, she was Marie. When the time came to begin pointe work, she decided that ballet was her future. “I didn’t want to do anything else after school, and I thought, This is a done deal,” she says.

Her earliest Nutcracker memory dates from her first dress rehearsal. “I was the Bunny, and I remember looking at all the mouse heads on the Mouse King’s crown and being too terrified to pull his tail,” she recalls.

Yet looking back, Tomasini, who grew up on the Upper East Side, marvels at how confident she felt on stage as a child. “I was never nervous. I was just so happy to be out there. I’m amazed at how much we learned about acting and artistry so young.”

Dolls, Snow, Hot Chocolate, and Tea are among the Nutcracker parts Tomasini has performed since she became an apprentice in 2021. But her recollections of being in a swarm of Nutcracker kids, scrutinizing the steps and making up versions of Hot Chocolate, Marzipan, and Coffee, remain vivid. “It’s mind-blowing that we’re now dancing the roles that we once pretended to do backstage,” she says.

Left: Rommie Tomasini as the Bunny in 2011. Photo: Paul Kolnik Right: Tomasini in Waltz of the Snowflakes in 2021. Photo: Erin Baiano

[negrolicity]

The Harlem Nutcracker on Vimeo

I thought I would bring this back for the holidays.

[lboogie1906]

Kurtis Blow (August 9, 1959) Rapper, composer, actor, and activist was born in Harlem as Kurt Walker. His mother was a dancer in Harlem during the Renaissance at the Savoy and the Cotton Club.

His mother brought him a stereo-component system. He was a break dancer, DJ, and rapper in junior high, and in 1975, while using the name Kool DJ Kurt, he was a student at the Harlem School of the Arts. He left and obtained his GED.

He enrolled in The City College of New York as a speech and broadcasting major, and he signed a deal with Mercury Records, making him the first rapper signed by a major label. His album Christmas Rappin’ sold more than 400,000 copies. The Breaks went gold selling more than 500,000 copies. He released that year was his single, “The Breaks” which peaked at #4 on the R&B chart and #87 on the Billboard Hot 100. In the history of music, “The Breaks” was the first certified gold rap song for Hip-Hop and the second accredited gold 12-inch single.

He left City College and released “Hard Times” which peaked at #75 and remained on the chart for four weeks”. His single, “8 Million Stories,” was released and peaked at #45 on the R&B chart.

He married Shirley Stewart (1984). They have three children. He released “Basketball” which peaked at #29 on the R&B chart and remained on the charts for 15 weeks. “If I Ruled the World” and “I’m Chillin’” peaked at #16 and #20 respectively.

He performed “If I Ruled the World” in the hip-hop film Krush Groove, and he composed the anti-drug rap, “Ya Gotta Say No”. He was featured in a Hip Hop display at the Rock-N-Roll Hall of Fame. He was honored by the American Society of Composers, Authors, and Publishers.

He received a BA in Theology from Nyack Christian College & Seminary. He co-produced the international film, Das Leben Amerikanischer Gangs and performed in Hannover, Germany, at the Musiktheater. He was the Special Guest MC for “The Hip Hop Nutcracker,” set to the music score of Tchaikovsky, the famous Russian composer.

He remains one of the founding fathers of Hip Hop music and the cultural genre “Rap.” He was inducted into the Rock and Roll Hall of Fame, Class of 2020. #africanhistory365 #africanexcellence

[theonlinemuse]

And even more for the list below the cut because I accidentally deleted the original list, to be regularly updated:

The Bronze Buckaroo (1939)

Lady from Louisiana (1941)

Savage Pampas (1945)

Native Son (1951)

The Tall Target (1951)

The Landowner's Daughter (1953)

El Grito Sagrado (1954)

Tamango (1958)

Porgy and Bess (1959)

Ganga Zumba (1963)

Lola Colt (1967)

The Great White Hope (1970)

Lady Sings the Blues (1972)

Sounder (1972)

Buck and the Preacher (1972)

The Autobiography of Miss Jane Pittman (1974)

Thomasine & Bushrod (1974)

Arabian Nights (1974)

Mandingo (1975)

Salò, or the 120 Days of Sodom (1975)

Xica (1976)

Sparkle (1976)

Roots (1977)

Ribo ou le soleil sauvage (1978)

A Woman Called Moses (1978)

West Indies (1979)

Freedom Road (1979)

Roots: The Next Generations (1979)

Backstairs at the White House (1979)

Manganinnie (1980)

Quest for Fire (1981)

Women of the Sun (1981)

Ragtime (1981)

Sugar Cane Alley (1983)

For Us the Living: The Medgar Evers Story (1983)

Cross Creek (1983)

Quilombo (1984)

Solomon Northup's Odyssey (1984)

The Killing Floor (1984)

The Jesse Owens Story (1984)

The Cotton Club (1984)

Silverado (1985)

Shaka Zulu (1986)

Native Son (1986)

Little Shop of Horrors (1986)

Sarraounia (1986)

Yeelen (1987)

Angel Heart (1987)

Uncle Tom's Cabin (1987)

Harlem Nights (1989)

Erik the Viking (1989)

The Mahabharata (1989)

The Women of Brewster Place (1989)

Tilaï (1990)

The Long Walk Home (1990)

Brewster Place (1990)

The Josephine Baker Story (1991)

Daughters of the Dust (1991)

Fried Green Tomatoes (1991)

Malcolm X (1992)

The Jacksons: An American Dream (1992)

Sarafina! (1992)

What's Love Got to Do with It (1993)

Queen (1993)

Posse (1993)

Sankofa (1993)

Great Moments in Aviation (1993)

Corrina, Corrina (1994)

The Flintstones (1994)

Oldest Living Confederate Widow Tells All (1994)

Witch Hunt (1994)

Guimba the Tyrant (1995)

Jefferson in Paris (1995)

A Little Princess (1995)

Solomon & Sheba (1995)

Devil in a Blue Dress (1995)

The Journey of August King (1995)

Xica da Silva (1996)

The Final Passage (1996)

The Cherokee Kid (1996)

Gulliver's Travels (1996)

Mr. and Mrs. Loving (1996)

Once Upon a Time... When We Were Coloured (1996)

Eve’s Bayou (1997)

Rodgers and Hammerstein's Cinderella (1997)

Hoodlum (1997)

Mama Flora's Family (1997)

Boogie Nights (1997)

Miss Evers' Boys (1997)

True Women (1997)

Rosewood (1997)

Beloved (1998)

Ruby Bridges (1998)

Why Do Fools Fall in Love (1998)

Peggy Su! (1998)

Having Our Say: The Delany Sisters' First 100 Years (1999)

Introducing Dorothy Dandridge (1999)

Selma, Lord, Selma (1999)

Annie (1999)

Unbowed (1999)

Deep in My Heart (1999)

Girl, Interrupted (1999)

A Lesson Before Dying (1999)

Liberty Heights (1999)

Força de um Desejo (1999-2000)

Lumumba (2000)

Love's Labour's Lost (2000)

Remember the Titans (2000)

The Colour of Friendship (2000)

Sally Hemings: An American Scandal (2000)

Feast of All Saints (2001)

