Lauren Lovette has been raising star at the New York City Ballet (NYCB) since 2009. Lovette has the impidiemy of the Balenchine ballerina body, with legs for days, long arms, and tiny torso frame that gives her that perfect look for any dancer on stage. She started dancing at 11 years old which is late for any dancer, let alone a dancer that has become a professional with one of the best dance companies in the world. She started her training at the School of American Ballet at 14 years old, an apprentice at NYCB at 18, which soon followed by a corps contract, and now she is a soloist (background on Lovette found at Dance Spirit Magazine Article by Margaret Fuhrer)
Even through she has the perfect body for the ballets at NYCB, she also has an effortless quality about her when she is dancing on stage. Having a dance background, the first thing I look at are a dancer’s feet. I am usually mesmerize by their feet that I never look up at their face. There are only a select few ballerinas where I am fully focused on facial expressions, leg work, and grace within their upper body, and Lovette has that power.
Last year (2014) at the Vail International Dance Festival she danced excepts of ‘Giselle’ with NYCB male soloist Chase Finely. My entire attention was on Lovette, from the adagio where her arms floated like an extension of her dress as they extended with each lift and arabesque, to the ever so tilt of her head as the excerpt led into a petite allegro with quick changements, passés, and littles jumps that glided across stage like a gazelle. She has this power that brings you into the dance and makes the audience members live with her in that moment including every feeling – love, anger, hurt, adoration, happiness, and sadness.
In my opinion, being a ballerina is one of the most difficult professions. There has to be not only a love of dance, but a full dedication and willingness to sacrifice. By sacrifice I mean giving up your adolescent social life to spend time in the studio practicing and rehearsing, to being dedicated as an adult by being willing to live from contract to contract, as well as working multiple jobs till you get your big break. Incompassing all of this you need to keep your body in perfect health by eating the right foods, cross training in coordination to eight hours worth of rehearsals, and getting the proper amount of rest.
Lovette is one of the many ballerina that NYCB has helped to develop, but when she is on stage she has light that makes her standout. Now that she has concurred Juliet this year (February 2015), I hope to see her dance Odiet in the near future as her light continues to rise at NYCB.