NEXT STEP, PNB’s choreographic incubator program, culminates on May 15th and 16th! NEXT STEP provides PNB Company dancers with opportunity, infrastructure, and support as they choreograph new work on PNB School’s Professional Division students. This year’s choreographers include Luther DeMyer, Ashton Edwards, Zsilas Michael
Hughes, Leah Terada, Lily Wills, and the co-choreographer team of Dylan Wald and Elle Macy.
While cultivating the choreographic voices of tomorrow, NEXT STEP is also a valuable performance experience for PNB’s highest-level students. Keep reading to meet some of these students and learn more about their NEXT STEP experience!
What NEXT STEP piece(s) are you in?
Ruby Bennett: I’m in works by Zsilas Michael Hughes, as well as Elle Macy & Dylan Wald.
Neah Lim: The pieces I’m in this year are choreographed by Luther DeMyer, and Elle Macy & Dylan Wald.
Gustav Frautschi: Lily Willis, Ashton Edwards, and Elle Macy & Dylan Wald
Max Howard: I’m in Ashton Edwards’ piece, Luther DeMyer’s piece, and Lily Wills’ piece.
Ayana Stampley: I am in Lily Wills’ and Ashton Edwards’ NEXT STEP pieces.
Max Ray: I’m Zsilas Michael Hughes’, Lily Wills’, and Luther DeMyer’s pieces. It’s been really cool getting to work on three completely different styles and switching between them.
What’s your favorite part of dancing in a new work?
Ruby Bennett: I really love the process of trying new things. It’s exciting being pushed to move in ways that feel unfamiliar at first, and then slowly finding your way into it. I also love that balance of bringing a choreographer’s vision to life while still making it feel personal, since the work is created on each of us individually.
Neah Lim: My favorite part of dancing in a new work is how complete my understanding feels of the choreographer’s goal for the piece. During NEXT STEP rehearsals, I’ve felt really comfortable experimenting with choices I wouldn’t normally make, as I’ve so intimately gotten to know the world they’re trying to create, and feel that my approach to the movement is well-informed.
Gustav Frautschi: I’ve found one of my favorite parts of dancing in a new work is the trial and error involved. We could make ten minutes of choreography and only end up using tiny snippets of that. Over the duration of the process, I start to feel the dancing wrap around us tighter as we navigate the creation of the piece. Watching the choreographer see dancing they really like come together after a long day of creation is such a rewarding feeling.
Max Howard: My favorite part of being in a new work is being able to develop a characterization to bring the piece to life. Learning new choreography is always fun, but collaborating with the choreographers on movement quality and acting has been really rewarding.
Ayana Stampley: I love the collaboration it takes to create new work for dancers. Being in the room while the choreographer is shaping ideas means that a dancer’s instincts and presence can influence their choreography in real time. There is something exciting about the unknown. One of my favorite parts is that there’s no reference or any expectations to live up to when new work is being created for you. It is the dancer’s job to create that first impression for audiences.
Max Ray: I think my favorite part is being part of the process from the start. You’re not just learning choreography, you’re building it with the choreographer, which makes it feel a lot more personal and meaningful.
What’s one thing you’ve learned from this experience working with PNB Company dancers?
Ruby Bennett: I’ve learned a lot about what the process of creating new work actually looks like in a professional setting. It’s been really helpful to experience that firsthand, and it’s made me feel more prepared and confident about stepping into the professional world and working with new choreographers.
Neah Lim: The PNB company dancers often share how they would approach certain steps themselves. I’ve learned a lot from hearing Elle and Dylan talk about how to approach a casual, but determined run across the stage, which is often used in more contemporary ballets, and is surprisingly tricky.
Gustav Frautschi: Being in many works simultaneously can be challenging. Every piece comes with different texture and energy from the others. The choreographers work so hard coaching us on the minute details that are so easily lost if not specified and reinforced, and have taught me to lean in to the feeling of the piece so that I can snap into it even at a moment’s notice.
Max Howard: This NEXT STEP experience has taught me how to be adaptable. Choreography is always getting changed or replaced, so it’s important to be able to delete previous versions of movements from both our memories and bodies.
Ayana Stampley: One thing I have learned from working with PNB dancers is how much discipline and subtle control goes into making everything look so effortless. Dancing amongst such beautiful dancers is a reminder that artistry at this level is more than just talent; it is built on consistency, resilience, and attention to detail.
Max Ray: Honestly, one of the biggest things is realizing that company dancers are just people, and they’re actually really nice. It made the whole process feel a lot more comfortable, and it helped me be more open and confident in the studio.
What do you do to relax and recover at the end of your busy rehearsal days?
Ruby Bennett: I love making dinner and then either watching a movie or taking a bath, just something simple to help me unwind and reset for the next day.
Neah Lim: At the end of busy rehearsal days, I try to roll out my muscles and then am usually in bed with my cats watching a movie.
Gustav Frautschi: Sleep, sleep, sleep! Our bodies take such a beating, and when we’re busy, it’s easy to overlook the importance of sleep.
Max Howard: Recently, I’ve just been trying to get as much laundry done as I can and (unsuccessfully) go to bed early.
Ayana Stampley: I love to roll out while watching a comfort TV show.
Max Ray: I like to roll out and stretch to take care of my body, but I also try to spend time with friends. It helps me relax and not think about rehearsal for a bit, so I can come back the next day feeling better.
What should audiences be excited about for this year’s NEXT STEP performances?
Ruby Bennett: Each piece this year feels really different, which makes the program exciting as a whole. There’s a lot of variety, emotion, and energy, so there’s something for everyone to connect with. It’s also really special to experience NEXT STEP in the studio, it makes everything feel more up close and personal in a way that you don’t always get in a theater.
Neah Lim: Audiences should look forward to seeing so many pieces with incredible music. I’m really excited by how many of the new works this year either have had original music composed just for NEXT STEP, or will include live elements during the performances.
Gustav Frautschi: NEXT STEP this year offers an impressive variety between each piece. Seeing it in the studio all together for the first time recently, it’s easy to see all of our hard work coming together.
Max Howard: I think NEXT STEP allows choreographers to really experiment with intricate or unorthodox partnering, and it especially rings true this year. Pairs, trios, small groups, big groups— say a number and that many people will be partnering at some point during the show.
Ayana Stampley: Audience members should be excited to see such versatility throughout the different pieces. Everyone will get a glimpse into each choreographer’s creative voice and influence through their choreography.
Max Ray: There’s a lot of variety in the program, which is really exciting. Every piece feels different, and you can really see the creativity from both the dancers and choreographers, so there’s something for everyone to connect with.