The Old Settler (2001)

Ali (2001)

Bojangles (2001)

A Samba for Sherlock (2001)

Shaka Zulu: The Citadel (2001)

Boycott (2001)

Asterix & Obelix: Mission Cleopatra (2002)

O Quinto dos Infernos (2002)

Chicago (2002)

Rabbit-Proof Fence (2002)

The Rosa Parks Story (2002)

8 Women (2002)

Far from Heaven (2002)

Esperança (2002-2003)

Monsieur Ibrahim (2003)

Wondrous Oblivion (2003)

The Royal (2003-2011)

Kubanacan (2003-2004)

Salem Witch Trials (2003)

Pirates of the Caribbean: The Curse of the Black Pearl (2003)

Chocolate com Pimenta (2003-2004)

Hotel Rwanda (2004)

Jack Paradise: Montreal by Night (2004)

Um Só Coração (2004)

Ray (2004)

Brother to Brother (2004)

Vanity Fair (2004)

Alexander (2004)

Something the Lord Made (2004)

Iron Jawed Angels (2004)

Lackawanna Blues (2005)

Roll Bounce (2005)

Casanova (2005)

Their Eyes Were Watching God (2005)

Pirates of the Caribbean: Dead Man's Chest (2006)

Sinhá Moça (2006)

Wide Sargasso Sea (2006)

Idlewild (2006)

Mad Men (2007–2015)

Oliver Twist (2007)

Talk to Me (2007)

Zorro, La Espada y la Rosa (2007)

September (2007)

Pride (2007)

American Gangster (2007)

Hounddog (2007)

Hairspray (2007)

Murdoch Mysteries (2008-)

Merlin (2008-2012)

Skin (2008)

A Raisin in the Sun (2008)

La Traición (2008)

Little Dorrit (2008)

Kit Kittredge: An American Girl (2008)

The Curious Case of Benjamin Button (2008)

A Ilha dos Escravos (2008)

Bran Nue Dae (2009)

Mississippi Damned (2009)

Gifted Hands: The Ben Carson Story (2009)

Notorious (2009)

Precious (2009)

Children of the Corn (2009)

Black Dynamite (2009)

The Assailant (2009)

The Nativity (2010)

Mrs. Mandela (2010)

Boardwalk Empire (2010-2014)

Love's Labour's Lost (2010)

Spartacus (2010-2013)

Frankie & Alice (2010)

Black Venus (2010)

Shirley (2011)

Black Gold (2011)

The Awakening (2011)

X-Men: First Class (2011)

The Playboy Club (2012)

Endeavour (2012-2023)

Lado a Lado (2012)

Django Unchained (2012)

Call the Midwife (2012-)

Hotel Noir (2012)

Toussaint Louverture (2012)

Hannah's Law (2012)

Treasure Island (2012)

Mabo (2012)

Julius Caesar (2012)

Lincoln (2012)

O Inventor de Sonhos (2012)

Sparkle (2012)

Copper (2012-2013)

Sinbad (2012)

Adesuwa (2012)

The Sapphires (2012)

The Price of Sugar (2013)

Betty and Coretta (2013)

Burton & Taylor (2013)

Njinga: Queen Of Angola (2013)

Tula: The Revolt (2013)

The Bible (2013)

Half of a Yellow Sun (2013)

César Chávez (2013)

Da Vinci's Demons (2013-2015)

1982 (2013)

42 (2013)

The Outlaw Michael Howe (2013)

The Carrie Diaries (2013-2014)

12 Years a Slave (2013)

The Sound of Music Live! (2013)

Jimi: All Is by My Side (2013)

Black Girl in Paris (2013)

They Die by Dawn (2013)

The Butler (2013)

Mandela: Long Walk to Freedom (2013)

Masters of Sex (2013-2016)

Mr Selfridge (2013-2016)

Dancing on the Edge (2013)

Strange Empire (2014)

Salem (2014-2017)

Pompeii (2014)

Grantchester (2014-)

Get on Up (2014)

Northern Soul (2014)

The Knick (2014-2015)

Crossbones (2014)

Sweeney Todd: The Demon Barber of Fleet Street (2014)

The Musketeers (2014-2016)

Outlander (2014-)

The Keeping Room (2014)

Hieroglyph (2014)

Turn: Washington's Spies (2014-2017)

Palm Trees in the Snow (2015)

Still A Rose (2015)

Born to Be Blue (2015)

Texas Rising (2015)

A.D. The Bible Continues (2015)

The Book of Negroes (2015)

Hetty Feather (2015-2020)

Whitney (2015)

Danny and the Human Zoo (2015)

Iyore (2015)

Good Girls Revolt (2015-2016)

Miles Ahead (2015)

Jekyll and Hyde (2015)

Tut (2015)

The Ark (2015)

Celia (2015-2016)

Poldark (2015-2019)

Pelé: Birth of a Legend (2016)

Of Kings and Prophets (2016)

The Legend of Tarzan (2016)

Fantastic Beasts and Where to Find Them (2016)

A United Kingdom (2016)

Bodo (2016)

The Birth of a Nation (2016)

'76 (2016)

An American Girl Story – Melody 1963: Love Has to Win (2016)

Close to the Enemy (2016)

Upstart Crow (2016-)

Sophie and the Rising Sun (2016)

Roots (2016)

Liberdade, Liberdade (2016)

Mercy Street (2016-2017)

Lady Macbeth (2016)

Fences (2016)

Azúcar (2016)

The Nice Guys (2016)

Cheating Husband (2016)

Êta Mundo Bom! (2016)

Lady Day at Emerson's Bar and Grill (2016)

Loving (2016)

Underground (2016-2017)

Escrava Mãe (2016)

Free State of Jones (2016)

Velho Chico (2016)

Pambelé (2017)

The Greatest Showman (2017)

1745 (2017)

Novo Mundo (2017)

Double Play (2017)

Gook (2017)

Guerrilla (2017)

White Gold (2017-2019)

Mudbound (2017)

Howards End (2017)

The Good Time Girls (2017)

Timewasters (2017-2018)

The Shape of Water (2017)

Sweet Country (2017)

Black Holler (2017)

The French Dream (2017-2018)

The Adventures Of Selika (2017)

Anne with an E (2017-2019)

Frankie Drake Mysteries (2017-2021)

Taboo (2017)

The Immortal Life of Henrietta Lacks (2017)

GLOW (2017-2019)

A Christmas Story Live! (2017)

Still Star-Crossed (2017)

Genius (2017)

Roxanne Roxanne (2017)

The Chosen (2017-2023)

Mindhunter (2017-2019)

The Nutcracker and the Four Realms (2018)

The Alienist: Angel of Darkness (2018-2020)

The Long Song (2018)

The Miseducation of Cameron Post (2018)

The Little Drummer Girl (2018)

BlacKkKlansman (2018)

Central & Broadway (2018)

Les Misérables (2018)

Ordeal by Innocence (2018)

Happy Birthday, Marsha! (2018)

Flock of Four (2018)

If Beale Street Could Talk (2018)

Vita & Virginia (2018)

Wrong Kind of Black (2018)

Where Hands Touch (2018)

