“Up next was Mozartiana, a jubilant piece that begins with the lead ballerina dancing with four very talented School of American Ballet students. Led by Sara Mearns, the group of five performed in earnest, focusing on their fancy footwork. Because she is known for her penchant for the dramatic in both movement and expression, it was a joy to see Mearns perform with breezy lightness and a smile. This infectious quality increased when Russell Janzen appeared. The duo danced as two pieces of a puzzle, working together to complete Balanchine’s intricate and delicate choreography. It was delightful.”
“Sara Mearns compares what it’s like to portray both good and evil through the universal language of ballet pantomime in the same scene of The Sleeping Beauty by breaking down her performances as both the villainous Carabosse and the beloved Lilac Fairy.”
“It’s a new year, and that means a time to try new things, wear new dancewear, learn something to improve your technique and maybe go outside your comfort zone for a try. And you can do all of those things at the very exciting Sara Mearns Master Class and Só Dança Collection Reveal this Monday, January 14, at Broadway Dance Center (BDC)!
The collection’s products are not only designed to look and feel great on the outside, but Mearns says she hopes that can translate to the inside as well, and that dancers can exude confidence – and feel confident – when they put on the new Só Dança leotards, leggings and tops.
“Sara Ann Mearns and Joshua Alexandre Bergasse were married Nov. 3 in Sunset Beach, N.C. Harvey Weiss, a friend of the couple who became a Universal Life minister for the event, officiated on the beach.”
“In its 15 years, Fall for Dance — the festival where every ticket is just $15, and each program offers a colorful smattering of styles — has fine-tuned certain formulas: how to build, for instance, from an agreeable, subdued beginning to a spectacular, crowd-pleasing finish. And how to leave people aching for more.
Joined by the pianist Cameron Grant, Ms. Mearns, in gauzy pink, imbues the simplest gestures — outstretching an arm, tapping together her wrists — with expressive depth. In less sophisticated hands, Duncan’s yearning, frolicking, diaphanous steps can feel contrived or saccharine, but Ms. Mearns makes them thrilling.”
“Fall for Dance, New York City Center’s beloved annual festival, celebrates its 15th anniversary in October with six world premieres and appearances by ballet stars including Sara Mearns, Justin Peck and Herman Cornejo.
The festival has five programs, running from Oct. 1 through 13, and the premieres begin with the first one: an evening with a new work by Caleb Teicher, and performances by Boston Ballet, Compagnie Hervé Koubi and Sara Mearns. Ms. Mearns, a principal at New York City Ballet, will reprise Dances of Isadora, a tribute to the modern dance pioneer Isadora Duncan.”
“Her dance partner calls her a ‘stage animal.’ Not quite the description one would expect to attribute to a ballet dancer, let alone a ten-year principal of perhaps the most prestigious dance company in the world. But, that’s the dynamic in which Sara Mearns performs within. Like in the dual roles of Odette/Odile in Tchaikovsky’s ‘Swan Lake,’ her debut role as a lead performer for the New York City Ballet, she takes on another persona. A devil may care performer who pushes her boundaries in a manner that defines all dancers from George Balanchine’s school. It’s an openness her dance partner Jared Angle finds, ‘exhilarating.'”Read more here.
There are 12 nominees for outstanding performer, including Courtney Cook of Urban Bush Women, Jacqueline Green of Alvin Ailey American Dance Theater and Sara Mearns of New York City Ballet. Ms. Mearns’s nomination also recognizes the side projects that have kept her increasingly busy, like Matthew Bourne’s The Red Shoes and the Isadora Duncan homage Dances of Isadora.”
“Dances at a Gathering can, like Les Sylphides, Fokine’s ballet to Chopin’s music, seem entrancing or tedious, depending on the performers. Robbins was always exigent in his choice of dancers for the cast of ten, identified in cast listings by the colours of their costumes. NYCB’s cohort was a combination of principals, soloists and two members of the corps, seizing their chance to perform coveted roles. The hour-long ballet is a test of stamina, but the final performance (the fourth in three days) was joyous, speeding by, impelled by Susan Walters’s onstage playing of Chopin’s piano music.”
“Mearns and Murphy dance as well with arms and hands, with backs, necks and facial expressions. They project intelligence. To see them in repose or poised on pointe with one leg held high, backs arched, and with arms swept back is to glimpse possibility and its consummation.
Swan Lake is noted for the 32 fouettes during which Odile whips through turns while balanced on one leg, but with Mearns and Murphy the moment resembles a creation by Shakespeare or Leonardo. Superlatives can go too far yet not far enough. Reading about the dance cannot equal the joy or satisfying challenge of seeing it. Critics are doomed.”