YOUTH ON POINTE | YAGP GALA

On April 16th the Youth America Grand Prix will have its World’s Largest Ballet Scholarship Competition for their 2026 Stars of Today Meet the Stars of Tomorrow Gala which is hosted by Misty Copeland. Rebecca Hessel Cohen, Founder and Creative Director of LoveShackFancy, as well as Melanie Hamrick, choreographer, author and ballerina will be honored at David H. Koch Theater in NYC. The event’s Gala Creative Chair is Marcella Guarino Hymowitz. There will be performances by Christine Shevchenko and Calvin Royal III of the American Ballet Theatre, Polina Semionova of the Berlin State Ballet, Roman Mejia of New York City Ballet, Reece Clarke of The Royal Ballet, and Nicoletta Manni and Timofej Andrijashenko of La Scala Ballet.

In addition to seeing phenomenal performances and enjoying a dinner at the gala, The Pointe Project shoes will be available for all to bid on via Givebutter.com starting on April 16th - April 23rd at 12pm ET.

You can still purchase tickets to YAGP Gala. We had the chance to talk to a few people ahead of this event. We had the pleasure of interviewing Misty Copeland a few years ago for our OCT ISSUE #94 and as this year’s host, we wanted to catch up with her on what she has been up to, why YAGP is important to her, and upcoming projects she is involved in.

ATHLEISURE MAG: We had the pleasure of interviewing you a few years ago and it’s great that we connected with you again! What do you love about ballet?

MISTY COPELAND: I love that ballet is a language beyond words. It’s discipline, imagination, and storytelling through the body. It gave me purpose and a way to connect with people across cultures and generations.

AM: What did it mean to you to be a Prima Ballerina for the ABT?

MC: It was deeply meaningful both personally and historically. It meant honoring the path that came before me while helping expand what audiences believe is possible in ballet.

AM: You retired from the ABT, and we know you just performed at the Oscars with Sinners, what are the kinds of projects that you will be taking on that we can keep an eye out for?

MC: I have a new middle-grade novel, Firebird Waltz, coming soon, along with future performances and creative projects across stage, film, and producing. I’m also continuing to grow the work of my foundation.

AM: You are hosting the YAGP Gala. Why did you want to be involved in this year’s event and what are you looking forward to?

MC: YAGP plays such an important role in nurturing young dancers. I wanted to support and celebrate the next generation of artists.

AM: Why is the Youth America Grand Prix important for dancers?

MC: YAGP creates access to training, mentorship, scholarships, and global visibility. For many dancers, it’s a life-changing opportunity.

IG @mistyonpointe

We wanted to know more about the importance of YAGP and sat down with Marcella Guarino Hymowitz, who is the YAGP Gala Creative Chair.

AM: Before we delve into YAGP and the upcoming gala, can you tell me a bit about your background?

MARCELLA GUARINO HYMOWITZ: I’ve been dancing for as long as I can remember—I started at three, was assisting classes by twelve, and performing professionally as a teenager. Dance was my first language. It taught me discipline, expression, and how to connect with an audience without saying a word.

Over time, my path evolved beyond performing into choreography, creative direction, and experience design. Today, I run The Pearl in New York City, a dance and wellness studio built around confidence, community, and self-expression, and I also create immersive entertainment for events through Studio MGH.

Everything I do still stems from that same foundation—using movement and storytelling to make people feel something.

AM: When did you first fall in love with dance and why do you love it?

MGH: I fell in love with dance very young, but I think I understood WHY I loved it as I got older. It’s one of the only art forms where your body becomes the medium.

Dance gives you a way to process emotion, to tell stories, and to transform—not just how others see you, but how you see yourself. It builds confidence in a very real, physical way.

There’s also something magical about the shared experience of it. Whether you’re on stage or in a class, you’re connecting with the people around you. That energy is addictive.

AM: Why is YAGP so important for those that are in the ballet community?

MGH: YAGP is incredibly important because it creates access and opportunity in a way that is truly life-changing for young dancers.

For many students, traveling around the world to audition for top schools and companies simply isn’t financially possible. What YAGP does is bring those opportunities to them. With regional competitions in many countries, dancers are able to be seen by panels of judges representing some of the most prestigious institutions in the world—Stuttgart Ballet, Princess Grace Academy, The Royal Ballet School, Paris Opera Ballet School, John Cranko School, La Scala, ABT, Miami City Ballet, and many more of the top companies across the United States.

It’s not just exposure—it’s a direct pathway. Through the support of donors, YAGP is able to help bring students to these competitions and award scholarships that can completely change the trajectory of a dancer’s life.

Beyond that, it creates a global community. Young dancers from different backgrounds, countries, and training styles come together, learn from one another, and feel part of something much bigger than themselves.

YAGP isn’t just shaping careers - it’s shaping the future of ballet.

AM: You are serving as the gala’s Creative Chair this year for the 2026 Stars of Today Meets the Stars of Tomorrow Gala. What does this role involve?

MGH: As Creative Chair, my role is to shape the overall experience of the evening - how it feels, how it flows, and how the audience connects to what they’re seeing.

That includes working closely with YAGP’s founder, Larissa Saveliev, on performance curation, pacing, transitions, and the emotional arc of the night. I’m thinking about everything from the energy in the room to how each moment builds on to the next.

And beyond that, my goal is to help make the night one of the most exciting ballet programs in New York this season - to bring in new audiences and create more fans of the art form by exposing them to different interpretations of ballet, and showing how expansive and relevant it can be today.

The party after the performance is also exciting and fun because we will have all of the performers with us. It gives guests a chance to meet the performers and understand how Youth America Grand Prix helped to make their dreams come true.

AM: What are you looking forward to for this year’s performance as well as the gala?

MGH: I’m most looking forward to that moment when everything comes together - the dancers, the music, the audience - and you can feel the energy shift in the room.

This gala is such a beautiful intersection of emerging talent and established artists, and there’s something really powerful about witnessing that exchange in real time.

I’m also especially excited to debut the pointe shoes that will be auctioned off for The Pointe Project. They’ll be on display for the first time at the gala, with designs from Carolina Herrera, Michael Kors, Alice + Olivia, Monse, and more. It’s such a unique fusion of fashion and ballet, and a really special way to celebrate creativity across disciplines. These pointe shoes will be available for all to bid on via Givebutter.com starting April 16 and closing one week later at 12pm EST on April 23rd.

AM: Are there any upcoming projects that we should keep an eye out for from you?

MGH: We have a lot of exciting things happening at The Pearl right now. We’re continuing to expand our collaborations and host pop-up wellness and fitness events for adults that feel both elevated and community-driven.

We’re also really focused on building meaningful programming for teens - from workout classes to “teen talks” featuring inspiring voices speaking on topics that matter to them. Creating a space where they feel strong, seen, and supported is incredibly important to me.

And starting this fall, we’ll be launching both a competitive cheer team and a dance team, led by top-tier instructors. It’s a natural extension of what The Pearl stands for - confidence, discipline, and community - just taken to the next level.

IG @marcellahymo

We wanted to talk with performers who will be part of YAGP Gala and caught up with ABT’s Christine Shevchenko and Calvin Royal III.

AM: When did you first fall in love with ballet?

CHRISTINE SHEVCHENKO: I vividly remember falling in love with ballet at the age of four. My mother took me backstage to see “The Sleeping Beauty.” A friend of hers was performing as a prima ballerina in Ukraine, and the show was quite lengthy - about three hours. I stood mesmerized in the wings, captivated by the music, costumes, lighting, and the enchanting story unfolding before me.

CALVIN ROYAL III: I came to ballet a bit later than most, at fourteen. At first, it was a curiosity more than anything, but I fell in love with the discipline, the music, and the feeling of discovering something I didn’t know I was capable of.

AM: When did you realize that you wanted to be a ballerina and to do it as a career?