Luis Miguel: The Series (2018-2021)

Bad Times at the El Royale (2018)

In the Long Run (2018-2020)

Picnic at Hanging Rock (2018)

The Nightingale (2018)

Fantastic Beasts: The Crimes of Grindelwald (2018)

Coisa Mais Linda (2019-2020)

Sanditon (2019-)

World on Fire (2019-)

Dumbo (2019)

The Best of Enemies (2019)

Godfather of Harlem (2019)

Gentleman Jack (2019-2022)

Carnival Row (2019-2023)

Salacia (2019)

Motherless Brooklyn (2019)

Year of the Rabbit (2019)

Our Lady of the Nile (2019)

The Personal History of David Copperfield (2019)

The Spanish Princess (2019-2020)

Scary Stories to Tell in the Dark (2019)

Bolden (2019)

Wu-Tang: An American Saga (2019-2023)

A Christmas Carol (2019)

American Horror Story: 1984 (2019)

Dickinson (2019–2021)

Black Monday (2019-2021)

When They See Us (2019)

The Kitchen (2019)

Mixed-ish (2019-2021)

Dolemite Is My Name (2019)

For All Mankind (2019-)

Seberg (2019)

Sydney to the Max (2019-2021)

Hollywood (2020)

Come Away (2020)

Bridgerton (2020-)

Enola Holmes (2020)

Lovecraft Country (2020)

Misbehaviour (2020)

The Queen's Gambit (2020)

Perry Mason (2020-2023)

Lovers Rock (2020)

Cursed (2020)

The Glorias (2020)

Miss Scarlet and The Duke (2020-)

Mangrove (2020)

The 24th (2020)

High Ground (2020)

Deutschland 89 (2020)

Emperor (2020)

Mrs America (2020)

The Pale Horse (2020)

Ma Rainey's Black Bottom (2020)

The Legend of Inikpi (2020)

Sylvie’s Love (2020)

Bad Hair (2020)

Hamilton (2020)

Education (2020)

Son of the South (2020)

The Banker (2020)

Red, White and Blue (2020)

One Night in Miami... (2020)

Hunters (2020–2023)

Summerland (2020)

Operation Buffalo (2020)

The Haunting of Bly Manor (2020)

Richard II (2020)

Little Fires Everywhere (2020)

The Witches (2020)

The Secret Garden (2020)

Uncle Vanya (2020)

Agatha and the Midnight Murders (2020)

Roald & Beatrix: The Tail of the Curious Mouse (2020)

The Green Knight (2021)

Last Train to Christmas (2021)

The Power (2021)

Cruella (2021)

West Side Story (2021)

The Nevers (2021)

Respect (2021)

The Harder They Fall (2021)

King Richard (2021)

Judas and the Black Messiah (2021)

Doutor Gama (2021)

Anne Boleyn (2021)

Passing (2021)

Fear Street Part One: 1994 (2021)

Tick, Tick... Boom! (2021)

Annie Live! (2021)

The Colour Room (2021)

The Tragedy of Macbeth (2021)

Cruel Summer (2021-)

The Wonder Years (2021-)

The Underground Railroad (2021)

Schmigadoon! (2021-)

Them (2021)

Robin Roberts Presents: Mahalia (2021)

The Drover's Wife (2021)

The United States vs. Billie Holiday (2021)

Domina (2021-)

The Confessions of Frannie Langton (2022)

Bones and All (2022)

Death on the Nile (2022)

The Serpent Queen (2022-)

Remember Me: The Mahalia Jackson Story (2022)

Amsterdam (2022)

Vikings: Valhalla (2022-)

Trees of Peace (2022)

The Walk (2022)

The Outfit (2022)

Enola Holmes 2 (2022)

Catherine, Called Birdy (2022)

Hotel Portfino (2022-)

Mrs Harris Goes To Paris (2022)

Persuasion (2022)

Don't Worry Darling (2022)

Where the Crawdads Sing (2022)

The King's Daughter (2022)

A Jazzman’s Blues (2022)

Interview with the Vampire (2022-)

The Woman King (2022)

Alice (2022)

Aníkúlápó (2022)

Dangerous Liaisons (2022)

Freedom’s Path (2022)

Fantastic Beasts: The Secrets of Dumbledore (2022)

Minx (2022-)

Candy (2022)

Our Flag Means Death (2022-)

A League of their Own (2022)

Mr. Malcolm's List (2022)

Call Jane (2022)

The Silent Twins (2022)

Emancipation (2022)

See How They Run (2022)

Whitney Houston: I Wanna Dance with Somebody (2022)

The Gilded Age (2022-)

Women of the Movement (2022)

The Porter (2022)

Elvis (2022)

Pinocchio (2022)

Paper Girls (2022)

Till (2022)

Three Thousand Years of Longing (2022)

Fannie (2022)

Willow (2022)

Beauty and the Beast: A 30th Celebration (2022)

Kindred (2022)

Holy Family (2022)

Chevalier (2022)

That ’90s Show (2023)

Spinning Gold (2023)

Air (2023)

Great Expectations (2023)

King Shaka (2023)

Nolly (2023)

African Queens (2023-)

Daisy Jones & the Six (2023)

Funny Woman (2023)

Big George Foreman (2023)

My Animal (2023)

The Roar of the Butterflies (2023)

Queen Charlotte: A Bridgerton Story (2023)

Grease: Rise of the Pink Ladies (2023)

A Town Called Malice (2023)

The Little Mermaid (2023)

Tetris (2023)

Transatlantic (2023)

Shaka iLembe (2023)

The Crowded Room (2023)

Tom Jones (2023)

The Gallows Pole (2023)

Peter Pan and Wendy (2023)

Surrounded (2023)

Rustin (2023)

Black Cake (2023)

Nome (2023)

The Buchaneers (2023)

Lessons in Chemistry (2023)

Queen Cleopatra (2023)

Poor Things (2023)

The Artful Dodger (2023-)

Fellow Travelers (2023)

The Colour Purple (2023)

Lawmen: Bass Reeves (2023)

Ordinary Angels (2023)

The Book of Clarence (2023)

The Holdovers (2023)

Indiana Jones and the Dial of Destiny (2023)

Three Little Birds (2023)

The Winter King (2023)

The New Boy (2023)

Origin (2023)

Sense and Sensibility (2024)

Love Lies Bleeding (2024)

Upcoming

Bob Marley: One Love (2024)

Palm Royale (2024)

Shirley (2024)

The Count of Monte Cristo (2024)

How to Train Your Dragon (2025)

Lady in the Lake (TBA)

The Big Cigar (TBA)

Dark Harvest (TBA)

Six Triple Eight (TBA)

The Nickel Boys (TBA)

Manhunt (TBA)

The Extraordinary Farewell (TBA)

Seacole (TBA)

Wicked Little Letters (TBA)

The Man Who Saved Paris (TBA)

De La Resistance (TBA)

Colour of Autumn (TBA)

The Richest Black Girl in America (TBA)

The Personal History of Rachel Dupree (TBA)

Bitter Root (TBA)

Josephine (TBA)

Eartha Kitt C'est Si Bon (TBA)

