The second leg of my dream trip to Europe was in Paris. I'm breaking my photos into two separate posts - one for the normal tourist stuff, and one for the bunhead tourist stuff :)
Again I only had two days in this beautiful city, so I crammed in all the sightseeing I possibly could. I must have 800 pictures of the Eiffel Tower alone - what a site! It was quite unbelieveable to be standing in front of it in real life.
I did visit the Louvre but sadly I didn't get to the Musee d'Orsay as I really wanted to see the Degas sculptures :(
Many more photos to come! Next Gallery: Paris Opera House!
This weekend is the 4th annual Latin Choreographers Festival. I performed in it last year with Exit 12 Dance Company and it's great to see how it's growing. See 13 different choreographers at this year's program, including SYTYCD's Ellenore Scott (read my interview with her here), Donna Salgado, and Azure Barton/STEPS Repertory Ensemble.
Baruch Performing Arts Center East 25th Street between Lexington & 3rd Ave Thursday August 4 at 8pm Friday August 5 at 8pm Saturday August 6 at 3pm Tickets and info here.
Earlier this summer I made another dream come true - my first trip to Europe! I've been trying to go for several years now and for one reason or another things fell apart last minute. In June I finally had both time and money (at the same time) and treated myself to a two week trip. It was amazing!
I had very little time to hit all the places at the top of my list, so I only got a day or two in each place. I started in London. Here are a few photos from my dance sightseeing :)
Even though we have Freed of London in New York (now 2 locations!) and I stopped wearing Freeds post-surgery, I still had to visit the main store while I was there! It's small and not unlike any NYC dance retailer but...you know...
When I went to try on a leotard there, I saw that their fitting rooms had autographed photos from famous ballerinas who had been there. This was Eva Evdokimova, who passed away not too long ago.
And Carla Fracci.
I really badly wanted to tour the Royal Opera House but didn't plan in advance (even though that was my #1 thing I wanted to do in London...stupid...) so the tour was sold out for both days I was in the city. Sad.
I did go to Buckingham Palace though.
And saw a billboard for Wheeldon's recent new production of Alice in Wonderland at the ROH.
My first day brought serious jetlag, but the second day I took class at Pineapple Dance Studios. Decent class - nothing special.
The West End had mostly all shows that are currently running in New York, but I went to see "Love Never Dies," the sequel to "Phantom of the Opera" that hits Broadway soon.
And then yes, there was the normal tourist sites. Here's the London Eye, though I didn't get to go on it.
And beautiful Big Ben.
Matthew Bourne's Nutcracker poster outside Sadler's Wells.
I saw a very avant-garde performance at Sadler's Wells. I mostly bought the ticket to see the theater :)
It's a cool space!
London reminded me very much of New York - a very walkable city with lots to see and do. I roamed the streets and got caught in the rain and did some shopping. It was smart to have my first stop be an English speaking place.
(Since I'm about 8 months backed up on blogging (oops) I'm going to slowly post about dance stuff from this past spring - starting with an opportunity out of my usual bunhead realm...)
The only constant of the creative process is uniqueness – it’s always a one of a kind experience of time meeting artistry meeting innovation. But in today’s busy world creativity is often stifled by lack of funding, space, and opportunity. One of the most luxurious gigs I had this spring was working with contemporary choreographer Oren Barnoy in Dance Theater Workshop’s Studio Series – luxurious not in fancy costumes and great stages, but in prolific freedom to explore movement itself.
The Studio Series offers selected downtown artists a 100-hour residency and commission, culminating in a studio showing and wine discussion. Oren was chosen after presenting a successful solo at The Kitchen last fall, and numerous earlier works after graduating from CalArts.
Last year I received an email from him after my NY Times article came out, asking if I might be interested in working with him. When we met for a brief rehearsal at Joyce Soho we immediately connected over our love of dance. We spoke of arts writing, our vastly different backgrounds, and the NY dance scene. I was on my way to surgery and unable to continue at the time, but towards the end of December I got another email. A residency at DTW? I’m in!
What followed was 6 months of intensely physical rehearsals. We spent hours getting grounded in deep lunges, challenging movement intentions, toying with qualities, and freeing inhibition.
Being the bunhead that I am, I was tentative as to why a modern choreographer would want to create on me. He kept saying that I “have something honest” and though that was enough in theory, I pushed extremely hard to adapt to new ways of moving. Ballet comes on autopilot for my body, and I know from years of doing it how to improve, how to prepare, and how to play. With Oren’s movement I had to re-learn how to just stand up. I had no experience with truly feeling the floor or not making positions.
It was a long process.
The best part of the Studio Series is that we had that time to take. Oren would come in with a brief phrase – largely gestural – and we’d spend 2 hours growing the movement from marking to falling down in defeat. We’d do the same thing over and over again. He’d offer different ideas of qualities – bring awareness to certain body parts, intentionally feeling certain emotions, or simply thinking about my to-do list while moving.
Artistically speaking, this was the most intriguing and challenging part of it for me. I’d be given an abstract direction verbally and within seconds I had to manifest it through my body. I’m a thinker, but the way we worked through things I had to just do what was asked and see what happened instead of analyzing too much. The results were sometimes fascinating, always amusing.
Oren also developed a really keen sense of reading me. I guess that happens when you spend so much time one on one in a studio. He said once that I have a very strong mind and that as I’m dancing if I shift my attention or focus even slightly it’s very evident through the movement. When I’m in rehearsal I’m constantly only focused on the moment – so I thought. But after he said that I worked on finding new ways of redirecting my energy and intentions, something I had never been asked to do before. I found it to be almost a form of acting without physically changing anything necessarily. I would talk to myself, reminding myself to “let go” or “keep pushing” whatever the movement called for. It’s a hard process to explain in words, to myself and to others.
Oren was so wonderful to work with. He had unending patience for me and my multiple efforts to shake off ballet-land, and he always let me work where my body was at (ie. when we first started my foot was still not 100% strong post-surgery). And yet he pushed me to a new artistic level and challenged my endurance. I'm so thankful for the opportunity to learn from him.
To make a long story short, 6 months of sore hips culminated in a 15-minute marathon “work-in-progress” that was shown in June at DTW. A 15-minute non-stop solo that builds, and builds…and builds in energy. As we got down to the wire rehearsals were much more about running the piece several times in a row to build up the stamina and to determine exactly how much warm up was enough without killing me dead before the real run. These rehearsals = exhausting. With ballet, I know my limits. I know how to pace myself. I know what I need to eat to have the right energy. I know how to draw from inside to fake it if I didn’t sleep enough the night before (Lord knows I’ve done that a million times.)
With this foreign movement and way of working, it had to be a new effort of trial and error.
In the week leading up to the final showing we did 3 runs a day every single day, PLUS I was rehearsing for another show the same weekend, working my regular 30 hours at my desk job, and planning my escape to Europe the following week. By the time Friday came, I was r-e-a-d-y. I got to the studio way early as they were setting up the chairs for the audience. Oren and I worked through the piece lightly a few times to get ready and then cleared the room so people could come in.
I gave everything.
Every time I finish a full-out 100% run of the piece I want to throw up at the end. Seriously. It’s the most physically grueling dance I’ve ever had to push through – only comparable to dancing mega cardio in a huge Santa fat suit at Radio City. My face burns and my throat feels clogged. My legs might give out at any second. I have to mentally force myself to breathe and to cling to consciousness. The applause came as I literally hit the wall to end the piece, and it sounds hazy after the blasting base. I bow, hyper-aware of my balance so I don’t tumble to the floor. It’s over!
Once that moment of sickness passed it was such a delight to see the audience with their wine waiting for the post-show discussion. And what a feeling of accomplishment – that must be the rush marathon runners experience. That wasn’t the first time I had gotten through the work like that, but it was the first with others watching.
In the conversations afterward we spoke about the rehearsal process, of Oren’s ideas and intentions, and of what the audience experienced. The only feedback I had gotten for 6 months was from the choreographer himself, so it was interesting for both of us to hear how others interpreted it. It was nice to see some important faces from downtown dance whom I had never met before.
As I packed up to leave later, former Village Voice dance critic Elizabeth Zimmer thanked me for my performance and said she enjoyed it. Wow! I appreciated her acknowledgement. She left me with these words: “It will be interesting to see where this goes…”
--- TALK BACK: What was your most phsyically exhausting dance experience? How did you prepare?
Well, despite not writing for nearly 4 months this blog just celebrated it's 4 year anniversary! In July of 2007 I started this old thing for my ramblings, and here and there I've actually said something worthwhile. Though I've made sad attempts to revive regular posts, I really am going to make an effort this summer to get back in gear.
I have SO much to write about backed up in my brain from this past spring. It was my busiest dance season yet, and I had a lot of great opportunities working with over 5 *different* companies and performing almost every other weekend in various things.
On top of dancing, I've finished my Pilates mat certification and am teaching regularly as I continue with my equipment certification. I took my first trip to Europe (which was amazing), I had a major dance article published, and I've been working a whole lot.
I'll write in more detail on past things first, and then get back to the future with the next project...our August Performing in NY Showcase at Ailey. I've been co-directing these now for 3 years and we keep growing and growing. It's a lot of work to prep a show of 150+ dancers, but it's always fun.
It's April. That's insane. So much is going on but I'm really going to try to get back to regular blogging...for real this time.
Next week marks 7 months since my ankle surgery, and it's only within the past few weeks that I've FINALLY felt back to 100%. PT started using iontopheresis on my foot, which is like being hooked up to a battery in order to force medication into the body. It sounds scary (and it sort of was the first time, being hooked up to electricity) but it is the first thing in 4 years of pain that has finally helped! Hooray!
Thanks to that I had my first major performance weekend post-surgery last weekend and it went well! It was our semiannual Performing in NY Showcase at Ailey, which I'm assistant director of. Not only was it a TON of work getting everything together (somehow these things continue to grow - which is wonderful! - but the work multiplies fast) but this was the first one of these that I was dancing as much as I was directing. I danced in the usual 2 ballet pieces my teacher puts together (excerpts from Raymonda and Sylvia this time), but I also did a new piece with Exit 12 Dance Company. AND I got the artistic pleasure of working on a piece with Australian aboriginal choreographer Ian Colless. What an interesting process! More on that in another post to come...
Now that that big show is done I'm onto the next big projects...
Next week I'm taking my Pilates mat certification exam! Providing I pass, I'll officially be certified this time next week :) I'm excited about that and have a few things up my sleeve to that end...I've also been teaching a regular floor barre class at Gold's Gym and have been subbing Pilates classes there. Teaching is growing on me more and more...
And the next big thing is my first lead role in a full-length story ballet! I'm super excited about this one...it's just with a small company called Ballet for Young Audiences - and obviously it's for kids - but the rehearsal process has really given me an opportunity to explore things I've never had the chance to. Also more on that in a post to come...the shows are the week of April 11-16, so it's getting close! Also in May I'm doing a new ballet with them also based on a poem about a water goblin :o
April 11-13, 2011 Queens Theater in the Park 10am and 11:30am
April 14, 2011 92nd Street Y 10:15am
April 16, 2011 Secret Theater 3pm
I'm also rehearsing with a modern choreographer as part of the Dance Theater Workshop studio series, which is also a fascinating process. It's not only physically challenging because I'm used to strict ballet, but it's an artistic challenge in the way we explore movement qualities. He's creating a solo on me that shows in June.
Also in June I'll be performing with a company I worked with last year - New American Youth Ballet - with live orchestra. And Exit 12 is working on performing on The Intrepid during Fleet Week. And I'm starting my reformer certification. And I'm trying for real to travel to Europe this spring/summer at some point. And I'm still working and doing workstudy. And I have a big article I wrote coming out this month in M Life Magazine, the custom publication of the MGM Hotels in Las Vegas.
There are even more things I've failed to mention but...as I post more I'll get into that more! Happy Back to Blogging :)
The blog has been slow because life has been moving f-a-s-t lately. So much going on and so much to update about...I'm basically back to full dancing on my foot even though I'm still in pain. I start rehearsals tomorrow with a new company for ballet shows in April and am hard at work preparing for the March Performing in NY Showcases I help direct. Plus I'm working towards my Pilates certification with a lot of practice teaching, and tonight I teach my first official New York City Ballet Workout floor class at a big gym! Exciting stuff.
This Saturday, the awesome Alex Wong is teaching a contemporary master class at MMAC from 12-1:30pm for $20.
The former Miami City Ballet soloist and SYTYCD favorite has much to offer, I'm sure. It's sort of a shame these kinds of things only last one or two classes...so much to learn in so little time!
Also, Take Ueyama of Take Dance is in the middle of his Winter Master Class Series at Baryshnikov Arts Center. I did his January intensive two years ago and LOVED it. His movement is so freeing and fun, even though it's so different from my ballet base. He teaches 10am-12pm today and tomorrow.
Here we are again. More snow in NYC. This storm wasn't nearly as bad as the Christmas weekend one, but it still makes the streets soggy and the muscles mopey. But a bunch of dance-related places are offering Snow Day Specials today only...so if you're able to dig yourself out, take advantage of them!
-Pilates Reforming NY is offering reformer classes for $20.11!
I LOVE these classes, and usually they're $29/hour. So this is definitely a good deal. If you've never been there, they also offer FREE introductory classes (always, not just in the snow). Highly highly highly recommended :)
-Broadway Shows offer discounts! "Memphis" 40% off: I have a friend who was in the orignal cast of this show and even though I've yet to see it myself, I've only heard great things. And who doesn't love a Broadway show?! The discount code ME4FANS is good for seats located within the orchestra and mezzanine of the Shubert Theatre.
"Billy Elliot" 40% off evening: If you haven't seen it yet, you really must. The kids in the show are just fantastic. Use the code BEGNA1201 on Broadway Offers or to the Imperial Theatre Box Office at 240 W. 45th St. to get 40 percent off orchestra and front mezzanine tickets.
"Mama Mia" for $64.50: Okay, it's not that cheap. But...it's a fun show and for a good seat, I'd take it. Use MMRES104 for orchestra and front mezzanine.
-A Good Snow Read: "Trapped" by Michael Northrop!
Trust me, it'll make you feel like your buried car is nothing. Get it now so next time you're trapped in the snow you'll know you're not alone...
I'll keep updating this list today if I hear of more deals...
It's that time of year again: each January the Association of Performing Arts Presenters (APAP) holds several showcase performances with companies from all over during their conference to give members a taste of dance they may be interested in presenting. What does that mean for NYC dance-goers? Free performances!
Sometimes these get packed and a little chaotic because people go in and out throughout to see their favorite groups, but it's totally worth it to see a wide spectrum of companies in intimate settings.
Over this weekend performances are being held at City Center Studios, DNA, DTW, The Ailey Citigroup Theater, Baryshnikov Arts Center, and the Joyce Soho (did I miss any?). You can just show up and pretty much guaranteed there will be something showing at any point during the day...some have schedules posted but the official programs are only available to APAP members.
But a few things worth seeing...
*Gallim Dance at DTW
Friday, January 7th at 5:30pm
This one costs a whole $5, but they are SO worth it. Loved them at Fall for Dance.
*Raw Delivery/Carrie Brown at Joyce Soho
Friday, January 7th at 5pm
*Julian Barnette at Joyce Soho
Saturday, January 8th at 11am
*Misnomer Dance Theater at Baryshnikov Arts Center
Saturday, January 8th at 3pm
*Avi Scher & Dancers at City Center
Satuday, January 8th at 10:30pm
Avi's work is great. He'll be showing the pas de deux from "DreamScapes" danced by Boston Ballet dancers Tiffany Hedman and Robert Kretz; and the pas de trois from "Mystery in the Wind."
*Francesca Harper Dance at Ailey
Saturday, January 8th at 8:45pm and 8:55pm
Sunday, January 9th at 2:15pm.
The 8:55pm showing will include a piece choreographed by Jessica Lang entitled "The Calling."
*Perceptions Dance Company *isadoraNOW *Eryc Taylor Dance
...and many more at DNA
DNA has a schedule of programs for the weekend, posted here.
*Jody Sperling/Time Lapse Dance at City Center
Saturday, January 8th at 9:20pm
I have a crazy busy weekend already but I'm hoping to make at least a few of these. Happy dance watching!
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.
Wow! This just in: Cory Stearns from ABT has been promoted to principal!
I loved wacthing him in Romeo & Juliet when I supered, and he's really stood out in other recent works as well. And he's so young! I'm sure they had to promote someone fabulous since the wonderful Jose Carreno will retire this year :/
Congrats Cory!
From the press release:
A native of Long Island, New York, Cory Stearns began his classical training at Seiskaya Ballet with Mme. Valia Seiskaya. At 15, he participated in the Youth America Grand Prix and was offered a full scholarship to The Royal Ballet School in London. During his training, Stearns performed in Madrid, Moscow, Milan and Germany. His repertory included principal roles in Mark Annear's Mendelssohn Concerto, Kenneth MacMillan's Concerto, Kirk Peterson's Eyes That Gently Touch, Robert Hill's Piano Concerto #2 and Barry Moreland's Fearful Symmetries. In March 2004, Stearns appeared with Kylie Minogue in her music video Chocolate. Upon graduating, with honors, from The Royal Ballet School, he received, for the second year, the Dame Ruth Railton Award for excellence in dance.