CS: I realized I wanted to be a professional ballerina when I was around eleven. That was when things started to click for me, and I began truly enjoying my dance journey. Ballet consumed my thoughts; even in school, my mind would wander to ballet classes and rehearsals.

CR III: When I started training seriously and saw how much growth was possible, I realized this could be more than just a hobby. Being introduced to opportunities like YAGP, summer intensives, and eventually a scholarship to the ABT School made it that much more real. That this could actually be a path forward.

AM: What does it mean to you to dance for ABT and is there a specific performance that you are excited about that you will do this Spring or Summer season?

CS: Dancing for ABT means the world to me. This has been my dream company ever since I admired legends like Baryshnikov and Makarova, as well as the extensive classical repertoire they offer. I’m particularly thrilled to perform “Don Quixote” again this season; it’s one of my beloved ballets. Additionally, I’m eagerly anticipating my role in “Onegin.”

CR III: Dancing with ABT has been one of the defining chapters of my life. It’s where I grew up, both as an artist and as a person from student to Principal dancer over the years. There’s a deep sense of responsibility in carrying forward the company’s legacy while also finding my own voice within it. This season, I’m looking forward to exploring roles that challenge me both technically and emotionally, and allow me to deepen my artistry. I’m constantly searching for ways to bring meaning and sincerity to the stage every time the curtain goes up.

AM: Why is YAGP so important to ballet?

CS: YAGP plays a crucial role in the ballet world because it offers life-changing opportunities for young dancers to be noticed by some of the most influential figures in the industry. It fosters resilience and confidence, provides invaluable stage experience, and creates lasting friendships.

CR III: YAGP creates access. It’s a platform that opened doors for myself and thousands of young dancers, for decades, who may not otherwise have a clear path into the professional world. I see it as a program that continues to shape the next generation by connecting talent with opportunity on a global scale.

AM: What are you looking forward to for this year’s 2026 Stars of Today Meets the Stars of Tomorrow Gala?

CS: I am excited to perform alongside world-class dancers who are also friends, and to inspire a new generation of dancers to chase their dreams.

CR III: There’s something really special about bringing together established artists and young dancers on the same stage. I’ll never forget being an aspiring dancer looking up to the pros. Returning this year feels full circle, and a reminder of the continuum of this art form. I’m looking forward to that exchange of energy and inspiration when the curtain rises at Lincoln Center next month.

IG @christineshevchenko

IG @calvinroyaliii

This year’s auctioned pointe shoe designs are those that we are excited about as mentioned by Marcella. Libby Klein is also contributing a design at this year’s Gala. We wanted to know more about her aesthetic and why she wanted to participate.

AM: How would you describe your work’s aesthetic?

LIBBY KLEIN: My work is rooted in beauty, but not surface-level beauty. It is layered, intentional, and deeply symbolic.

I am a mother of six, and that shapes everything I create. Every day I am balancing two worlds, art and home. Being a mother is not something separate from my work. It is part of it.

I lost my father at a young age, and that gave me a different relationship with life early on. I learned to notice what is fragile, what is meaningful, and what truly lasts. I also come from a family built on tradition and entrepreneurship, the Reichmans, where creating and building something lasting was always part of our foundation.

Alongside that, I was deeply influenced by my great-grandmother. She carried a quiet strength and an understanding that being a woman is not only about what you give to others, but also what you create from within yourself. That stayed with me.

So I built a life where both could exist. I am raising a family, and I am also an artist. I never saw those as separate roles.

My work reflects that balance. It holds beauty and responsibility, softness and strength, tradition and growth. It is not about escaping life, it is about taking everything life gives you and turning it into something meaningful.

I am drawn to blending old and new, preserving tradition while allowing it to evolve. You will see that in my work through delicate, timeless compositions, florals, birds, and natural elements, each one placed with intention.

So the aesthetic is beauty, but beauty with depth, with story, and with purpose.

AM: Where do you look for inspiration when it comes to creating new pieces?

LK: I look at my life.

My children, my home, and the way I choose to see the world, even when it is not simple, especially when it is not simple.

I have always believed that you can either focus on what is broken, or you can choose to find the beauty within it. That choice is where my work comes from.

I create from that perspective. I want to bring into the world the beauty that I see. I want people to feel something when they look at my work, to see light, to see hope, to see something good.

A lot of that is rooted in the power of women. In motherhood, in creation, in the quiet strength that women carry every single day. There is something incredibly powerful about being a woman, about holding so much, building so much, and still choosing softness. That balance inspires me constantly.

If someone can walk away from a piece and feel even a little more grounded, a little more inspired, or simply reminded that there is still beauty in the world, then I have done what I set out to do.

At the end of the day, it is about making the world feel a little brighter, a little softer, and a little more whole.

AM: Why did you want to be involved in the 2026 Stars of Today Meets the Stars of Tomorrow Gala?

LK: As a mother of six, this felt deeply personal to me.

I understand how important it is to nurture talent and to give children a space to grow, to express themselves, and to believe in what they are capable of. Life is not always easy, but when a child is given the opportunity to create, to move, and to be seen, it can shape everything.

This gala represents that. It is not just about performance, it is about possibility.

Being part of something that uplifts the next generation, that gives young dancers a platform and a sense of belief in themselves, is incredibly meaningful to me.

It aligns with everything I value, family, growth, resilience, and the ability to create something beautiful even through challenge.

AM: Tell us about the pointe shoes that you designed that will be auctioned off on this night?

LK: I chose to center the design around the poppy flower because its symbolism really spoke to me. There is something about the poppy. It represents hope, renewal, and resilience how something can grow and bloom even after difficulty. The more I thought about it, the more it felt so connected to ballet.

I also felt a personal connection to it. I grew up in Israel, and this kind of flower is deeply tied to the land. It carries a quiet message of strength, of healing, and of the idea that even in places that have seen so much, beauty can still grow.

What you see on stage is beautiful, but what it takes to get there is not easy. It is repetition, pressure, setbacks, and still choosing to get back up and keep going. That is the poppy to me.

The red carries that strength. It is soft, but it is not weak. That duality feels very feminine to me, the idea that softness and strength exist together.

I added a young bambi into the design because it felt like these dancers, at the beginning of something, still growing, still stepping into who they are becoming.

The butterflies bring a sense of transformation, that everything is constantly unfolding.

And the bees are something very personal to me. There is this idea that a bee should not be able to fly, but because it does not know its limitations, it does anyway. That reflects how I see life as a mother and as an artist, and it is something I see in these dancers as well.

So the shoes are not just decorative. They are a reflection of that whole journey, of becoming, of pushing through, and of finding beauty in it all, and a quiet hope for more unity, peace, and beauty in the world.

AM: Are there any upcoming projects or things we should keep an eye out for?

LK: Lately, I’ve been working on a collection that feels very close to me, the Glow Collection. It really comes from the idea that light doesn’t always come easily, sometimes it’s something you find after moving through darker moments. That kind of beauty, the kind that is built, not given, is something I’ve come to appreciate more over time.

I’ve also been involved in different fundraising efforts and creating pieces that support women, including work around breast cancer awareness. That part of what I do is very important to me, making sure the art gives back and reaches beyond itself.

IG @libbykleinart

PHOTOGRAPHY CREDITS | YAGP

Read the MAR ISSUE #123 of Athleisure Mag and see YOUTH ON POINTE | YAGP Gala in mag.

ATHLEISURE LIST | NEW YORK PILATES

New York Pilates opened in 2013, at a time when Pilates was basically locked behind private sessions. With locations in various neighborhoods in NYC as well as in a number locations in the Hamptons, it is a destination that many people talk about when they are hitting the studio!

Former ballerina and Celebrity Pilates Instructor Heather Andersen created a class-based format that made it easier to book, easier to show up, and easier to stick with, while still staying completely true to the method. It made Pilates feel more athletic, more part of your lifestyle, without losing what makes it work.

Her husband Brion Isaacs comes from the nightlife scene and designed the studios to be spaces people want to be! They are open, airy, clean, and honest, each one reflecting the raw, individual nature of their history and neighborhood. Always timeless and never trendy - like New York. Each location has its own personality. You might find yourself in Bob Dylan’s old rehearsal studio at their West Village location or in a loftlike apartment setting at their Bowery location. Montauk is so beachy and relaxed with it’s water views, while Bridgehampton is elevated and chic. What ties them all together is their signature pink lighting.

When attending a session, NYP uses traditional Pilates reformers. They give you range, control, and so much room to actually move with intention. It’s giving you resistance and support at the same time, so you can make something feel insanely hard without ever losing precision. And that precision is where the results actually come from.

For those taking their first class, start with your breath. That’s the foundation of Pilates and what keeps you connected to everything you’re doing. Stay with the baseline version of each exercise. Don’t rush to level up. It’s not about doing the hardest option, it’s about doing it right. Understanding the movement and dialing in your alignment is what actually changes your body.

And don’t worry about being perfect. No one is. The goal is to feel the work, not just get through it. It clicks over time, and when it does, it’s kind of addictive.

We offer one signature total body class, Abs Arms Ass, and it’s very intentional. Pilates was always meant to be a full-body system, not split up like a gym workout. It’s one body, one flow.

They have some big Hamptons events planned that feel more like full experiences than just classes. They’re fun, social, and a little elevated.

In the city, they keep things smaller, more spontaneous pop-ups, little moments, things you have to be in the mix to know about.

NEW YORK PILATES

17 W 17 th St Ground Floor

NY, NY 10011

Check the website for additional locations in NYC and the Hamptons.

newyorkpilates.com

IG @newyorkpilates

PHOTO CREDITS | New York Pilates

Read the MAR ISSUE #123 of Athleisure Mag and see ATHLEISURE LIST | New York Pilates in mag.

IN STEP WITH | BRITT STEWART

There’s something about dancing that is so freeing whether you enjoy it personally, professionally or watching it on TV! Tomorrow is National Dance Day and we had the chance to catch up with Dancing With the Stars’ pro, Britt Stewart, who partnered with BAND-AID® Brand to celebrate this day (find out about their National Dance giveaway on their Instagram where you can find out about how you can win a special mailer that includes Britt’s favorite BAND-AID® Brand OURTONE® bandages, a gratitude journal, face masks, a gift card for dance gear and more as it’s live now! In partnership with her non-profit, Share The Movement, they’re honoring the uplifting power of dance in Black and Brown communities by sharing all of Britt’s dance “Must-Haves!” 

We took some time to talk about how Britt became a dancer and her passion for it! We also wanted to know how she came to DWTS and the latest season of this show which kicks off season 32 on Sep 26th! We also wanted to know more about her partnership with BAND-AID® Brand as well as how she uses her platform to promote diversity in dance!

ATHLEISURE MAG: What was the moment that you realized that you wanted to be a dancer?

BRITT STEWART: Oh, wow! I don't know if I realized it for myself because I was three years old when I started dancing, and my parents put me into it. But as soon as I started dancing, my parents knew that that was my passion. Then, I had an amazing opportunity professionally when I was 15 years old, when I was in the high school musical movies, and it was what really showed me what a career in dance would be like. After that, I just was stuck and that's what I ended up doing!

AM: Where did you train and what kind of dance do you do or lean towards?

BS: I trained in Denver, Colorado at Artistic Fusion Dance Academy. I also trained at my art school from sixth through 12th grade at Denver School of the Arts. Growing up I trained in everything. I was classically trained with ballet and modern and contemporary and jazz. I also did tap and hip hop and cultural dances. And now of course, I lean toward all styles of ballroom dance. I would have to say my favorite is jazz through and through, but I love Samba and Viennese Waltz.