In the Pines (TBA)

Caste (TBA)

Steal Away (TBA)

Seize Them! (TBA)

Blitz (TBA)

Silver Star (TBA)

Benn/Eubank (TBA)

Untitled Harriet Tubman Project (TBA)

Untitled Stephanie St Clair Project (TBA)

Bonus:

Perseus (1973)

Hercules (1997)

The Prince of Egypt (1998)

Kirikou and the Sorceress (1998)

John Henry (2000)

Atlantis: The Lost Empire (2001)

The Polar Express (2004)

La Reine Soleil (2007)

The Princess and the Frog (2009)

Chico & Rita (2010)

The Rabbi’s Cat (2011)

Zarafa (2012)

Rio 2096: A Story of Love and Fury (2013)

Aya of Yop City (2013)

Bilal: A New Breed of Hero (2015)

Castlevania (2017-2021)

Spirit Riding Free (2017-2020)

Spirit Untamed (2021)

Encanto (2021)

The Bell Affair (2022)

The Black Pharaoh, the Savage and the Princess (2022)

The Sea Beast (2022)

Tiana (2023)

Castlevania: Nocturne (2023-)

Wish (2023)

BLACK WMEN IN HISTRIC/PERID DRAMAS Dreamgirls (2006), The Secret Life of Bees (2008), The Help (2011), Belle (2013), Selma (2014), Hidden Figures (2016), Harriet (2019), Lady and The Tramp (2019), Self Made (2020)

[miss-mollys-ballet-blog]

Amanda Smith and Derek Brockington in The Nutcracker.

[thatwritererinoriordan]

[josiahhotwire]

The look u give when sundress season in full effect👀😳😈🤷🏾‍♂️🦈🏄🏾‍♂️🌊🍿⚡️⚡️⚡️ #springtime #memorialdayweekend #Hotwire #work GOT THE #NUTCRACKER DRINKS ON DECK DM 4 orders 🍹🌊🏁🤫🤫🤫 #harlem #hustle #grindb4shine #theKomeup on all platforms 🔥‼️🎥🏆 (at New York, New York) https://www.instagram.com/p/Bx5c_HMBSHz/?igshid=owjpm7wqn6sn

[rndyounghowze]

And The Nominees Are… (Part 2/2)

#younghowzetheatreawards

By Ricky and Dana Young-Howze

Mays Landing, NJ

Venmo: @rndyounghowze

The nominations for the first ever Young-Howze Theatre Awards are finally here! We have been working hard since March of 2020 reviewing over a hundred and forty digital productions. We have been poring over them all since January to bring you these categories and the shows vying for them.

Let’s remind everyone what our criteria were: Because of the pandemic this year every show that we have reviewed was nominated for at least one category. We picked winners by a very specific set of criteria: What was this show attempting to do? Was it successful? Was it the most successful of all the shows that tried to do this? We apologize to anyone who thought that we would be announcing winners today. We decided that we wanted to save all of the spoilers for the live show on February 21st at 8PM EST. Please remember that even if you only get one nomination it is because we wanted to honor everyone who worked hard this year (every theatre artist who did a show this year deserves a medal). However we understand that specific nominations are useful for theatre creators in their resumes, grant applications etc.

All Nominees should receive a nomination email from us. If you haven’t gotten an email by Monday 11:59pm PST email is at rndyounghowze@gmail.com

Congratulations everyone! We are so proud of your accomplishments and amazing work. We’ve already seen shows this year that are award worthy. You all exceeded our expectations. Without further ado...

Solo Performance

“Chewie Award” For Team Behind A Solo Performance

“Blood/Sugar” by Diana Wyenn in Los Angeles, CA

“Kristina Wong For Public Office” by Kristina Wong in Los Angeles, CA

“Disenchanted: A Cabaret of Twisted Fairy Tales” by Eliane Morel at Melbourne Fringe

“All By Myself Award” For Solo Performance Of The Year

“The Bassoonist” by Sean P. Mette and Autumn Kaleidoscope at Cincinnati Fringe Cincinnati, OH

“Kristina Wong For Public Office” by Kristina Wong in Los Angeles, CA

“Sarah Palin: Rogue None” by Amanda Nicastro in NYC, NY

“What Would John Hughes Do?” by Telia Nevile at Melbourne Fringe

“Campfire Award” For Storyteller Of The Year

“Right Now” By Martin Dockery at Minnesota Fringe Minneapolis, Minnesota

“Life Underground” by Brad Lawrence at FRIGID NY in NYC, NY

“Pumpkin Pie Show” by Pumpkin Pie Show at FRIGID NY in NYC, NY

“UnterClub” by Juan Sebastian Peralta in Uruguay

“Full of Woe” by Genevieve Yosco and Sour Grapes Productions at FRIGID NY in NYC, NY

Seasons, Series and Festivals

“BIPOC HERO” For The BIPOC Creative Team Of The Year

TBA

“Worldwide Award” For Collaborative Work Of The Year

“The Art of Facing Fear Brazil” By Os Satyros in São Paulo, Brazil “The Art of Facing Fear US” Os Satyros and Company of Angels and Rob Lecrone, in co-production with Os Satyros and Darling Desperados. “The Art of Facing Fear Africa/Europe” Os Satyros and Cie Kaddu, Crown Troupe of Africa, Darling Desperados, Oddmanout Theatre Company, Portuguese Cultural Center of Mindelo, Tell-a-Tale, The Kwasha! Theatre Company, The Market Theatre Laboratory, Village Gossip Productions

“Macbeth #6” Os Satyros São Paulo, Brazil and the Center for Interdisciplinary Performance Art - Royal Birmingham Conservatoire

Enough Plays to End Gun Violence at Mile Square Theatre in Hoboken, NJ

“Down the Stream” For Digital Season of The Year

Frigid NY in NYC, NY

Combined Artform in Los Angeles, CA

“There’s No I in Theatre” For Non-Profit Theatre of The Year

Elm Street Cultural Arts Village in Woodstock, GA

Sour Grapes Productions in NYC, NY

Opal Theatre in Boise, Idaho

Know Theatre of Cincinnati in Cincinnati, OH

Mill Mountain Theatre in Roanoke, VA

“Deja Vu Award” Recurring Streaming Series Of The Year

“Tilted Frame” by Combined Artform in Los Angeles, CA

“Bingewatch and Friends” by Diana Brown and Dan Wilson in San Francisco, CA

“Reparations Show” by Kevin R Free at Frigid NY in NYC, NY

“Monologues For Us By Us” By Cincinnati Black Theatre Artists Collective in Cincinnati, Ohio

“Bard Brunch” by Sour Grapes Productions in NYC, NY

“On The Fringes” Fringe of the Year

Minnesota Fringe

Halifax Fringe

Melbourne Fringe

Montreal Fringe

Cincinnati Fringe

“The Shortie“ Short Form Festival Of The Year

“48 Hours in Harlem” By Harlem 9 in Harlem, NY

“Overnight Sensations” by Hollins Playwrights Lab in Roanoke, VA

Estrogenius Festival by FRIGID NY in NYC, NY

Fire This Time Festival at FRIGID NY in NYC, NY

Single Shows

“Weird and Worth It” For Experimental Production Of The Year

“Paul And Erika’s House Show” By Theatre Mobile at Cincinnati Fringe

“Hivemind” by Solasta Theatre at Cincinnati Fringe

“#TXT Show” by Brian Feldman at Minnesota Fringe and Melbourne Fringe

“Butterfly Effect” by Unnatural Disasters at Halifax Fringe

“New Normal” by Os Satyros in São Paulo, Brazil

“One Man Nutcracker” by Chris Davis in Philadelphia, PA

“Cabaret De Profundis” By Buntport Theatre in Denver, CO

“So Nice We Saw It Twice” Touring Show Of The Year

“Desperately Seeking The Exit” by Peter Michael Marino and PM2 at Cincinnati Fringe And Queerly Festival and Show Up, Kids! In NYC!

