Tamisha Guy is a jumble of contradictions in the best possible
sense: She marries ease and strength, regality and earthliness,
balletic lift and sultry swagger. In Kyle Abraham’s The Gettin’,
which Abraham.In.Motion toured last season (her ;rst with the
company), the former Graham dancer brought seamlessness to
his whipping, twisting movement tornadoes, but never lost the
importance of the punctuation, be it a narrative gesture or slicing
arabesque. It can be hard for some dancers to bring clarity to
Abraham’s ;lled-to-the-brim movement phrases. But when Guy
takes the stage, you’re in for a smooth, wild ride.
Première danseuse, Paris Opéra Ballet
For Benjamin Millepied, Léonore Baulac has become a symbol of
the change he wants to bring to the Paris Opéra Ballet, combining
French re;nement with an appealing sense of freshness. Baulac
unsuccessfully auditioned for the POB School as a child before
joining as a paying student at age 15. She entered the corps de
ballet in 2008, but went mostly unnoticed, despite bright turns
as Olympia in The Lady of the Camellias and in the company
premiere of Anne Teresa De Keersmaeker’s Rain.
Since Millepied’s arrival in 2014, however, Baulac’s career has
skyrocketed. In addition to being promoted to première danseuse
(;rst soloist), she’s had debuts in The Nutcracker and Paquita,
and was featured in the opening ceremony of the Cannes ;lm
festival in a piece created by Millepied. With her preternatural ;u-idity, Baulac also takes to American-style neoclassicism with ease.
This fall, she was one of the stars of Millepied’s latest creation,
Clear, Loud, Bright, Forward; for her, it’s full speed ahead.
Baulac in La Belle
au bois dormant