AM: You have toured as a dancer for a number of artists including: Selena Gomez (Only Murders in the Building, Selena + Chef, Dear…), Rihanna (Ocean’s 8, Battleship, Valerian and the City of a Thousand Planets) Janet Jackson (Poetic Justice, Why Did I Get Married?, Why Did I Get Married Too?), Demi Lovato, and Florence and the Machine! You danced during Super Bowl XLIX and have also been in Grey's Anatomy, Bunheads, and the Gilmore Girls to name a few - how has it been to showcase your talents on so many stages and different ways?

BS: My career feels so expansive because I started so young, and I also feel very blessed that I got so many different experiences on so many different stages, from live stage to  TV and film. It has really been a blessing to be able to call my passion my career and my work. I know that that is something that doesn't always happen, so I don't take it for granted.

AM: You joined DWTS as a dancer in Season 23 - 27 and then became the first black female pro on the show in Season 29! What attracted you to being on this show and what is the difference between being a dancer versus a pro?

BS: The show actually started as just a regular commercial job. I got hired to do one little performance, and that is where the producers saw me and asked me to audition for the show. It really came out of the blue! I knew that I wanted something different and I wanted to be challenged. This was right after Katy Perry's tour. I had been with her for three years, and I really loved working with her, but I knew that I just wanted something different at that moment. And literally, Dancing with the Stars fell into my lap. It pushed me in so many ways. The biggest difference between being a dancer and a Dancing with the Stars pro is it really does hold so much responsibility. As a pro you not only get to dance, but to choreograph and to teach and really create a relationship with whoever your partner is.

AM: You've partnered with Johnny Weir (Zoolander 2, Happy!, Spinning Out), Martin Kove (The Karate Kid, Rambo First Blood II, Cobra Kai), and Daniel Durant (Switched at Birth, Chicago Med, CODA) - how do you prepare to work with partners who have varying levels of expertise and what's that process like?

BS: The process of working with all levels and expertise is very unique to each season. I stay true to myself as a choreographer and as a teacher, but I always enter the room with an open heart and open mind and choreograph and teach for that partner's needs.

AM: What has been your favorite memory of being on this show?

BS: Oh my goodness. Well, my favorite memory on Dancing With The Stars is hard to choose because my first season was so rewarding. I really earned a friend for life from Johnny Weir, and he was honestly the perfect first partner I could have asked for. But then, I don't know. I mean, being partnered with Daniel and then falling in love with him, I guess that's my favorite memory!

AM: What can you tell us about the upcoming season that we should keep an eye out for and what are you looking forward to?

BS: Unfortunately, I can’t share too much information about the upcoming season but stay tuned for more to come shortly!

PHOTO CREDIT | Angela Pham at Ballet Hispánico, New York City - Dance Pros Britt Stewart and Brandon Armstrong show off their moves at a recent event hosted by BAND-AID® Brand OURTONE® and nonprofit Share The Movement. 

PHOTO CREDIT | Angela Pham at Ballet Hispánico, New York City - Dance Pro Britt Stewart hosts a moving panel about barriers Black and Brown dancers face at a recent event hosted by BAND-AID® Brand OURTONE® and her nonprofit Share The Movement. 

AM: Tell me about Share The Movement, how you are partnering with BAND-AID® Brand OURTONE® with dance clinics here in NYC, LA, and Atlanta, and why this was synergistic for you.

BS: Share The Movement is a nonprofit organization and I’m lucky enough to serve as President. Share The Movement was created by an amazing group of dancers, choreographers and dance enthusiasts, and we launched in April of 2021. Our mission is to increase diversity in the professional dance industry. As an organization, we’ve really grown in the last several years through our mentorship and summer scholarship programs. We also help young BIPOC dancers continue with training and development opportunities.

Through our partnership with BAND-AID® Brand OURTONE®, we’re putting our mission into action—helping to develop young, diverse dancers. Together we are hosting a series of free dance clinics in Atlanta, New York and Los Angeles. I'm currently here at the New York City event, which just begun, and it's been amazing to create a space where everyone can feel seen and heard. It has been so special.

AM: I'm caramel complected and the fact that there is an option to have wound care options that match our skin is really exciting. Why is this important for dancers?

BS: Having a brand that embraces different skin tones is so important for everyone, especially dancers. We are always on stage or in class where we are prone to cuts, bruises, blisters— you name it. Having BAND-AID® Brand OURTONE® bandages at the ready and matching my skin tone just adds that extra layer of confidence to any rehearsal or performance, shifting the focus back to my performance rather than exposing a wound.

AM: How are you using your platform to amplify content from Black and Brown dancers for National Dance Day?

BS: BAND-AID® Brand OURTONE® and I are teaming up for a giveaway in celebration of National Dance Day on Sunday, September 16! People will have the chance to celebrate dancers and win some of my favorite dance essentials, including BAND-AID® Brand OURTONE® bandages. Be sure to stay tuned for additional details and how you can enter the giveaway on BAND-AID® Brand's Instagram page @bandaidbrand.

 Read the latest issue of Athleisure Mag.

Beyond the Barre

Emily Tyra plays Mia Bialy on STARZ Network’s, ‘Flesh & Bone’ which debuted in Fall 2015 as a limited series. Within seconds of the first episode viewers are introduced to her character who is a part of the fictional American Ballet Company. The series looks at the grit and glamour that takes place in the ballet world within the dance company, rehearsals and the lives of talent and management.

On the day of our shoot at Loft Twenty in Flatiron in NYC, our entire creative team enjoyed getting to know Emily, who is like hanging out with your favorite girlfriend.

FEB COVER STORY

| PHOTOGRAPHY Carlos David | STYLIST Kimmie Smith/Accessory2 | MUA Kat Osorio | HAIR Selda Cortes | COVER STAR Emily Tyra |

Photographed at Loft Twenty in Flatiron, NYC

ATHLEISURE MAG: When did you begin ballet and acting?

EMILY TYRA: I started dancing when I was about 4 years old. I was a really shy kid, so my mom put me in dance classes to bring me out of my shell. I would never let her watch me dance! I started acting classes and singing lessons in middle school. Once I got to highschool, I was a complete artsy kid. I anchored the school news, lettered in choir (of course), did the plays and musicals and was in our extracurricular improv troupe. The serious ballet came later when I had a growth spurt and it was clear I was built for it. My teachers started encouraging me to train more intensely
around age 14. That is when I started getting scholarships to study at places like American Ballet Theatre, here in NYC.

AM: Did you begin your career thinking that you would do both?

ET: I really wanted to find a way to do both. Ballet had a shorter timeline and an immediacy. You have to do it while you are able physically and emotionally. I had decided against college and after a few big ballet company cattle calls, I moved to the east coast to dance with Boston Ballet. I got it out of my system and now I don’t wonder “what if?” Also, it keeps reappearing in my life as an actor, like with Flesh & Bone. It’s something that makes me a little special. There are a lot of actors out there. I have a vivid memory of a former mentor of mine telling me “You’ll always be a dancer.” When I am trying to be something else, I hate that. But he was right. That part of me will always be important in some way.

AM: When you heard about Flesh & Bone what drew you to the show and the character?

ET: I was excited to see a ballet show finally cast real dancers and not glamourize the whole thing. My personal experience in the ballet world left me with a lot of complexities and I was excited about the idea of contributing to this kind of authentic drama. I wanted it to be done right, just like our creative team, the network and the rest of the cast.

I was also up for the challenge of getting back into “ballet” shape. I hadn’t danced in a company or taken regular ballet classes for about 6 years. It scared me, so I knew I needed to do it. It was hard! But so worth it.

AM: During the episodes we see you and the cast during rehearsals. How many hours did you prepare for these scenes?

ET: The cast operated on a schedule almost like a real ballet company. We would train together in the mornings when we weren’t shooting ballet scenes. Next, we’d take class and warm up together and then have various rehearsals throughout the day. The dancers in the final performance worked with our choreographer, Ethan Steifel, almost every day as he created the original piece for the show. Long hours on set and off. Some of the shoot days in the studio set were 15 or 16 hour days, especially in the beginning when our production team was figuring out how to tackle the beast of shooting ballet.

AM: What do you love about playing Mia?

ET: She’s no nonsense. Blunt. Honest. Sexy. Manipulative. But deeply insecure. I love her darkness. Some would call her a mean girl. I hope most
people would say she’s not like me. It is hard to understand why people behave that way until you figure out their vulnerability. Mia’s arc was a slow burn. She started out as this one thing and became something else as the story unfolded. Also, she had some pretty good one-liners. I love a good comeback. Especially when it’s written for me. I can never seem to come up with them quickly enough in real life.

AM: What similarities and differences exist between you and the character?

ET: I think we posses a similar fire. I am pretty passionate about stuff. I have an extreme personality. If I’m into something, I am SUPER into it. And if I dislike something it is dead to me. I also like to think I infused her with a little pluckiness. I’m a true goofball. Someone on twitter recently called me a ‘glamorous clown’. I will no longer go by any other title. 

AM: What was your favorite part of the show?

ET: I loved all of the milestones, such as our first table read when we were all trying to figure out our characters; the first class together as a company; watching the sun come up over the East River on a Saturday morning after wrapping the final scene for the entire show; watching the pilot episode at the network in LA with my agent and manager; and reuniting with the cast for our premiere in NYC.

AM: What can you tell us about next season?

ET: Unfortunately we are not doing a 2nd season!:( Flesh and Bone was released as a limited series to stand on its own!

AM: Athleisure includes styles that reflects looks worn throughout your lifestyle, what are your go to looks?

ET: I love a printed legging. Lululemon or Bandier. I like funky colors and prints with a neutral oversized top and boots. Gauzy white t-shirt, a blazer and a beanie or my MN Twins cap. :) All things cashmere - all of the time. Nikes with everything, I love comfy footwear. Ballet did a number on my feet, so if at all possible I will wear flats or athletic wear. Harem pants or high-waisted/pleated/tapered pants of any kind. Smartwool socks. Always.

AM: How do you stay in shape?

ET: I have a Crunch membership. I am a cardio junkie, but i dont love group fitness. If at all possible, I prefer to be outside. I run almost everyday. Outside, I’ll run a mix of terrain, and on the treadmill I like to do sprint and hill intervals. In the summertme, I ride my bike everywhere. I also use studio space at the gym to do my own ballet and yoga exercises. I listen to my body and ballet gave me a good self discipline. I will never decline the invitation to take a fun dance class with friends, though.

AM: In your free time what are 3 things that you enjoy doing?

ET: I love to cook. I wish my kitchen were bigger. I live in a tiny studio. Maybe someday I’ll have the luxury of counterspace in a NYC kitchen.
I frequently take myself to the movies. I sneak a beer in my purse, get a popcorn, and turn my phone off. It is an awesome escape from the mayhem of the city.

Traveling has become a favorite and often impulsive activity. If i have time off and an opportunity to go anywhere, I’ll do it. Currently on the wanderlust list: Thailand, Spain, Croatia and Ireland.

AM: How do you maintain your balance between work, friends and more?

ET: I try to take enough time for myself. As long as I can have an evening to myself once a week to have a good workout, cook a meal, get a manicure, read, etc, I’m in balance. This is a tricky business as we are often living out of a suitcase, the inbox is full, you have 3 scripts to read, and you owe your mom a phonecall. Adulting and living in NYC is hard, in showbiz or not!

AM: What kind of role do you see yourself playing next?

ET: I can’t say what is up next for me yet! Flesh and Bone was such an intense project, I’m thinking about swinging in the opposite direction with something really hilarious. I’m enjoying being in the TV world, as a lot of incredible people are writing and working in Television right now. The scripts I am reading just keep getting better. Long term, I’d like to do more film. I like changing things up and TV tends to be a long term commitment.

SHOP THE STORY