“Paul and Erika’s House Show” by Theatre Mobile at Cincinnati Fringe and Minnesota Fringe

“Love and Other Lures” by Dr. Dour and Peach at Cincinnati Fringe and Minnesota Fringe

“Killjoy, Ohio” by Queen City Flash at Cincinnati Fringe and Minnesota Fringe

“TXT Show By Brian Feldman at Minnesota Fringe and Melbourne Fringe

“Kristina Wong For Public Office” by Kristina Wong in Koreatown and Kirk Douglas Theatre in Los Angeles, CA

“Before Times” For Pre-Pandemic Recording Of The Year

“Petunia and Chicken” by Animal Engine at Cincinnati Fringe Cincinnati, OH

“Unrepentant Necrophile” by The ColdHarts at Cincinnati Fringe Cincinnati, OH

“Knife Slingin’” By Motz at Cincinnati Fringe Cincinnati, OH

“Occupy This!” By Rev Nuge at Cincinnati Fringe Cincinnati, OH

“Stow You Baggage” By Alexx Rouse at Cincinnati Fringe Cincinnati, OH

“Butcher Holler” by Ad Hoc Economy at Cincinnati Fringe Cincinnati, OH

“Lady Macbeth and Her Pal Megan” by Megan Gogerty at Cincinnati Fringe Festival Cincinnati, OH

“Dammit, Jim!” by Polly Esther in Toronto, CA

“A Night With The Dead” by Martha Preve and Something From Abroad at Hartford Fringe in FRIGID NY in NYC, NY

“A Christmas Carol In Harlem” by Classical Theatre of Harlem in NYC, NY

“Forbidden City” by Martin Dockery at Cincinnati Fringe Cincinnati, OH

“Practical Game Changer” For Practical Effects Of The Year

“Killjoy, Ohio” by Queen City Flash at Cincinnati Fringe Cincinnati, OH

“Zoo Motel” By Thaddeus Phillips in Columbia, South America

“A Light Touch” by Mind of a Snail at Minnesota Fringe Minneapolis, Minnesota

“Digital Game Changer” For Digital Effects Of The Year

“M-O-U-S-E” by Rory Sheridan at the Cincinnati Fringe Cincinnati, OH

“King Lear” by SF Shakes in San Francisco, CA

“War Of The Worlds” by Ben Hernandez at Cal State in Los Angeles, CA

“Claws Out! A Holiday Drag Musical” by City Theatre in Pittsburgh, PA

“18+ Allowed” For Adult Variety Of The Year

“Disenchanted: A Cabaret of Twisted Fairy Tales” by Eliane Morel at Melbourne Fringe

“Creepy Boys” by Scantily Glad at Melbourne Fringe

Red Mill Revue at Melbourne Fringe

Queers On The Fringe at Melbourne Fringe

“Reach Out“ For Immersive Production Of The Year

“Feast” by Megan Gogerty at Know Theatre of Cincinnati in Cincinnati, OH

“In Lak’Ech” by No Peeking Theatre in Jersey City, NJ

“Twelfth Night”” by Food of Love Productions in NYC, NY

“Grace Notes” For Musical Production Of The Year

“Dream &” By Sarah Willis and The Queer Feminists Next Door at Cincinnati Fringe Cincinnati, OH

“Colony” by Psophonia and Aura at Cincinnati Fringe Cincinnati, OH

“TV Tunes” by Leslie Vincent at Minnesota Fringe Minneapolis, Minnesota

“The In-Between Years” By The Champagne Drops in Minneapolis, Minnesota

“Love and Other Lures” By Dr. Dour and Peach at Cincinnati Fringe Cincinnati, OH

“Hollow” by David Kent at Edinburgh Fringe

“One Vote Won” by Nashville Opera in Nashville, TN

“Meet Me In St. Louis” By Irish Rep in NYC, NY

“Power” For Fifth-Wall Breaking Show Of The Year

“Matriarch” by Sandy Greenwood at Melbourne Fringe

Chanukahmunication by the Feldman Dynamic in Washington, DC

“Proof Of Love” By Chisa Hutchinson and BLBW in Chicago, IL

Individuals

“Magician” For Press Contact Of The Year

Emily Godfrey For FRIGID NY in NYC, NY

Liz Carman For Know Theatre of Cincinnati in Cincinnati, OH

“Tech Witch” For Tech Person Of The Year

David Svengalis for “Tilted Frame” by Combined Artform in Los Angeles, CA

Henry Bateman for Know Theatre of Cincinnati in Cincinnati, OH

“Extensions“ For Movement Artist Of The Year

“Proximity” by Pones at Cincinnati Fringe Cincinnati, OH

“Definition of Man” by DConstruction Arts at Halifax Fringe

Marina Calendar For Tree She at Estrogenius Festival NYC, NY

Nick Daniels For “Folk Dances of A Nucleic Village” at Pittsburgh Fringe Pittsburgh, PA

“You Oughta Be In Pictures” For Film Of The Year

“Proximity” by Pones at Cincinnati Fringe

“Opinions Of Men” by Ben Dudley at Cincinnati Fringe Cincinnati, OH

“Macbeth” by Gorilla Repertory Theatre in NYC, NY

“Black Emperor of Broadway” by Vision Films Inc and Egeli Productions in Provincetown, MA

“Concord Floral” by Jordan Tamanelli at Colorado State University in Fort Collins, Colorado

Zoom

“Pioneer” For Innovative Achievement Of The Year

Waiting for the Host” by Mark Palmieri in NYC, NY

“Desperately Seeking the Exit” by Peter Michael Marino in NYC, NY

“Long Zoomie” For Long-Form Zoom Play Of The Year

“3 Way Lovve” by Marcus Ma’at Atkins at Minnesota Fringe Minneapolis, Minnesota

“Im Ur Hamlet” By Genevieve Yosco and Sour Grapes Productions in NYC, NY

“Rideshare” by Reginald Edmund and BLBW in Chicago, Illinois

“Disrobed” by Steven Vlasak and Troy Peterson at Hollywood Fringe Hollywood, CA

“Sons of Liberty” by Cris Eli Blak in Louisville, KY

“Call For The Wailing Women” by Katrina D. RiChard and BLBW in Chicago, IL

“Jump!” By Charly Evon Simpson at TSU in Nashville, TN

“Short Zoomie” For Short-Form Zoom Play Of The Year

“Soup” by Rachel Carnez at Project Y Theatre in NYC, NY

“Missing Ingredient” by Colleen O’Doherty at Project Y Theatre in NYC, NY

“Pas De Deux” by Kevin Ferguson at Missouri S&T in St. Louis, Missouri

“Scaramouche and Pinochle” by Mike Moran Missouri S&T in St. Louis, Missouri

Screen Manager Of The Year

TBA

Stream Yard

“Duck“ For Streamyard Production Of The Year

“Infemous” by Infemous at the Queerly Festival and Montreal Fringe Festival

“Romeo and Juliet Virtually” By Miles Beyond Entertainment in Los Angeles, CA

“Day of the Dead Variety Show” by Something From Abroad at FRIGID NY in NYC, NY

“Latina Christmas Special Special” by Latina Christmas Special in Los Angeles, CA

Staged Production

“The Globe“ For Staged Production of The Year

“Quit While You’re Ahead” By Alexx Rouse and A-Z Productions at Cincinnati Fringe Cincinnati, OH

“Dreary Dearie” By Caitlyn Waltermire at Cincinnati Fringe Cincinnati, OH

“Hellish Reunion” by The Feral Theatre Company at Minnesota Fringe Minneapolis, Minnesota

“Polka Dots: The Cool Kids Musical” by Melvin Tunstall III at Mill Mountain Theatre in Roanoke, VA

“Titus Andronicus” by Shakespeare by the Sea in San Pedro, CA

“She Kills Monsters” by Qui Nguyen at Elm Street Arts Cultural Village in Woodstock, GA

Please Be Sure To Tune In To The Live Show on either our YouTube Channel, FRIGID NY’s YouTube, or you can go to Combined Artform’s Channel. Also follow their Facebook pages for live updates. Our social media will be taken over before and during the show by Saturday Lawson of Punchline Loading and Genevieve Yosco of Sour Grapes Productions! We can’t wait to see you there!

*****A Word From Our Sponsors*****

We have a YouTube Channel. We’re working furiously to get new videos up weekly.

https://www.youtube.com/channel/UC0M6M04VtDpqFzVLxjfrRZA

We have official merch now! Keep us fed and get gifts for the family all at the same time!

https://teespring.com/rnd-younghowze?pid=972

Wanna be a sponsor? Email us for rates at rndyounghowze@gmail.com

Check out our Social Media

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[back-to-louis]

About the hair, I have had white colleagues say to me (a black woman), “we are in the same boat with the hair! My natural hair is also curly and it’s a shame that us woman are deemed unprofessional when *our* hair is natural. I totally get you. It’s so unfair to *us* women.” And I just stare at them. Like, yes, Karen. It is absolutely the same thing.

Omg. WHO IS ‘WE’, KAREN?

https://www.elitedaily.com/life/culture/black-girls-natural-hair-racism-schools/1953497

https://www.refinery29.com/en-gb/hair-discrimination-uk-workplace

https://www.orlandosentinel.com/news/education/os-private-school-boys-hair-20180814-story.html

https://www.npr.org/sections/ed/2017/07/17/534448313/when-black-hair-violates-the-dress-code

https://www.teenvogue.com/story/black-student-box-braids-sent-home-christ-the-king-elementary-school

https://www.pix11.com/news/local-news/manhattan/harlem-girls-banned-from-wearing-braids-in-annual-christmas-nutcracker-production

https://www.nbcnews.com/news/nbcblk/when-hair-breaks-rules-some-black-children-are-getting-trouble-n973346

[floosies]

Tiene Tumbao

pairing: Sam Wilson x mob!oc!reader

summary: people say that sometimes a person leaves your life after teaching you a lesson. Sam didn't get the chance to learn his lesson from an old friend, Gabrielle.

warning: cursing, angst, smut, violence, betrayal lol jk...unless

A/N: This is another project that I wanted to make for an underrepresented character in terms of fic. He’s a gorgeous man and deserves a series, so I hope you enjoy this.

Series Masterlist

Chapter 2

His cover story was simple and not really a lie. He explained that until the trial day came, he was out of a job. If they found him guilty he’d be sent to some prison in Europe, so he decided to spend his final weeks back home. It was a quick way to win their sympathy. Especially Gabrielle’s, and after all, that was who was most important in all this mess.

Everyone knew her step dad was in charge of some pretty heavy shit. Harlem loved Don Rosendo, he took care of the borough. The schools got a good cut,  the bodegas never saw much action anymore, and the community could always get one of his little messengers to deliver any concern they had to him. By the next day it would be dealt with. Of course nobody fucked with the man or his business, because to be against him would mean Harlem would be left without someone to watch over them.

Sam figured it was for that very reason Gaby hated him. From what he remembered she had a good life in Watts. Her pop’s family was her real family, but her momma wanted money. They never spoke much about her life before New York, it made her sad and he hated seeing her get all upset. If she had been a different person he might’ve even left his girlfriend at the time for her. 

It didn’t matter now, because he was walking with her to rucker park. From the speaker of her phone, A Tribe Called Quest played. It felt like they were high schoolers again being goofy. “You know, you came right on time bird boy. The parade is ‘bout a couple days away,” she said to him as they took turn heading for the basketball court. “Damn, I haven’t had a nutcracker in a long time. You still make them?” She shrugged, “I don’t know? Am I still the only person you trust with your liquor?” Sam nudged her playfully thinking back on how she used to be the only person he really drank with. It wasn’t because they had anything going on, it was just that around her he didn’t have to put on a front.

There were some kids playing with their friends, she recognized them and went over to say hi. He felt like maybe he should’ve just gone to Howard. Maybe then after he had graduated he would of come back to Harlem and ignore the fucked up truth about everything. Gabrielle per say wasn’t someone with bad intentions, but she wasn’t a saint. At least from what he remembers. He tried to get her to change and focus on healthier things, and seeing her now he realized it wouldn’t have done anything if he had. She wasn’t looking out for these kids, sure she was good at covering up what she was doing with her words, but he could see the slick movement of handshakes. 

It’s a shame the things wasted on pain. She hated herself deep down, but the bank account that’s never empty and an apartment without roaches and rats is better than being a good guy. Besides, she just sold it. It was her step father who bought and distributed it. Gabrielle knew Sam wasn’t slow, she knew that he knew she was still up to no good. However, he was choosing to stick around and that probably was his way of saying that the superhero lavish life was done with. There was an anger in her about that. Harlem would defend his name, he was one of the good things to come out of the city. For them to do him dirty like this was expected, but also something she prayed never happened to him.

Of course, if he asked she would do what she could to get him set up properly. Sam on the other hand, he knew that this was all a lie and while it felt wrong for taking advantage of an old friend, but it was the only way. After the park they headed back for her place, but not before they continued to talk about the parade. She went on about how some of their old classmates were setting up this grand party and how she’d be really happy if he went with her. The promise of an invite to a party after the parade held a lot in store for getting in good with Don Rosendo’s men. 

After he dropped her off, he hurried back to his place. Once inside the confines of his apartment, he called out for Barnes who was the secret of the operation. Barnes knew it was a safer bet to take down the information and help track down people on the data bases, than to try and do the operative things. The former avengers got to work that night, tracking down names and sending information to HQ, then they reached Gabrielle’s name, Barnes was about to type her name into the search bar in the data base engine when Sam stopped him, “she’s on the list Sam.” He sighed, “I know she is, but I need her to remain on the streets for now. She’s important to this mission.” With an eye roll, they skipped her name and carried on with other things.

Deep down, he was thankful that they didn’t go through with her arrest, it would only cause concern and truthfully he was just glad to have an old piece of his past back. The next morning came and with it a text from Gabrielle asking for him to meet up with her at her place.

[jasonweinberger]

Live now: The digital premiere of A New Nutcracker, one of my favorite productions for The New Live. A vibrant visual fariytale set in 20th-century Harlem, it features stunning artwork by Gary Kelley set to the music of Duke Ellington and Billy Strayhorn. First presented at @wcfsymphony in 2016, it is the culmination of tonight’s Live from the Archive EP 4. Join us!

[negrolicity]

[pern-dragon]

WOW, SO STUPID

[whippedfouettelatte]

The Beautiful Revolution: Ballet’s Importance in the 21st Century.

For a course at school I was given the choice to write a research paper on any topic of my choice. So i wrote about something near and dear to my heart-- Ballet. This took quite a bit of time and research and I hope you fellow balletomanes will like it! Enjoy!

Smoke fills the scene, a large golden moon hangs over the placid navy lake. From out of the trees, dozens of white swans gently land on the water, sending soft ripples out across the dark. As their white feathers illuminate the night, they turn into beautiful yet haunting maidens glowing like ghosts in the moonlight. One of the swan maidens is adorned with a large silver crown. She is Odette, the Swan Queen. Mourning the loss of her humanity, as she has been turned into a swan by the evil sorcerer Von Rothbart. She dances across the lake, accompanied by her swan maidens. When out from the bushes a man wielding a crossbow seeks to hunt the swans he saw earlier, only to find the maidens. The hunter, Prince Siegfried, immediately falls in love with the Beautiful Odette, swearing to marry her and break her curse.

That vignette is easily recognizable as the story of Swan Lake. This ballet was first premiered at the famous Bolshoi Ballet in Russia on March 4, 1877- nearly 150 years ago. The Bolshoi commissioned this piece from the composer Pyotr Ilyich Tchaikovsky. Like many ballets, its initial run was a critical failure. The Critics criticized the music for being too complex and nearly undanceable. This shattered Tchaikovsky, who was extremely passionate about the project; finishing the entire score in one year. Sadly, the ballet would not be revived until 1895; two years after his death.

In modern times, this ballet is arguably one of the most quintessentials ballet. Most people can easily imagine the dancers decorated in white tutus, leaping and bounding across the stage. If one is to go to the ballet in the twenty first century it is probably in order to see Swan Lake in the summer, The Nutcracker in December, or Sleeping Beauty in the spring. Yet, today ballet is seen as an almost archaic art form, only seen or cared about by the elderly season tickets holders or attended as a mandatory Christmas event. This line of thought is damagingly inaccurate. Ballet has historically been more than just an entertaining art form: it has been a medium of protest and political commentary since its birth in the tumultuous court of the Sun King in France during the fifteenth century.

While some find it hard to believe that ballet in its prime was an important piece of the media that almost every active member of society was privy to or invested in. Today, ballet can seem to be an unimportant mode of protest to the ever changing political landscape of modern media. Swan Lake, while still restaged to this day and adapted into hundreds of unique and different storylines in thousands of companies across the world, seems like a story that has been sapped of any political importance-- as many think 150 years of political change and growth can negate the power of a message. This could not be further from the truth. Ballet is politically relevant all throughout history and into the twenty first century.

Many ballets have universal messages that run through the heart of the story; love, forgiveness, and betrayal. Additionally, most have political ideas that reflect the society and the politics of the time. In classical ballets, their political messages are easy to discern. When ballet is looked at through the lense of historical politics and society, it is easy to see what influenced each of the ballet’s elements. Ballet culture has been molded to fit the political landscape of the time. Most new ballets that have been created follow this idea of being a mirror to society, which can be easily seen and tracked through different retellings and restagings of influential or famous classic ballets. When the ballets are changed or modernized, they are always shaped to fit the political landscape of the time. Ballet is one of the few pieces of media that can be molded and adapted. Ballets from one hundred fifty years ago are still being staged. It is a timeless art form that is important and entertaining in every time frame. From its invention all the way to the twenty first century it challenges society and it should not be ignored or pushed to the wayside.

One of the first true classic ballets called Giselle is an influential political product of the nineteenth century. On the 28th of June 1841, it premiered at the Theatre de l'Academie Royale du Musique. This ballet tells the story of a young peasant woman named Giselle. She lives in an idyllic village in the German countryside. She is naive and full of life, she loves to dance though it is dangerous for her weak heart. Giselle falls in love with Albrecht, who she thinks is another peasant, when in reality he is a prince in disguise. Albrecht’s true identity is found out by a game master, Hilarion, who despises Albrecht because he too is in love with Giselle. Later, a group of nobles show up, along with Lady Bathilde-- Albrecht’s fiance-- who upon seeing him confronts him, asking him why he has been away. After seeing Albrecht kiss his fiancee, Giselle goes mad and dances around erratically when suddenly her heart gives out. She dies instantly.

In act two, Hilarion lays flowers on Giselle’s grave in the forest. He is suddenly attacked by Myrtha, Queen of the Willis. Willis are the spirits of women who were scorned or betrayed by men. When they find men, they enchant them and force them to dance to death. Albrecht is about to become a victim of this fate, but Giselle, a new spirit, forgives him for his betrayal and saves his life. The sun rises over the horizon and the spirits fade away. Albrecht is left safe and alone.

Giselle was an instant success because of how unique the plot was. This ballet reflected some of the deepest sensitivities of the time, at this point in history the population of Paris, France was plagued by illness and poverty on a massive scale. In the 1840s, life expectancy was around only forty years old for both men and women (Life Expectancy, Mike Roser). Women died in childbirth at a significant rate. Barely anyone in France during this time could afford suitable living quarters, as the revolution had decimated the government and in turn the economy. Giselle was a heroine that reflected the face of the French people. Instead of being portrayed in a negative and shameful light, Giselle represented hope for the common masses of France by being positive and sweet despite her circumstance in life. She is the hero of her own story and her powers of forgiveness overcome her afflictions. It was a kind of encouragement to the people that despite their circumstances they can rise above their station. This was the message of the revolution, helping to advance the everyday people and provide equality.

In addition, this ballet’s setting is in an almost fairy tale like village in the middle ages in Germany. This was a beautiful escape for the Parisians, as the industrial revolution was in full swing throughout Europe, and came to the cholera ridden streets of unemployed Paris. Many artist were unhappy with the change of morals and beliefs that coincided with the multiple social revolutions and the industrial revolutions, “which these artists and philosophers attributed to the Age of Enlightenment, they yearned for what they imagined to have been a better past. Thus emerged the common use of quasi-medieval settings for Romantic ballets and the supernatural themes that allowed people to escape reality” (Hutchins, 37). Therefore they were disillusioned by the new age of logic, and wanted to harken back to an age of romance and what they considered to be emotion-driven societies.

Furthermore, the analysis deepens when you look at the connections to the government of the time. In the ballet, Duke Albrecht woos Giselle under the guise of a peasant who is just like everyone else. He walks among the other peasants pretending to be one of them when in reality he is royalty. He takes advantage of Giselle and her love for him, and all of his promises are false as he swears to love only her but lies about his true alignment with the nobility. This directly parallels King Louis-Philippe-- the King of France during the time of Giselle’s creation. In France there were two different political parties at the time: The Parti De Resistance (which was mostly populated by the common french people,) and the Parti De Movement (the aristocrats and the wealthy.) Louis-Philippe never vocally sided with a party, but his cabinet was mostly made of the Movement party. Philippe, in order “To Demonstrate his connection and devotion to the French people… called himself the ‘King of the French’ rather than the ‘King of France.’ Early in his reign, Louis-Philippe walked freely and unprotected among his people, holding an umbrella in place of a scepter” (Hutchins, 36) This garnered him the nickname ‘The Citizen King’ before he fell out of favor with the French. Both Albrecht and Louis-Philippe inserted themselves into the culture of the lower class citizens, with disastrous effects. They tried to disguise their true alignment with the nobility under the guise of being like the rest of the citizens. This comparison is no accident; Giselle took a critical look at the political landscape of the time and reflected it in a deep analysis of socio political trends during 1840s France. Making is a influential piece of political relevance.

Giselle was a reflection and analysis of its time period, and in its many updated versions it has continued that legacy. In 1984, the Dance Theatre of Harlem staged an all new production of Giselle. The DTH is a dance company made entirely of African-American dancers. Because of this, Arthur Mitchell the founder and artistic director of DTH decided to mold the ballet to a new setting to allow the dancers to feel at home in a ballet known for its ‘whiteness’. A large problem with ballet in the 1980s was its inherent white race coding, Giselle is a part of a series of classical romantic ballets; including Swan Lake, La Sylphide, and La Bayadere, known as Ballet Blanc, which literally translates to ‘White Ballet’ due to the ballets central plot having white supernatural effeminate beings. Therefore, the DTH was tasked with changing the story to something racially inclusive yet not patronizing to the dancers. As ballet was inherently racist in the 1980s, many pointe shoe makers simply “did not believe that black girls were dancing on pointe” (Caught Dancing: Hybridity, Stability, and Subversion in Dance Theatre of Harlem's Creole "Giselle", 273). Therefore, to adapt Giselle into a modern cultural identity Mitchell moved it out of the medieval german rhineland, into post-civil war Louisiana plantations. Making Giselle a free former slave, while Albrecht is an aristocratic plantation owner posing as a poor farmer. Because of this setting, the ballet has been unofficially deemed Creole Giselle.

The DTH had to strike a balance when creating Creole Giselle, they had “the desire to provet the patent falseness of claims declaring the black body as wrong for ballet and the need to maintain a race-based cultural particularity in the performances of his company” (Gaiser, 273). The ballet, while mostly staying true to the choreography of the original 1841 production, was modified slightly. As many black dancers had not had the chance to prove themselves in a classical ballet setting, this production was their chance, yet if the steps were exactly the same they would run the risk of being called ‘imitative’ or being compared to other classic stagings of Giselle. This production had to be unique to show the dance community that Giselle was a ballet for everyone, while still separating it into a sphere where African-American dancers could show their talent without reprimands. Just like in everyday society, racism was still a large part of everyday life and it was something that wasn't overcome in the 1980s, but various people and movements were starting to repair bonds.

Creole Giselle was one of the first steps in the ballet world to show black dancers were as capable as white ones. Creole Giselle looked at its political landscape and reflected the ideas of respecting the old but welcoming the new into everyday society. In a study titled New Patterns of Racism: the different worlds of 1984 and 1964 we find that when comparing 1984 to 1964 “much has happened since 1964 in American black-white relations, but the changes have been uneven across and within institutions. In each area reviewed- politics, education, housing, occupation, family structure, income, health, and business- there have been conflicting trends. In general, gains are impressive when compared with earlier black conditions; however, they are less than impressive when compared with current white conditions.” Just like society, Creole Giselle looks on the bright side of improving race relations while still not breaking the boundaries it is stuffed into. Having to change things in order to help people find the story and choreography more palatable to their expectations. This version of Giselle carries on the legacy of reflecting the face of modern society.

The updated setting of Creole Giselle isn't where the reflection of society stops. Recently, in 2016 the English National Ballet commissioned Akram Khan to stage a new version of Giselle. This version of Giselle is different than any before. In this retelling, “they have set the ballet among a community of migrant workers, who have been sacked from their jobs at a garment factory and are having to eke out a precarious existence in an impromptu camp. The courtly world of Albrecht is replaced by a privileged group of landlords and factory owners, who live apart from their workers behind a high wall” (Akram Khan's refugee Giselle: 'A real woman in a catastrophic situation' by Judith Mackrell). Khan, who began his work on this new adaptation with the Director of the ENB, Tamara Rojo, chose to set the ballet in a migrant worker factory because of the refugee crisis in Europe. He realized while the ballet can seem naive to modern audiences, some of the strongest themes in the ballet are in the simplicity. The duality between love and betrayal, or reality and the supernatural. Khan kept those elements central to the ballet, while also focusing his attention on Hilarion. While in the original he was just a simple game master who was in love with Giselle but forced her to see the lies Albrecht told, in Khan’s Giselle he has “expanded Hilarion’s role in the ballet into a fixer, a go-between who works with both migrants and capitalist”(Mackrell). This version of Giselle is much grittier and grounded, like the Indian dance style Kathak, which Khan was taught. The second act replaces beautiful ghostly woman in long white dresses dancing across a forest, to women covered in dirt and grime with long ragged hair and clothes in an abandoned factory.

This ballet, while aesthetically different from the original in many different ways, still is recognizable as the classic tale of Giselle. Khan’s Giselle is a perfect commentary on Europe's refugee crisis, showing the everyday people as humans and developed people on the stage through the titular character Giselle. Just like in the 1841 version, yet today people are an eclectic mix of cultures, heritages, and styles just like the Creative team. Khan being born in Britain, yet raised to be in tune with his Bangladeshi heritage. Rojo, from Canada, born to immigrants from Spain. Giselle has changed drastically throughout the years, but in every adaptation it can be used as a critical analysis on the socio political landscape of the time.

Ballet still has a long way to go before it becomes as much of a cultural staple as it was in the 1800s. Yet it increases in popularity everyday, as many dancers have become activists or advocates for equality, feminism, LGBTQ acceptance, and much more. Ballet is moving back into the cultural limelight as its relevance in the political scene is recognized more and more. Many dancers have become household names, like Misty Copeland or Mikhail Baryshnikov. Ballets on stage tackle different social and cultural issues it is hard to ignore the fact that ballet is politically relevant all throughout history and into the 21st century.