By Stephanie Wolf.

David H. Koch Theater, Lincoln Center, New York City
June 2012

Innovation is continuously on the minds of choreographers and dancers. Yet, what defines innovative dance is nebulous. Is it something that has never been seen or experienced before? Or is it taking something considered highly traditional and making it relevant to modern society? On the Australian Ballet’s recent New York tour, the company addresses these questions—leaving a lasting impression on the city’s dance-enthusiasts with Graeme Murphy’s bold, original interpretation of Swan Lake.

Swan Lake is the consummate classical ballet; the most recognized production was choreographed in 1895 by Marius Petipa and has been re-staged by ballet companies all over the world. Most dancers have come to expect a particular formula for the dramatic ballet; young Prince Siegfried celebrates his 21^st birthday with joyous dances in Act 1; in the “White Act”, he encounters the Swan Queen, Odette, and the star-crossed lovers dance a heart-wrenching adagio; Act III’s Black Swan Pas de Deux, danced by the evil Odile and Siegfried, is famous in its own right; and Act IV unites the lovers in either death or happiness, depending on the production.

Murphy decides to create his Swan Lake for a new century. He maintains the title of the ballet and the black-and-white aesthetics, but takes artistic liberties on every other aspect, crafting a new storyline to string together his series of intricate partnering and difficult steps.

Adam Bull & Amber Scott in The Australian Ballet's Swan Lake. Photo by Jim McFarlane

The ballet opens to a woman in a white dress; her back faces the audience and her arms cross her chest. She begins to ripple her supple arms, prompting the first few chords of the overture. The main characters: Odette (Amber Scott), Siegfried (Adam Bull), and Baroness von Rothbart (Lana Jones), are introduced through a series of vignettes. It’s clear this is a darker Swan Lake, exploring love’s ability to consume and torment the psyche. The scene transitions into the wedding festivities of Odette and Siegfried.

Amongst the abundance of ensemble dancing, a love triangle between the newlyweds and the Baroness, unfolds. Odette drives herself mad over her jealousy and suspicions of Siegfried’s betrayal—reminiscent of the mad scene from Giselle. Scott is compelling in her frenzied state.

For those accustomed to a traditional staging, the first act can be jarring. Murphy’s choreography feels hurried—though executed seamlessly by the dancers—and he borrows music traditionally reserved for the Black Swan Pas de Deux in Act III. It moves slowly and Murphy makes odd choreographic choices, creating images that are sometimes unattractive. There is no balletic rule demanding visually appealing movement, but much of the choreography feels overly complicated and cumbersome. The highlight is the Hungarian Dance to the czardas, but the rest leaves the audience feeling anxious. It’s difficult to identify if the choreography would have resonated differently in another context or if it simply didn’t work.

Act II opens in a sanatorium; Odette is committed and, after a visit from Siegfried, has tormented dreams of swans. Here, Murphy finds his niche. Kristian Fredrikson’s minimalistic sets and costumes create a stunning contemporary vision of an isolated lake, teeming with maiden swans that take their time emerging from their positions perched atop a circular platform. They move authentically, often piked forward at the hips with their ‘wings’ caressing the length of their backs. Murphy’s choreography no longer feels laborious, but has a new freedom and fluidity. He wins the somewhat hesitant audience over with this iconic act, especially in the dance of the four cygnets—in which he plays on the traditional patterns and facings of the interconnected little swans. Danced supremely by Halaina Hills, Heidi Martin, Karen Nanasca, and Brooke Lockett, the difficult choreography is inventive and works well. Scott and Bull’s Act II adagio is poetic, plucking gently at the heartstrings of the audience. As the curtain falls, there is a new energy in the auditorium.

Act III opens with a party at the Baroness’s home. Odette, recovered from her insanity, arrives at the party in a white dress and gauzy overcoat, setting her apart from the dark scenery and costuming of the act. The effect is captivating, as she seems to eminent purity and glides from one party guest to another in a series of suspended lifts; thus, re-capturing Siegfried’s heart. Scott and Bull dance another tender pas de deux, drawing gasps from onlookers; followed by an enraged solo, danced passionately by Jones.

Odette flees the party to avoid being recommitted and Siegfried follows her to the lake. Again, Murphy’s choreographic strengths are highlighted. His interpretation of the ballet’s most powerful acts and perception of how a swan might actually move is mesmerizing. Now, the swans are black and the imminent sense of tragedy and desperation exists in their every move. Despite having re-won Siegfried’s love, Odette knows she will never feel at ease; she turns to the lake to find eternal peace in its watery depths. Her descent into the shimmering black lake, as Siegfried mourns at the edge, is stunning and haunting, drawing tears from several audience members.

While it took a while to warm up to the unique interpretation on this classic ballet story, Murphy and the Australian Ballet should be commended for taking risks and committing to the production. The ballet goes against the expected and stirs up powerful emotions in its viewers. Making society think and feel differently is the mission of most artists. Murphy and the dancers succeed on both fronts.

Top photo: Adam Bull & Amber Scott in The Australian Ballet’s Swan Lake. Photography Jim McFarlane.

Sadler’s Wells, Peacock Theatre, London
June 2012

By Lara Bianca Pilcher.

The theme of this British-Asian musical is “Britain meets Bollywood”. You could translate “Wah! Wah!” as how some Indian audiences express their joy at something they see or watch instead of clapping.

The musical as a whole still has a lot of development needed to be a raving West End success. The Indian classical choreography was the show’s strongest feature. The musical’s most captivating sections were when the story was looking back in time and using the traditional Indian dance styles.

The choreographers, Javed Sanadi and Gauri Sharma Tripathi have, with a team of creatives, pioneered something new for the stages of London. After the success of Bollywood films with large, colourful dance sequences, I’m sure this musical can continue to develop and be a greater success in the future. The general consensus is that it’s not quite there yet.

The storyline in summary, is that Bindi (Rina Fatania), an East Londoner, humorously sits down to watch television. On the TV (a scrim screen), a Bollywood dance begins, and the story emerges of a struggling Indian dance club run by Soraya (Sophiya Haque). Sophiya Haque was delightful to watch and clearly has dance training. She was a dancer that poured passion and fire into the choreography and was captivating as she moved seamlessly. However, the proportion in the cast of trained dancers to non-trained dancers was few and I would have liked to see more skill in the lines and shapes the company created as a whole. This is a difficult task to fulfil due to the cast needing to be Indian Asian looking, with professional singing and acting ability and the skills to dance Indian Classical and Bollywood dance styles. This is particularly difficult when the forms of dance involved in this show are deemed non-technical by western standards, but they need to please the western dance educated audience of Sadler’s Wells. I feel that Wah! Wah! Girls needs a sharper dance work as a whole that demonstrates a higher technical level within the dance styles on display by using more skilled dancers in the cast.

The story continues with the character Sita (Natasha Jayetileke) arriving from Leeds and falling in love with Soraya’s son Kabir (Tariq Jordan). 17-year-old Sita is on the run from her controlling big brother, and hides in the dancing club run by Soraya (Sophiya Haque), a former mujra dancer (traditionally a courtesan who dances for wealthy patrons). Soraya begins to battle it out with the new ways of dancing presented by Sita. This ‘dance off’ between the two was full of street dance mixed with Bollywood and Indian Classical, and although highly entertaining, could be further developed.

I would love to see this musical revive itself in future years, having implemented the constructive feedback reflected in the many reviews across London. It wouldn’t be the first British musical to not have a hugely successful first run but still go on to do hundreds of shows in its second run.

Photo source: www.sadlerswells.com/show/Wah-Wah-Girls

By Rebecca Martin.

Rasta Thomas is touring globally with his production Rock The Ballet, to show audiences that ballet is still as relevant as ever.  Fusing classic ballet technique with hip hop, martial arts, tap, gymnastics, contemporary, and musical theater, the sexy and versatile dancers are set to impress new and old ballet audiences alike with a soundtrack consisting of U2, Michael Jackson, Prince, Queen, and Lenny Kravitz.  Thomas’s unique brand of pop ballet was founded in 2007 with Bad Boys of Dance, which became Rock the Ballet the following year. Comprising of six buff boys and one alluring girl, the production will no doubt be as entertaining for ballet lovers as it is for novice theatre goers.

A multi award winning director and principal dancer, Rasta Thomas has a CV which most dancers can only dream about.  The first ever American to become a member of the renowned Kirov Ballet, Thomas has also performed with Dance Theatre of Harlem, American Ballet Theater, Le Jeune Ballet de France, Hartford Ballet, and Japan’s K-Ballet. Additionally, he has also starred in Twyla Tharp’s hit musical Movin’ Out, and danced some of classical ballet’s greatest roles.  Oh, and Thomas has performed at The Academy Awards, danced at The White House, and made a film with Patrick Swayze. Then of course there was the phone call from Michael Jackson asking to meet with him….

It was Thomas’ desire to create his own work and imbue new roles with his own flair that pulled him away from the traditional ballet companies to form Rock The Ballet.  When Dance Informa spoke to him in Maryland, Thomas said he was “bored to an extent” with ballet, but acknowledged that it has taught him a lot.  However, the passion and energy he sought from ballet was missing: “I felt like I was doing the same steps I had been doing since I started ballet class at eight years old almost 20 years later.  The audience demographic was slightly older and more reserved, and (ballet) seemed to be for the elite and lofty.  The stereotype of ballet being boring and old was there, and I would tell my friends to come and see me in a ballet, and they would be like ‘nah, I’m OK…’ I tried to figure out how I could get my peers and friends to come and see ballet and why they weren’t open to that.  You know, I worked really hard and the ballets were beautiful but it just wasn’t translating.”  Thomas endeavored to remedy the stereotype and to add another flavor to ballet in order to get younger generations into the audience and have them excited about ballet. Without encouraging new audiences, he fears that when the current generation of ballet lovers has gone, there will be no one left to fill the theatres.

Rasta Thomas dances with his wife Adrienne Canterna in 'Rock The Ballet'

Rock The Ballet keeps ballet lovers satisfied with its use of traditional technique but is also able to excite those that have never seen a ballet or even a dance performance before. “Sometimes going to the ballet is like going to the museum”, explains Thomas.  “You’re not going to call someone from the museum and say ‘oh my, you’ve got to come see this painting!’, but we try to capture that fun-ness and excitement that comes with seeing something that you’ve never seen before.  There is so much seriousness in dance, with pieces that interpret war and other subjects through movement that only the choreographer really understands.  It is often too deep so it goes over everyone’s heads and I think the contemporary scene has been plagued by that abstractness.  I just wanted to make something that gets audiences excited and is accessible.  I think that is a noble goal in itself.”

When I asked Thomas what he looks for when hiring dancers for Rock The Ballet, he said, “the demands of the audience are the highest they’ve ever been – they’ve seen Swan Lakes, they’ve seen the greatest contemporary choreographers like Kylian, Nacho Duato or whoever – the choreographers now have to push the envelope even further and challenge the dancers even more.  So, versatility is the key, in addition to someone who is just born to dance.  A lot of dancers look at dance as a job because they need to put food on the table, but I’m more interested in the types of dancers who, once the show is over, want to go out to dance, go back to their homes to think about dance.  They just dream, live, and eat dance.  And it helps if they are sexy”, he adds with a laugh.

And meeting Michael Jackson?  “It was a dream.  I can’t remember a year when I was training that I wasn’t listening to his music.  He was embedded deep in my being for years so when I found out he actually called to say he wanted to meet me… He was very candid and open and very inspired by me being a dancer.  He just wanted to get into the studio and share the creative process.  He considered himself a dancer first and a singer second.  He was so humble and genuine, especially when I said that I was a fan of his songs. It was surreal.  I can’t say enough good things about him.”

As for what audiences can expect when they take their seats for Rock The Ballet, Thomas says the shows “will make you feel good”…

Check out Dance Informa’s review of Rock The Ballet on its US tour – www.danceinforma.com/USA_magazine/2010/04/27/rasta-thomas%e2%80%99-rock-the-ballet-%e2%80%93-bay-boys-of-dance/

Photos provided by mgm publicity and promotions.

By Rain Francis.

If Parris Goebel has been making waves in the international hip hop scene for the past few years, she’s just caused a tsunami. The 20 year-old Samoan-New Zealander was recently announced as a choreographer for Jennifer Lopez’ first world tour.

It’s a dream come true for the South Auckland dancer and choreographer, but she is no overnight success. Parris formed her own, all-female crew ‘ReQuest’ in 2007, and has been working hard to push the boundaries in her field. In conjunction with her father and manager, Brett Goebel, Parris runs The Palace, a dance studio in Auckland, new Zealand which is dedicated entirely to teaching the art of hip hop.

At last year’s Hip Hop International’s World Dance Championships in Las Vegas, The Palace cleaned up. Crews choreographed by Parris took home two gold medals and one silver – out of four categories. The previous two years, ReQuest had won the gold. In 2010, they were the first group ever outside North America to be selected for Season 6 of Randy Jackson’s America’s Best Dance Crew, triumphing over 400 crews in the auditions before making it all the way to the finals. More recently, Parris was crowned Female Choreographer of the Year at the 2012 Industry World of Dance Awards.

And now, at the time of writing, she is in Los Angeles, working with three other acclaimed choreographers on a stage show that will be seen by much of the world. American Idol judge Lopez has paired up with Enrique Iglesias for the two-month tour, which begins in July and covers South America, Europe, Asia and the States. It was reportedly J-Lo’s boyfriend – ex-back up dancer and now lead choreographer Casper Smart – who suggested Parris for the role.

So what’s it like to work with one of the biggest names in pop music? According to Parris, Lopez is “a very positive and genuine person. She is passionate about her work and wants the world to feel emotion through her music.”

In the recent American Idol finals, Lopez hit the stage with ReQuest to perform Parris’ signature ‘Polyswagg’. Parris describes the style as “combining sassy woman fire with aggressive inner strength. The grooves, heavy hits and milky flow are unique and will leave you inspired!”

Her recent successes have catapulted Parris onto the international stage, and her goal to be one of the world’s leading choreographers could be well within reach. As her father says, it’s “no longer a long term goal, [it will] pretty much happen in the next year.”

That family support, coupled with pure passion and dedication, have brought the choreographer this far. Her dancing journey began at age three with jazz classes, and although she now also enjoys contemporary dance, it’s hip hop that has her heart. “I have loved it since I was young,” she says. “It calls you and has so many ways to express yourself. It’s raw and from the street. You can do it if you are short, tall, big or small, boy or girl.”

To have achieved so much at such a young age is truly an inspiration. So what’s her secret? “Believe in yourself, chase you dreams” Parris says. “Make sure you have only positive people around you. Anything is possible. Crowns up!”

By Emily Yewell Volin.

Aerial dance is a genre driven by the constant pursuit to defy dance boundaries by expanding into the vertical space. Aerial dancers incorporate fabrics, trapezes, hoops, ropes, harnesses and other structures into their unique choreography.  D’AIR Aerial Dance Theatre, an Atlanta based concert dance company founded in 2007, is a leader in aerial dance. Dance Informa sat down with D’AIR’s Artistic Co-Director Nicole Mermans to learn more about the company and the art form.

The desire to suspend dance in order to create dimension is at the core of all work created by D’AIR Aerial Dance Theatre. And one can’t help but compare aerial dance with Marie Taglioni’s rise en pointe during La Sylphide in 1832.  Pointe work and aerial dance have been mistakenly faulted as mere tricks of apparatus.  However, both innovations were born from the desire to push boundaries and increase the potential for movement and expressiveness, not from a hope to create spectacle.  Nicole explained how California based Terry Sendgraff is responsible for the creation of modern aerial dance. Sendgraff, a modern dancer, experimented with a single point trapeze in the 1970s resulting in the development of her technique to vertically elevate the body. The lineage from this aerial dance pioneer to the D’AIR Aerial Dance Theatre is short.  Both Mermans and D’AIR co-director, Andrea Fors, trained with Susan Murphy, founder and former director of Canopy studio in Athens, GA.  Murphy trained directly with Sendgraff.

Shad Sterling, Andrea Fors, Fareedah Aleem, Beth Del Nero, Nicole Mermans, Justin Evans, & Shel Swenson. Photo by Keiko Guest Photography

“Part of what makes D’AIR unique is how we stay true to the modern dance roots of aerial dance while incorporating significant circus arts, acrobatics, multiple dance genres and theatrics,” explains Mermans.  She adds, “Although there is a lot of cross-pollination between circus arts and aerial dance today, by either bringing traditional circus acts such as flying trapeze closer to the ground or by bringing dance into the air, I believe the biggest difference between circus arts and aerial dance is the intent behind the movement. Circus art is fueled by outlandish stunts and tricks to garner audience applause while aerial dance is fueled by the intent to express oneself, with aerial work just being part of the vocabulary.  Aerial equipment helps expand our vocabulary so we aren’t limited to the floor or by gravity.  We strive to erase the line between being airborne or on the floor – both are equally valuable in our movement vocabulary.  And, if a piece does not call for us to go up or do some big trick, we don’t do it.  The equipment may become an extension of our bodies, our most intimate dance partner, or even take on a life of its own.  The most important thing is that a story is being told.  We use improvisational techniques during the creative phase of our productions and know we are along the right track when we lose sight of the physical function that the equipment plays.”

The D’AIR acronym stands for ‘Dream, Accept, Inspire, Revolutionize’ and these ideals infuse the culture of D’AIR Aerial Dance Theatre. The ensemble members’ virtuosic skills are highlighted by exciting, innovative and humorous performances, which collectively address philosophical themes. “We incorporate so many different elements”, says Mermans. D’AIR currently has four repertory shows that collectively explore philosophical ideas from humorous perspectives. “Audience members are invited to delve into the philosophical origins of the material or to come be entertained.  Our shows speak to young kids as well as adults and I think that’s unique in the Atlanta landscape.  Part of our mission is to give a voice to everyone – even the tiniest voice is important.  I think we speak, in a sense, a lot of different languages and to a lot of different people. Our shows ultimately point to the ability to recognize others within ourselves.  The ability to overcome fear on a daily basis translates to everything we do at D’AIR.”

Shel Swenson, Nicole Mermans, Beth Del Nero & Andrea Fors perform. Photo by Steve Carmichael

D’AIR Aerial Dance Theatre company member backgrounds are as diverse as the thematic material the company explores.  Mermans shares, “Aerial dancers require a unique skill set that can’t be translated directly from any other movement art.  The grace of movement and musicality inherent in dancers make them ideal candidates for aerial dance in many ways.  However, going from being a dancer on the floor to being one in the air can be a large learning curve.  Core strength is used very differently when we are supporting ourselves from our arms with our legs suspended under us.  Dancers often have very developed legs but might not have the upper body strength required for aerial work.  Certain gymnasts and acrobats are more accustomed to using their upper bodies, however, we often find that those with super-flexible backs have a harder time accessing the strength in their lower abdominals.  D’AIR’s creative process is collaborative and we like to bring in company members with varied movement arts backgrounds.  For us, being able to act is as important as the dancer’s physical ability.  Our company members must possess strong character and the ability to work collaboratively, be supportive of our mission, and act as strong role models to our youth – all while being generally fun to be around.  The current seven member company is comprised of dancers with movement backgrounds ranging from classical ballet, hip hop, cabaret jazz, modern, Latin dance, tumbling and acrobatics.  The strength of each of these performers permeates the shows as they carry their dance from the floor into the air. This fusion of form creates unique multidisciplinary and seamless productions.”

D’AIR Aerial Dance Theatre is available for bookings and touring.  Learn more about the company and The D’AIR Project at www.dairproject.org.

Top photo: Justin Evans, Fareedah Aleem, Nicole Mermans of D’AIR Aerial Dance Theatre. Photo by Aldridge Murrell

By Kristy Johnson.

She’s just won the latest season of Dancing With The Stars, alongside partner Donald Driver, making her hot property. Here, Dance Informa caught up with Australian native Peta Murgatroyd, to find out how she stays looking so good outside of the dance studio.

How would you describe your exercise regime? What forms of exercise do you enjoy the most?

I have to work out every day. I need to break a sweat. Running is my main go-to, whether on the road or on the treadmill. I also love to go hiking at Runyon Canyon.

How important is it for you to exercise outside of the dance studio?

Right now with the current season of Dancing With The Stars, I haven’t done much exercise outside of dancing. During the off-season I really need to keep my body in shape, as I’m not dancing as much as I do when I’m on Dancing With The Stars.

Do you work with a personal trainer?

Yes, his name is David Walters. I work out with him twice a week. We do strength training, to keep my body strong, and Muay Thai.

Photos by Rod Foster

Are there any fitness trends you would be keen on giving a go?

Zumba and Bikram Yoga.

Are you quite strict with your diet? What would you eat on an average day?

I usually eat chicken salads, granola bars, vegetables and a little bit of chocolate.

What would be your favourite healthy snacks to eat, when you’re on the go?

I love granola bars, dried fruit and Gatorade.

Do you have any guilty pleasures?

Yes, I love bread and pasta.

Being a professional dancer, do you find pressure to always stay looking so good?

Always – especially coming from a ballet background, as you always have to keep slim.

When you have free time, how do you like to pamper yourself?

With massages, facials, pedicures and all the girly stuff.

By Laura Di Orio.

Joffrey: Mavericks of American Dance is a film that tells the story of one of America’s top dance companies, The Joffrey Ballet.  The documentary includes interviews with some of the original company members, rehearsal and performance footage, and clips of Robert Joffrey and Gerald Arpino, the two men who began it all. A project that originated in 2008, Joffrey: Mavericks of American Dance has been shown in screenings in select theaters around the country since January 2012 and is available to purchase on DVD beginning in June 2012.

The documentary, directed by Bob Hercules, highlights the journey of The Joffrey Ballet from its beginning as a six-member traveling ensemble to a full-fledged establishment now based in Chicago, Illinois. As the title denotes, the film portrays the company as a maverick – the first American dance company to integrate modern dance into its classical ballet base, and one that was so connected to political and societal events of the time.

Gerald Arpino and Robert Joffrey at the American Ballet Center in the 1960s. Photo by Herbert Migdoll

Hercules says the idea for a documentary came about when he was asked to do oral history interviews with Arpino, whose health was fading, in 2008. After speaking with Arpino, Hercules realized there was a great story that could be told and approached producers about funding a film. For Hercules, The Joffrey’s tale was a classic story – one with several rises and falls – and the company’s contribution to the American dance world was pivotal.

“They had a profound effect on the world of dance in America,” Hercules says. “I think they were really the first American dance company that wasn’t quite as pulled in the Russian and European traditions as some of the other companies. They were also very eclectic in a way that other companies of the time maybe weren’t, and they didn’t seem to be so concerned with body type or racial makeup.”

Una Jackman, one of the film’s producers and the woman responsible for bringing The Joffrey to perform in Detroit for the past 12 years, also says that the strong bond between Joffrey and Arpino, who started the company when they were 16 and 22, respectively, makes The Joffrey’s story worth being told.

“Robert and Gerald started out as lovers, and then that ended, but their relationship, their deep friendship never ended,” Jackman says. “They stayed living together until Robert died in the 80s, and they had a commitment to having an American company that spoke about America and spoke about the times. They stayed with this company, 50 years of commitment, ups and downs, sometimes it wasn’t going to work, but they never stopped their commitment. So it’s about a relationship as well, as much as it’s about dance.”

Joffrey Ballet's 'Light Rain', choreographed by Gerald Arpino. Photo Herbert Migdoll

In Joffrey: Mavericks of American Dance, Hercules wanted to be sure to include crucial works in The Joffrey’s repertoire, including Kurt Jooss’ The Green Table, Joffrey’s psychedelic rock ballet Astarte, Twyla Tharp’s Deuce Coupe, Leonide Massine’s Parade, and Arpino’s Light Rain and Trinity. Hercules uses rehearsal and performance footage, as well as interviews with some of the dancers who originated these pieces, to capture the story and importance of these works.

“The dancers themselves were so great when I interviewed them,” Hercules says. “They were fantastic storytellers, really engaging and very funny people. One thing people don’t expect is how much humor is in the film, and I just thought that was great. I think humor is important in life and in film, so I try to work in as much humor as I can.”

Jackman agrees. “When you watch a company perform, you see them dancing and it’s very beautiful, but there’s a back story,” she says. “I think learning about the dancers, learning about their human condition, was really rewarding, and getting to speak to them, to see how passionate they are. Many of them said, ‘If it wasn’t for Joffrey I don’t know what I’d be doing today. Joffrey saved my life. Gerry and Robert, they were my parents.’”

Both Hercules and Jackman believe that all viewers – dancers and non-dancers – can benefit from the film and from The Joffrey Ballet’s story.

Director Bob Hercules on the set of the Joffrey film. Photo courtesy of Media Process Group

“It’s simply a great story, which rises and falls, with tremendous tension and drama, humor, all the things you want in a great story, a great film, and that’s a great takeaway for people,” Hercules says. “For dance fans, I think they’ll gain a much deeper understanding of The Joffrey, of where they came from, what the context of the times were that they came out of, and how they evolved as a company, and also some of the revolutionary works that they did.”

Jackman says that the four-year process of creating Joffrey: Mavericks of American Dance was indeed a labor of love and one that was very rewarding. “I’ve had people come up to me and say, ‘I really loved that movie. I didn’t really know a lot about dance before that, but now I want to go to the ballet. Now I want to see more.’ That, to me, is the most rewarding,” she says. “That, to me, just makes it all worthwhile.”

Joffrey: Mavericks of American Dance continues to tour around the country, and the DVD to be released this month will also contain a companion disc with even more stories from The Joffrey Ballet. For more information and to purchase the Joffrey: Mavericks of American Dance DVD and other merchandise, visit www.joffreymovie.com.

By Emily C. Harrison MS, RD, LD

1. Eat more vegetables

I can’t stress the importance of this strongly enough.  Aim for at least 4 servings per day, and the more colorful your selection the better.  Vegetables contain important bioactive compounds such as phytonutrients like polyphenols, flavonoids, carotenoids and lycopene. These are powerful cancer fighters.  Dancers can’t go wrong with eating more vegetables. Veggies are low calorie, low fat, high in fiber, and high in vitamins and minerals such as vitamin C, folic acid and selenium.

2. Eat more fruits

Fruits also contain the cancer fighting phytonutrients listed above. Fruit is the ultimate convenience snack. It is easily portable, tasty, and many varieties don’t need refrigeration. Throw an apple or orange in your dance bag today. Keep a bowl of washed grapes in your fridge for healthy snacking when you want something quick.  Fruit is delicious, easy, low calorie and packed with nutrients. Try to get your fruit from the whole fruit and limit or avoid sugary juices.

3. Reduce your consumption of meat

Eating a plant based diet has been shown again and again to reduce risk for cancers, not to mention the risk of heart disease and diabetes. The American Dietetic Association states that vegetarian diets can be healthy for persons of all ages and activity levels and may prevent certain diseases.   It is entirely possible to eat a more plant based diet if you are a dancer or other athlete. Get important nutrients like protein, iron and zinc from a well varied diet that includes beans, nuts, seeds, whole grains, and vegetables.  Dancers need slightly more protein and iron, but high meat intakes and excessive heme iron (from meat) may actually increase cancer risk.  Beans and leafy greens contain iron and these foods help fight cancer.  If you are a vegan you will need to supplement your diet with B12. Plant based diets also help reduce greenhouse gases and are better for the environment.  If you are interested, talk to a registered dietician about planning well balanced plant based meals.

4. Stop smoking now!

Seriously, enough said.  Not smoking is one of the single most important things you can do for your health and the health of those who breathe the air around you.

5. Lose the extra pounds if you are overweight

Excess weight is a major risk factor for many different cancers.  The Center for Science in the Public Interest recently reported that putting on weight when younger (in your 20s or 30s) as opposed to later in life can increase risk for endometrial cancer.  Preventing or delaying weight gain can pay off in lower cancer risk.  Meeting with a registered dietitian can help you develop a plan that you can stick to long term. It’s not about losing a few pounds quickly, real health comes from lifestyle changes that you can live with over time.  Start off by limiting portion sizes and eating more veggies, then gradually add more steps until you reach your goals.

6. Eat more naturally and limit processed foods

I know we are all busy, but dancers have to be judicious about what they feed their bodies. Processed foods (including soft drinks) are not only more expensive, but usually pack a high calorie punch.  They can contain preservatives, additives, high-fructose corn syrup, and other unhealthy stuff that dancers don’t need. Buy foods in bulk, make big portions when cooking and freeze the extra. Invest in a slow cooker so you can throw some ingredients in and it will be all ready when you come home from a long day.

7. Get adequate vitamin D, but don’t mega dose

As dancers we all know the importance of vitamin D in strong bone density (preventing stress fractures). But you may not know that vitamin D has been shown to also be cancer protective.  For the dancers that I work with, I typically recommend getting approximately 800 IU per day.  That may mean having to supplement for dancers who are avoiding dairy. Getting 10-15 minutes of sun can be a good source too, but of course we don’t want to increase our skin cancer risk by baking in the sun for too long. If you supplement, be careful not to mega dose. Vitamin D can be toxic in high amounts.

8. Exercise regularly

Most dancers get plenty of exercise, but if you are recovering from an injury or if you are a former dancer it helps to schedule exercise just like you would schedule anything else.  Try something new or out of your comfort zone like a different style of dance, martial arts, yoga, or rock climbing. If you are currently dancing regularly; swimming or pilates can be great activities for cross training on days off.

9. Limit alcoholic beverages

New reports from the US National Institutes of Health state that women who have one drink per day can increase their breast cancer risk by 5%. Heavier drinking can increase risk by as much as 50%. Women who have a strong family history of breast cancer should avoid drinking altogether.  Another consideration for dancers is that even one drink can negatively affect athletic performance for several days after consumption.

10. Avoid BPA in canned foods and plastic containers, and don’t microwave food in plastic

BPA is a building block of plastics and exposure (especially in children) may increase cancer risk.  BPA can be found in some plastic containers and in the lining inside cans. The Center for Science in the Public Interest, The Environmental Working Group, and the Harvard School of Public Health all warn of the dangers of exposure to BPA. Try using glass containers to store food, or look for “BPA free” if you must use plastic. We can all benefit from less plastic in our lives.  Plus eating fresh is always better.

Emily Harrison
Emily Cook Harrison MS, RD, LD
Emily is a registered dietitian and holds both a bachelor’s and master’s degree in nutrition from Georgia State University. Her master’s thesis research was on elite level ballet dancers and nutrition and she has experience providing nutrition services for weight management, sports nutrition, disordered eating, disease prevention, and food allergies. Emily was a professional dancer for eleven years with the Atlanta Ballet and several other companies. She is a dance educator and the mother of two young children. She now runs the Centre for Dance Nutrition and Healthy Lifestyles. She can be reached at emily@dancernutrition.com www.dancernutrition.com

Sources and additional information can be found at:

Alcohol and cancer risk:  www.nlm.nih.gov/medlineplus/news/fullstory_123484.html

BPA:/www.hsph.harvard.edu/news/press-releases/2011-releases/bpa-exposure-behavioral-difficulties.html

The Environmental Working Group: www.ewg.org

www.ewg.org/meateatersguide/

Plant based diets and disease prevention: The Physicians Committee for Responsible Medicine www.pcrm.org

Scarborough P, Allender S, Clarke D, Wickramasinghe K, