Dancing in LA

Dancing in Los Angeles

By Bianca Gallifuoco

In the concrete jungle of L.A. an Aussie can feel very far from home. The city of freeways, big cars, big meals and everything closing at 2am can seem uninviting. But once I located The Edge Performing Arts Center, Millennium Dance Complex and Debbie Reynolds Studio, I didn’t have time to feel lonely – I had to get to work.

My first class was Mandy Moore’s Jazz 4 at Edge and I was very much looking forward to taking class from a SYTYCD choreographer, let alone the woman who choreographed a much adored piece to ‘Sweet Dreams’ in season 3 performed by Sabra and Neil.

The speed at which Mandy taught and the ferocity of the
dancers in the class was awe-inspiring. I mean, I’m talking about sixteen counts of choreography in one hit, then hit after hit after hit. It was like a speed train of choreography! Plus classes in Summer are packed to the brim – with professionals pit-stopping in between gigs, studio kids from out of town, and international travellers – so people get sweaty, mirrors get foggy, and you get used to not being able to see yourself. Add jet lag to the mix and you’ve got yourself one struggling dancer!

Once I had caught onto the speed, ferocity and sweat of the L.A. dance class scene, I was running from studio to studio taking classes from 10am to 11pm. Taking class from the choreographers behind my favourite artists and sharing studio space with the best dancers I’ve ever seen was humbling and inspiring. All that time permitted was a quick inspection of bruises and blisters before… sleep.

At this point I must warn those venturing to L.A. in Summer: the teachers on the timetable are not necessarily the teachers you will get! As some will be teaching workshops in other countries, working on TV shows or in Vegas, you have to call the studios the night before you plan to take class and/or that morning, taking it one day at a time. The obvious downside of this is that you might miss out on some of your favourite teachers. But the upside is that you will most definitely fall in love with teachers you may not have even heard of before. Plus, because classes are packed, every class feels like a masterclass. Not to mention the amount of workshops on offer.

Before I knew it, I felt the buzz that only the City of Angels can produce. As I walked the streets I wondered, who lives here? What are they filming? What are they rehearsing? L.A. is like one big film set, and it really is six degrees of separation. If you just find the confidence to talk to people and to ask for help if you need it, L.A. isn’t such a lonely place despite the reputation. I ended up being taken in by a top choreographer, and stayed in a block of apartments filled with dancers, choreographers, a dance studio owner, a producer, a writer, and a stand-up comic. Just talking to these people taught me so much! Everyone is connected to the ‘lights, camera, action!’, to Hollywood, to a commercial dancer’s dreams. The situation of having to decide between auditioning for Mariah or Madonna, because they are both on the same day, is just unimaginable. In Sydney, one audition per week is heaven, let alone two auditions for two major artists on the same day! While it all seemed like a dream come true, I noticed how hard the dancers work and it certainly injected discipline into my entire being. There is that threshold that you reach in dance where you don’t know if you can push yourself any further, and then there’s that feeling of breaking your own barriers; of beating your personal best.

That’s the most important thing: deciding what you want from taking class in L.A. You could spend everyday only taking hip hop, or jazz, or any style if you really want to harness your specialty. Or you could diversify and take a variety of classes for overall training. In my opinion, the best dancers are those who train outside of their specialty, who go to classes that are outside of their comfort zone. Diversity helps you become a master of your own specialty as you can borrow from everywhere to make something truly unique.

I recommend taking jazz, contemporary jazz and/or modern fusion in the mornings at Edge and then moving to Debbie Reynolds when they open at 2pm for all of the urban styles. Please note that almost all of the classes at Debbie Reynolds are Advanced classes (a dream come true I know) so once you’re there, just keep taking back to back classes and know that there is a bed out the back if you need a cat nap! While it is certain that Debbie Reynolds is the latest hot-spot, it is worth calling Millennium to see if there are any guest teachers on (hello Luam, hello Shane Sparks) and Tucker Barkley’s class is a must! Alternatively, Adam Parson’s Jazz 4 at Edge is a wonderful way to spend your evenings. I also think that if you find teachers that you love – for me, it was Tony Czar and Roger Lee – then follow them from studio to studio.

I had always dreamt of heading to the epicentre of the commercial dance world. Actually going has changed me as a dancer, a teacher, a choreographer, and as a person. Since coming back to Sydney and watching the US So You Think You Can Dance, I’ve been playing ‘spot the choreographer I’ve taken class from’ and ‘spot the dancer I’ve taken class with!’ It is empowering to feel connected to dance in another country. I encourage everyone to dive into the deep end, head to L.A., take class, be humbled, be challenged, and be inspired. Race against yourself and beat your personal best.