Interview with Harry Potter World Dancer Isabel Power!

Is there anyone who hasn't secretly wished they lived in the world of Harry Potter? The streets of Hogsmeade and the halls of Hogwarts seem a lot more fun than real life...

For dancer Isabel Power, that fantasy is not so far off. The Florida native and recent Point Park University graduate performs as a Beauxbaton Dancer at The Wizarding World of Harry Potter at Universal Studios! Awesome! Isabel and I were at Rock together way back when...and what good times we had in ballet land ;) Read on to hear some of her adventures in a different magical world!

--



What was the audition like for Harry Potter World? In general, how do auditions work in the theme park circuit?


The audition to be a Beauxbaton dancer in the Wizarding World of Harry Potter was a very fun experience! There were over 100 girls, and they were looking for 4 girls. (There were already 20-30 girls currently performing that had been hired before the opening.) We started with a type-out: They had us do battements to the side, a double pirouette, and 2 entrechat quatres. Then we had to say something in a French accent since during the meet and greets we must speak in the accent if we are addressed. After the type-out they did a cut. Then we were brought in in smaller groups to learn a combo, It was very flowy ballet/lyrical. After we performed that, they made a second cut. For the final portion of the audition, we were arranged in groups based on height, and performed the combo in groups of four. Being almost 5'9", I was probably the tallest one left! In regard to other auditions in Orlando...it seems like many theme park entertainment positions start with you being a substitute, and if you enjoy it AND they like you then you have the potential to become full-time, or contracted. One thing I can tell you for sure though is that all the auditions I've been to in Orlando have been super fun! It's all about smiling and having a good time, because that's the feeling you want to project to the guests!

What's your role there and what was your rehearsal process like?

I am a Beauxbaton girl! If you're familiar with the Harry Potter story (which you should be ;),we are students from the Beauxbaton Academy of Magic, which we learn about in the 4th book, "Goblet of Fire." It is a school located in southern France and our headmistress is Madame Maxine. For rehearsals, we had some character/acting coaching and also a workshop on speaking in our French accent. Then for 2 weeks we learned the choreography. Since our dance is less than 2 minutes, we had a lot of time to focus on details and spacing and being exactly in sync. We also use wands/ribbons all through our dance, so we spent time on the correct hand and arm movements as well.

(See the Beauxbaton dancers at 3:26 in this video. Isabel's not in this performance but...you get the idea.)


How often do you perform, and what's the best part?

Since I am a sub, I don't have a regular schedule. I was lucky enough to perform about 5 times a month from this past October-December. I also worked Christmas and New Year's! The best part is feeling like you're actually creating magic in people's lives -- because what is magic besides joy in life, which is what we as performers should transmit to audiences.

What's it like working at a dinner theater? How does it compare to your classical/traditional training?

Another thing I know about the Orlando performing circuit is that virtually everyone has multiple jobs. I was extremely fortunate to find another one about a month after I became a Beauxbaton. My second job is as a dancer/singer at Treasure Tavern. It is a classic dinner theatre where guests can enjoy fine food which we deliver to them as part of performance numbers. I love this job because while there is a lot of choreography, there are also times when we can improv and have fun! Working there has definitely been a shift from my classical training, but this job has been a great growing experience for me and has helped me transition from student to performer. I think this because in the show we don't have to focus too much on technique or form and can really focus on being almost over the top and working it and performing the heck out of it with tons of energy and enthusiasm! So I feel it has helped me stop manufacturing movement and actually perform and have fun!

Isabel (2nd from left) dancing at Treasure Tavern.

What other kinds of dance gigs are available in Florida and what's your advice for dancers hoping to work there?

There are production companies in Orlando and Miami that produce events for conventions and private parties etc. There are also other dinner theatres in the Orlando area. Theme park-wise there is Universal Studios, Disney, SeaWorld, and Busch Gardens Tampa. My advice to dancers hoping to work here is to be very flexible and willing to take any opportunity you're offered. Also to be very versatile in that you can do all styles like ballet/jazz/tap/hip-hop/musical theatre and that you can sing and act! Acro and silk skills are also a plus! Most importantly, be smart and kind since, as they say at Disney, "It's a small world after all!"

What's been the hardest part so far of starting your dance career? The best part?

