44 Revealing Backstage Pictures From New York City Ballet's Fall Gala
Dancers countouring their cheekbones, coating their pointe shoes in rosin, and jamming to St. Vincent.
The New York City Ballet's galas are something dance and fashion lovers alike look forward to every season. This year's fall production–featuring five performances– not only showcased brand new choreography from both seasoned NYCB vets and newcomers, but also fantastic designs from top designers including Zuhair Murad, Peter Copping of Oscar de la Renta, and Humberto Leon of Opening Ceremony. ELLE.com was behind the scenes to see the collaborations up close and the dancers and crew prepare moments before showtime–follow along for an insider look at the magic coming alive.
Principal dancer Rebecca Krohn prepares for Robert Binet's "The Blue of Distance." She blasts music by St. Vincent from her phone while applying stage makeup, a process that takes her half an hour.
NYCB apprentice Rachel Hutsell contours her face.
Bejeweled headpieces worn for Peter Martins' "Thou Swell" created by Suzy Alvarez, the NYCB's hair and make-up supervisor.
Principal dancer Adrian Danchig-Waring gives himself a once-over before getting dressed for Justin Peck's "New Blood".
Face charts guide each of the dancers' looks. They do hair and makeup themselves, but hair and makeup assistant Karla Elie guides their application on site.
Principal dancer Ashley Bouder applies black lipstick for Justin Peck's "New Blood."
Hair inspiration for Peter Martins' "Thou Swell," to go along with Peter Copping for Oscar de la Renta's evening wear-inspired designs.
Soloist Ashley Laracey bangs her shoes against a cinderblock wall to break them in and reduce the noise they make on stage.
Principal dancer Tiler Peck's ballet shoes and SJP Collection heels laid out for the after-party.
The designs by Peter Copping for Oscar de la Renta, Zuhair Murad, and ADEAM's Hanako Maeda hang in a row in the costume room.
About an hour before showtime, dancers stretch and do exercises to warm up. In the green is principal dancer Sterling Hyltin, who just performed Swan Lake the night before. "My five-year-old self would never believe I'm doing what I do because when I started ballet, I hated it," she told us, "I cried before every ballet class. I've been in the company now for 13 years–to think that I'd perform Swan Lake and everything is just so wild."
Dancers coat their shoes in resin to prevent slipping on stage.
Principal dancer Tiler Peck, already dressed in Zuhair Murad for the first set, sews on her ballet shoes' ribbons to secure them from coming undone during the performance.
Corps de ballet dancer Emilie Gerrity and choreographer Myles Thatcher hug moments before the show starts.
The fall 2015 gala marked both Thatcher's choreography debut with the New York City Ballet and the world premiere of his work "Polaris."
Right outside the quick change room hang Peter Copping's Oscar de la Renta costumes for "Thou Swell." The elaborate outerwear–a neck ruffle, robe, feather boa, and cape, respectively–are only worn for a few seconds during the dance.
Minutes before the curtains go up, soloist Ashly Isaacs runs laps around the stage to keep her muscles warm.
Show starts at 7 p.m. after a brief film detailing the design and choreography collaborations shows. Corps de ballet dancer Emilie Gerrity waits in the wings before she enters the stage for "Polaris."
Isaacs, soloist Taylor Stanley, corps de ballet dancer Ghaleb Kayali and corps de ballet dancer Emilie Gerrity in "Polaris."
Tiler Peck gets lifted by soloist Craig Hall in "Polaris."
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