The hardest part for me was the rejection from audition after audition. I was turned down so much, and with my frustration people kept telling me that all I needed was one break. And they were right. Once you get that first job you start meeting people and networking and it just keeps rolling from there. The best part has just been the constant opportunity to perform. I'm full-time at the dinner theatre so 5 nights a week I'm getting to do what I am most passionate about. As a student I was only able to perform a few rimes a year in recitals or fall shows or spring concerts etc. But now performing is my job, and since I absolutely love it, it's nothing like a job, but, as corny as it sounds, more like a dream come true!

Any dance goals for 2011?

I want to continue taking all styles of classes on a regular basis and going to as many auditions as possible, both here and in NYC. Coming up soon I have an audition for the "Beauty and the Bast" stage production at Disney's Hollywood Studios, and as one of my goals is to be a dancer with Disney, this would be awesome. Wish me luck! ;)  (...Good luck!)

Isabel and I before a benefit at The Rock School, circa 2003-2004.

HuffPost: Black Swan & The Real Ballet World

I'm interviewed today on the Huffington Post in an article by Jordan Zakarin about "Black Swan" and the real ballet world. READ IT HERE.

I love this line: "But when they're not performing, dance is less an art than extreme sport, with often times unrealistic expectations, driving dancers to their physical and mental limits -- and beyond. The result, far too often, is a loss of an inner self that so few outsiders can see."

Jordan has a great article (and a fun archive of other pop culture posts...) and I'm so glad I could be a part of it. Thanks to Evan, also!

Interview with Richmond Ballet's Ariel Rose

© Liza Voll Photography/www.LizaVoll.com

Richmond Ballet's Ariel Rose has been around the world and back. At just 20 years old, he was a soloist guest artist at Ballet Municipal de Lima in Peru after training at ABT's JKO School and Ballet Academy East (where we trained together). His budding career in both ballet and choreography is enviable.

Read my interview below with Ariel about his experiences abroad and his new position at Richmond Ballet.
---

What has the start of your ballet career been like thus far since BAE and JKO? Where have you been dancing, and what have been some of the highlights?

In 2008 I went to Boston Ballet to be a trainee for two years. However, as a trainee, I was luckily chosen to perform with Boston Ballet's corps in a few ballets such as Kudelka's "Cinderella,” Nissinen’s "The Nutcracker", Balanchine's "Diamonds" and "Coppelia" and the Royal Ballet's "Sleeping Beauty." During this time, my dancing changed dramatically, not only from the rep I was dancing but also because the incredible artists I was seeing everyday in class. When I took company class, I would study and try things that I observed from their different techniques. I was constantly inspired to push myself further and take myself to a new level I didn't think I'd reach.

You spent the summer dancing abroad with Ballet Municipal de Lima, right? How did that opportunity come about?

I have always had family in Peru (everyone from my mother's side that is.) Every year, we would usually fly down to visit them for a week; however, we never knew of the dancing going on within the country. During one vacation in which I couldn't afford to not dance for a week due to Boston Ballet's schedule, I found The Ballet Municipal de Lima online and asked if I could come take class for a week. In the summer of 2010, I was invited to guest with the Ballet Municipal de Lima as a First Soloist in Peru during their production of Alicia Alonzo's “Coppelia.” After being a trainee for two years, this seemed like a giant step forward but I did not hesitate in answering yes. A week after rehearsals, I was told that I would be learning Franz (the leading male role) due to an injury of one of their own principal dancers. Although a little intimidated, I went in head first, throwing all of my self-doubt out the window (I couldn't imagine doing a principle role any other way). I ended up dancing 5 performances of Franz (1/3 of the shows) and was pretty well received by the Peruvian audiences. When I look back, the jump from student to such an experience is actually frightening, but I feel that at least on an emotional level, I was ready for it and it was an experience that I needed. No, that I craved.

What was your experience like abroad?

Dancing abroad is something that I didn't think I would do at such an early age. Although I do not think it is good for every at twenty years old, I feel that it really brought me into the professional world. I went to somewhere completely new where I knew no one and in which the language was not English, and just engaged myself in ballet without anything else on the side. It was very easy to just focus and direct all of my attention to the art I was working on at the time and also find out what it takes to perform a three act ballet on and off the stage. Along with opening new doors, traveling to dance somewhere new really changes ones perspective on things in the dance world one way or another and to be perfectly honest, I think this is one thing that is necessary for a dancer to survive for a long time healthily and inspired. Along with dancing new and exciting repertoire, traveling abroad lets one meet new people, learn new languages, customs and more importantly, actually realize that ballet is done differently around the world. Yes there are different styles but people actually see and appreciate ballet in different ways depending on where you go.

(More plus video after the jump...)

Interview with Your Move! Choreographer Courtney Ramm

Courtney Ramm one of many young choreographers in New York City trying to break in and be seen. While this city is the mecca for dance, that also means the competition is stiff. This weekend Courtney has the opportunity to present her work at Manhattan Movement Arts Center's Your Move! Showcase. She has previously shown student choreography for Ballet Academy East (where we danced together) and Indiana University.

Read my interview below with Courtney about her upcoming piece and her choreographic process.

---

What is your piece called and what is it about? What can the audience except to see?

My piece is called "Still Lingering." It is a duet for myself and a male dancer. The piece explores ideas of containment, freedom, vulnerability, and dependence. There are many possible ways to interpret what the piece is about, however the audience can expect to see a duet which provides a glimpse into a complex relationship between a male and female dancer. The movement style draws from both classical ballet and modern dance.

How did you get involved in the MMAC Your Move! Showcase? What was the application process like?

I found out online that the MMAC was accepting submissions for the Your Move! Showcase and I submitted an application and video of "Still Lingering." It was a relatively simple process. I found out that my piece was selected 10 days prior to the upcoming show, so the difficult part is putting it together in such a short period of time! Luckily I knew a male dancer who was happy to rehearse and perform the piece, and so even with very little rehearsal time, the piece has come together.

I know you choreographed back at BAE, but have you had other training in composition or other showcases of your work? 

Soon after BAE, I went to Chautauqua for the summer where I had the opportunity to choreograph a ballet that won the Faculty Choreography Award and was performed at the 5,000-seat amphitheater in Chautauqua, NY. That was a very rewarding experience! I also took dance composition classes while at Indiana University. Although, I have to say that I strongly feel that choreography cannot be taught. Just like with any art, it is a talent from within that cannot be pushed on a student from without.

While at Indiana University, I had a unique opportunity to take part in a project called Hammer and Nail. I was paired with a music composition PhD student and we collaborated on the creation of a new work. The first year, the piece I created was called "Synthesis" and was a multi-media work based on the physiological process of protein synthesis. A video projection behind the dancers showed an incredible video of protein synthesis occuring in cells in real time. The second year I collaborated with my composer to create "Metro Graffiti," a Broadway/pedestrian-style modern dance piece that had a large cast of 25 dancers and was based on the chaos and multi-faceted nature of city life. It was wonderful to work with a composer who understood the theme of the piece so well and it was a highly rewarding experience.

What is the music for your piece this weekend, and why did you choose it?

The music is "Fauré Elegie in C minor, Opus 24." I chose this piece of music because I find it absolutely stunning and immediately had a dance choreographed in my mind from the first time I heard it!

What inspires you to choreograph?

Without a question, I am inspired to choreograph from the music. I am fortunate to have grown up in a very artistic family and I remember having classical music playing all the time in our apartment. I am also a musician and have been playing piano since the age of eight, so I have a very innate love and understanding of classical music. When I hear beautiful music, I can't help but want to dance and choreograph to it!

What has been the greatest challenge in pursuing a choreographic career as opposed to a dance career?

I am currently persuing a career in both performing and choreographing. I have not chosen one path over the other. I am dancing with two companies, IsadoraNow and Dance Visions, which both perform the rep. of Isadora Duncan as well as new contemporary choreography. I have numerous performing opportunities with both of these companies, so right now I am very fulfilled with everything I'm doing in terms of dancing, performing, and choreographing.

Any other upcoming projects?

I am performing with IsadoraNow at Symphony Space on November 19 and 20^th in a full-length performance called A Simple Gesture. One piece I am particularly excited about is one that we as a company choreographed collaboratively to a piece of piano music that my mother, Adrienne Ramm, composed, entitled "Reminiscence Isadora." I am also performing with DanceVisions at The Hatch on October 23^rd at the Jennifer Muller studios. The work is called "Dreamscapes" and is a creative multimedia dance-theater work based on the complex world of dreams. In addition, I plan on choreographing more works and having them shown at different venues in NYC.

MMAC Your Move! Showcase

Sunday October 10 at 6pm - Tickets $10

248 W. 60 Street

Interview with Rock School Student Alston MacGill

Alston MacGill

It's amazing to me how much time flies. This fall marks seven whole years since I first moved away from home to live and dance at The Rock School in Philadelphia. I feel old. My two years there were some of the most important of my life, shaping my identity as a dancer and person. I remember the good, the bad, and the very ugly vividly. For most of the years after I graduated I had known at least a few students still there and of course my teachers. But by last year all my friends had moved on and most of the teachers (and residence directors and academic teachers) I was close with had left.

But this year lovely young dancer Alston MacGill has entered the RAPA program at The Rock School. We've never met, but I know she's a beautiful student. Read my interview below with her about adjusting to life on her own, transitioning to new training, and dancing in Philadelphia.
---

What made you decide to attend The Rock School's year-round program? Why Rock and not somewhere else?

I decided to attend The Rock after coming for four summer intensives. When I was here over the summer I absolutely loved it. Also, I at stayed at the Marine Club (our housing now) for a week, and thought that it was nice. My parents and I made the decision for me to come here because it offers amazing dance training and great academics!

This is your first time living away from home (besides summer intensives), right? What has that adjustment been like?

Yes, it is my first time living away from home, other than summer intensives. It has definitely been hard adjusting. This first month I’ve been super homesick! But with Nutcracker rehearsals starting and school picking up, I’ve been busier and have had less time to think about home. It’s also hard to adjust to full time roommates; I have always had my own bedroom and bathroom at home. Five weeks at a summer intensive is so different from a full year. All in all, I’ve really just been adjusting to being on my own and dealing with everything that comes up without my parents.

How has your first month of classes been? What's a typical day like in terms of schedule?

The first month of classes has been super fun, and I’m falling into the swing of things. On a typical day, we get up at 6:45 and walk over for breakfast at 7:30. At 8, I have RAPA (school) for two hours. Morning class starts at 10:30, and we have ballet and then pointe until 1. Then we have lunch in the Rock Garden Cafe and rehearsal or RAPA starts at 1:30, depending on your schedule. Another ballet class starts at 4 and ends at 6. There is also partnering on Fridays, and extra rehearsal thrown in there in the evening sometimes. Our day is packed! But of course, there is still time to hang out in the hallway when we get back to the dorms.

Alston

What do you do for fun in your downtime there? (And just out of my own curiosity: do Target Tuesdays still exist? We always had a Target trip on Tuesday nights...the highlight of the week!)

Well, there are trips around the city on Sundays to places like the zoo and museums. There is the Target trip still, but it’s now on Thursday nights. So, I guess it’s now Target Thursdays! Mostly, we sit out in the hallways and have a good time or do homework in our rooms. We also go out to Dunkin and Rite Aid, obvious necessities!

What has been the hardest part so far of attending Rock?

Nothing has been easy! I am working so hard in class everyday, and it’s so much more dancing than I’m used to. Plus, living on my own is a challenge, too. I’m really mature and can take care of myself; I was just getting homesick, especially after a tough day in the studios.

What are your goals for this year, and what are you most looking forward to?

I am really looking forward to the "Nutcracker 1776"! I am so excited because I get to be Abby (their “Clara”), and it will be such a great experience. My goal for this year is to become super strong in my technique. Everyone here is so good and it pushes me to be an even better dancer, it’s a great challenge!

Went through my own old Rock pictures...this was from October of my 2nd year (2004)...what babies we were!

Interview w/ Janet Jackson Dancer Ellenore Scott from SYTYCD!

Photo by Lee Cherry

In a matter of months, Ellenore Scott has had the extensive, diverse, and popular dance career so many only dream of. After appearing as a finalist on So You Think You Can Dance?, the La Guardia High School for the Arts graduate has gone on to serious commercial success. She dances with Janet Jackson! (And before her fame we did an intensive with TAKE Dance together...she was fierce.)

Read my interview below with Ellenore about her recent gigs, the importance of finding an agent, and her struggle with injuries (we share the same doctor!).
---

You've had a whirlwind couple of years with amazing dance gigs! What have been some of the highlights for you?

My time on “So You Think You Can Dance?” was a magical and amazing experience. I had a blast and it let me to do so many different things! After SYTYCD, I had the pleasure of working with Adam Shankman on the 82nd Anuual Academy Awards, which was brilliant! Since then I worked on the soap opera “One Life to Live” as a principal dancer and am now dancing for Janet Jackson.

Let's talk Janet Jackson. What was that audition process like? How did you feel when you got the job?

The Janet Jackson audition was like no other audition I have done before. I reminded me of what auditions used to be like back in the day. Girls lining up out side the studio with full make-up and hair done, holding headshots and resumes in the rain for 3 hours just to be seen. It was very surreal. Once all the dancers were in we didn't even get to dance! First cut was appearance only...what a shocker! The next two rounds of callbacks consisted of learning a very girly routine as well as Rhythm Nation, which for me was amazing. I have been watching Janet Jackson music videos since I was 8! It was a pleasure just to learn four eight-counts from the choreography. Ms. Jackson came in at the last round to hand pick some dancers she wanted to see. When I got the phone call I got the job, I flipped out! I started to cry! I called my mom and told her and my dad and they were both so proud! I was a great moment in my dance career.


Ellenore, right, with Janet Jackson!

What was life on tour like with her? What was your typical schedule?

For about a month we work everyday [no days off!] for 8-10 hours a day learning all of the choreography. We were performing at the Essence Music Festival in New Orleans and she had a set list of 36 songs, 30 dance songs. So we had to learn 30 of Ms. Jackson iconic singles in the month! Talk about crazy! We had to learn and perfect about 1-2 dances a day. I have never been pushed so far in a physical sense and mentally as well. Ms. Jackson was very kind to all the dancers, taking us all out to dinner or bowling for someones birthday, always being very gracious in rehearsals. It was an amazing experience. Next stop for me and the Janet Crew in Shanghai, China in 2011!

You were a hit on SYTYCD! How did that help your career?

Gosh, I'd have to say that show single-handedly jumpstarted my dance careers. Before the show I was dancing with small dance companies here and there, but wasn't getting anything big time. I sent my headshots and resumes to different talent agencies in the city but nobody responded to me. The minute I got off the show and headed back to the Big Apple, I had a agent and I was booking jobs. It was so different for me! And now anytime I go to an audition, at least one person will come up to me and say, “Are you Ellenore from SYTYCD?” It an awesome feeling that people watched the show and enjoyed what I did on that stage.

How did you signing with an agent come about? How is that beneficial to your career?

Yes, I am currently now with MSA Talent Agency and they are great! Lucille, the head of the Dance Department, contacted me directly after the show. Many of the Alums from SYTYCD work with MSA, but most of the dancers are in LA. Since being with MSA I have been working non-stop! I love being with an agency because they find auditions they I probably never even heard of! I've danced for a Japanese Chocolate commercial, Propel Water commercial, Macy's live event, you name it! At least with MSA they treat me like family, which is so great in this industry. They really have helped me since the show and I love them for that!

Have you struggled with any injuries in your dancing? How have you overcome them?

I had my first surgery on my left knee. It was awful. I thought I'd never be able to walk again. With the help of Dr. Rose and the the physical therapists at Harkness Center for Dance Injuries, I had arthroscopic non-invasive surgery and was healed within five weeks after the surgery! My latest injury I have sustained was from SYTYCD. During the Machine Gun piece with fellow dancer Legacy, I feel on my right shoulder and almost dropped out of the competition. After taking one day off the rehearsals, one of the producers got me an appointment with a nearby doctor that treated my pain temporarily. Because of that I got to finish my run on the show. However, it did not fix the problem. My shoulder still hasn't gotten better and I've been having pain for about a year. I recently had another surgery on my right shoulder, again by Dr. Rose, and I am in recovery now. All I have to say is be preventative, exercise regularly outside of dancing and always eat right. And if you do get an injury that technically isn't your fault [like falling out of a chair!] then don't beat yourself up. It can be fixed through proper care and seeing a doctor.

Who have been the greatest influences on your dance career? How have they helped you?

I have had many mentors in my life, including Christian Von Howard, Earl Mosley and Nathan Trice. These extraordinary men took me under their wings and allowed me to grow as an individual while learning from them personally. I was in both Mr. Von Howards and Mr. Trice's companies when I was in high school and Earl Mosley selected me to help him set a dance piece on the Alvin Ailey American Dance Theater by the time I was 17. These men helped me discover my dream and molded me into the dancer I am today. For them I am so grateful.

Any advice to young dancers looking to enter the commercial dance world?

The best advice I can give is try to get an agent. As crazy and hard as that sounds I bet if you send in a headshot and resume and a reel of you dancing with an interest in that particular agency, they will be more inclined to ask to meet with you. Also, take class with different people as much as you can. I know a lot of dancers that have gotten work from a teacher they took with at Broadway Dance Center or Steps. And when you are at an audition let your true personality shine through. In the commercial world choreographers and producers are looking for good dancers, but they are also looking for dancers that know how to perform and put on a show!

Interview with Hubbard Street 2 Dancer Alice Klock

Hubbard Street 2 Dancer Alice Klock is one ballet dancer who's made the move to modern. She trained at Interlochen Arts Academy before entering the BFA program at Alonzo King/LINES Ballet, with summers at prestigious ballet programs including Miami City Ballet (where we were roommates, once upon a time!). She joined Chicago's contemporary Hubbard Street 2 last year and was recently featured in Dance Spirit Magazine.


Read my interview with Alice about the switch from ballet to modern below.
---
What's it like dancing with Hubbard Street 2? What does your typical schedule look like?

Working at Hubbard is an inspiration everyday. Just the energy in the building is enough to get me thrilled for the dancing that is to be done. Everyone is dedicated and excited about what goes on at HSDC and because of this there is a collective commitment and drive to do great work. This atmosphere encourages artists to fearlessly take dance to the next level. A typical day with HS2 includes a morning ballet class with the main company beginning at 10 and then rehearsals from 11:35 – 6 with a lunch break at 2. It’s a full day but the time flies as there is always much to be done.

How often and in what respect do you get to work with the main company? What is that like?

When we are not touring, the second company and the main company take class together everyday. These classes are wonderful learning experiences for me as each and every Hubbard dancer is uniquely gifted. Each has their own way of preparing for a day of rehearsals. Observing this has helped me immensely, not only on a technical level but also with figuring out how to prepare my body through classical from to rehearse work that is often far from balletic.

Each year the second company performs with the main company during one of their home seasons. Last year's performance was quite an experience as there is a certain artistic potency that only exists on stage and for the two companies to experience that together was a lovely thing. We also performed together in an event called Inside/Out, which is a yearly show composed of works that the dancer’s choreograph on each other.

What are some of your favorite things you've danced with HS2?


I must say that the duet "I can see myself in your Pupil" choreographed by Andrea Miller is particularly fun for me to dance as it is very physical, rather crazy, and character driven. I like dancing things that require me to use all that I have, that demand 100% and nothing less. Those pieces are always an adventure.

Alice, top, with members of Hubbard Street 2 last year

You came from a ballet background - how has that helped (or not helped) the adjustment to more modern/contemporary work?

Interesting question, for I must admit that when I first arrived here I was very frustrated with certain aspects of my balletic training that were getting in the way of the choreography. Honestly though, without my ballet training I may never have been hired by Hubbard. I was not an impressive modern dancer, so ballet and repertoire were the vehicles through which I showed my character, my work ethic, and my personal artistry. Working here I have had to focus on reprogramming myself to respond to movement in a more grounded fashion, to be stronger, more powerful and more honest. This is a continuing project of mine, one I am enjoying exploring.


What are some of your dance goals for the future? Do you hope to stay with Hubbard Street?


I find I have a difficult time setting goals as far as my future is concerned for both the dance world and I as an artist are ever shifting entities. To be vague but truthful my goal is to continue to dance professionally, to do good work, and to feel fulfilled and happy about my contributions to the planet. I would be thrilled if that meant staying at Hubbard Street. If it does not, then I shall take whatever step seems most appropriate and continue to enjoy life.

Alice, left, and I, right, at Miami City Ballet summer intensive 2004 (?!)

Interview with Ballet West Apprentice Katie Meeusen

Good friend and fierce ballerina Katie Meeusen is no stranger to new beginnings: after graduating from The Rock School (where we were bestest friends ;) she spent a year at Butler University before joining Tulsa Ballet II. Unsatisfied there after a season, she moved to NYC (where we reunited ;) to enter the trainee division at Joffrey. This month her dream of a professional contract came true: she started as an apprentice with Ballet West in Salt Lake City.


Read my interview with Katie about her first few weeks with the company below...Katie, we miss you in NYC!
--

How have your first few weeks at Ballet West been? What has the process of settling into a new company been like?

My first few weeks here at Ballet West have been absolutely amazing, and I am so blessed to be dancing for such a fantastic company. I was pretty nervous about starting work, especially coming from a school environment, but the entire company has been so supportive and very welcoming. Like starting anything new, it’s been a huge adjustment. There have definitely been days that I felt completely overwhelmed, but I’m really just trying to absorb everything, find my stride, and take it one day at a time. The company has definitely been busy these first few weeks. I am just starting to get a taste of what life as a professional ballet dancer is like…and I love it!

What is your typical schedule like? How is it different from when you were training at Joffrey?

Here at Ballet West our day starts at 10am with company class. After class we have a 15-minute break before rehearsals start. Rehearsals then run for six hours from 11:45-2:45 and 3:45-6:45 with a lunch break in between. My personal schedule depends entirely on what we are working on that week. Some days I’ll work 5 or 6 hours while others I won’t have any rehearsals at all. While in New York my day was filled with class after class. I took a technique and pointe (or pas) class in the morning followed by another technique class in the afternoon. Then I would usually take yet another technique class later in the evening.

Katie with a group from Ballet West (she's 3rd from the right, standing)

So far, how is this better or worse than when you started at Tulsa Ballet? Is it difficult to keep starting in new environments, or exciting?

My year in Tulsa Ballet’s second company was a big learning experience. However, starting here has been a vastly more positive experience. I believe it is so important to find a company that is a good fit for you and your dancing, and I felt right away that Ballet West was that place for me. It seems like a great place for me to grow as an artist and I really hope to be dancing here for many seasons.

What ballets are you performing or covering this season? What are you most looking forward to?

This season at Ballet West is full of fantastic ballets. We performed Balanchine’s Serenade in mid August in Chicago at the Chicago Dancing Festival, and I honestly could not have asked for a more amazing first show with the company! The season here in Salt Lake opens with a John Butler’s Carmina Burana and George Balanchine’s Four Temperaments. I am involved in both works and while Carmina is definitely an exciting ballet I have absolutely loved working on 4Ts. I am dancing Melancholic corps and covering Phlegmatic, and I adore both. Next in the season is the Nutcracker, which we are performing the entire month of December. I have always loved the Christmas season, and as a new company member I am beyond excited for the chance to dance so many performances. Following the Nutcracker we will be dancing The Sleeping Beauty. Then comes a triple bell with George Balanchine’s Chaconne, Jiri Kylian’s Sinfonietta, and Nicolo Fonte’s Bolero. We actually just started setting Sinfonietta this past week and I was surprised with how much fun I have had starting to learn the piece. Our season ends with an the Innovations program, which includes a mix of pieces from various choreographers as well as company members from Ballet West.

Katie with Ballet West at Chicago Dance Festival

You're an apprentice. How is that different from Ballet West II and the main company?

Apprentices are considered and are under contract as artists of the company just as corps members are. There are two apprentices this season and we work entirely with the main company and dance in all of the productions. Of course, we are at the bottom of the seniority totem pole. Ballet West II, while they perform with us for larger productions and pieces, also performs on their own. They actually are on their first official tour in Iowa right now.

What are your goals for this year?

It is interesting how my personal goals have evolved since starting here at Ballet West. In the past I always strived to train as hard as I could and eventually get a job in a professional ballet company. Now that I have crossed over into the professional world I have really had to consider what my aspirations are. This year I hope to establish myself and really find my stride in the company. I want to continue to push myself to work as hard as I can to continue to improve technically but as an apprentice I am also working to improve on the skills needed to be successful in a corps situation. I also hope to really dig into the work here and start to find myself as a professional dancer…as an artist. Eventually I hope to rise through the ranks and have a successful and fulfilling career dancing here.

Do you miss NYC and why?

I of course miss NYC! It truly is a city like no other and I have had nights that I miss it so much it hurts! As much as I am loving every minute of my new life here in Salt Lake City, I miss my friends in the city and the teachers at Joffrey more than I can say. There was nothing like being able to hop on the train and watch ABT or NYCB perform any night I choose or wonder through the village down to the Hudson River and then back up to Washington Square to listen to the musicians by the fountain. I miss those little things…the people, the noise, the life and excitement immeasurably. Still, we as dancers work for years with the goal of finding a job in the professional company. I never imagined I would have a career dancing in New York, so in retrospect I am just so glad I had the opportunity to live there for a time!

Katie and I (and Victoria :) in our Rock School days (circa 2005) on a trip to Central Park, NYC!

interview for my students

So much to blog about and so little time! I'll catch up...some day.

I'm winding down my semester of teaching/choreographing for these high school kids and they interviewed me for the program of their performance next week (my NYC choreographic debut...haha). Just thought I'd share for filler content til I get back on track with posting...

1. Where did you grow up & where do currently live?

I grew up in a small town outside of Boston, MA and moved away from home at 15. I spent 2 years in Philadelphia before moving to NYC, where I’ve been the past 3 years.

2. Where did you go to college?

I just graduated from Marymount Manhattan College with my Bachelors degree in Communication Arts, NOT dance! I’m currently in my 2nd semester of grad school, pursuing my Masters of Science Degree in Magazine Publishing at Pace University.

3. When did you first start dancing?
My family owns a local jazz dance school in my hometown and I started taking their 8 year old ballet class when I was 2! I walked, and then I danced. It was just natural for me. I started taking it seriously when I was 6 and began attending Boston Ballet School. Dance has defined me since diapers.

5. What are you currently doin in dance?
Living and learning. I just finished an apprenticeship with RKB and am rehearsing for a few separate performances around the city this summer. I’m auditioning and taking class a lot – sometimes too much – with Kat W., who has become a mentor to me. It’s all about working hard while still enjoying the process, a constant tension.

6. What kind of career do you have?
Dance career? I’m just at the brink of it right now. I’ve worked with so many incredible people and am so thankful for the opportunities I’ve been given, but I always want more. It’s really tough to be a professional dancer and still survive (financially, physically, mentally) and I’m at a transition point at the start of my career.

Outside career? I’m a very busy freelancer. I write quite a bit about dance for various magazines and such. I’ve completed many publishing internships (most recently The New Yorker). I’ve done some work in public relations and marketing for dance companies. And multiple other odd jobs that I enjoy, even though they keep me busier than probably any other 19 year old you’ll meet (dancer, grad student, writer, intern, choreographer…the titles are endless).

7. In dancing where do you see yourself in a couple of years?
You know, for most of my life I was taught to believe that the only thing to aspire to in the dance world was to be prima ballerina at a major ballet company, with all the perfection and beauty that goes along with it. For a long time, that would have been my answer to this question.
But now after enriching my dancing with an entirely separate, though equally important, life I realize that I can never be that star with the perfect body and the beautiful feet. Nor do I want to be anymore. There are other friendlier, healthier, and more satisfying options for me, personally. I’ve learned through much rejection that life has a way of picking you up and leading you to places and people you never dreamed of, and from that I can say that I honestly have no idea where I see myself in a couple of years. But I know I will be dancing.

8. How was it working with the dance company?
It was a real joy to work with everyone in the dance company. One of my favorite teachers ever once told me that his job as teacher was to pass down the knowledge and support that his teachers gave him, and I hope that that’s what I’ve done in my own classes. The choreographic process was interesting because it was my first time directing such a large group, but everyone was very cooperative and willing to learn, which I greatly appreciate. The improvement from February to now is wonderful to see.

9. Do you have any advice to give to the girls...
My catchphrase is, “Follow your dreams. But why be a follower when you can be a leader?” You have to make things happen for yourself when you want something – dance or otherwise. And whatever you do, don’t let anyone, ANYONE, discourage you from seeking what you want. You may not get it, but there is still valuable learning in the process. It’s not worth having negativity hang over you all your life, and nobody deserves that power to control your emotions.
I hope we can work together again in the future. Best of luck to everyone in their artistic, academic, and life pursuits!

interview of me on Ballet Connections

More details later...

But click to read an interview of me on BalletConnections.com!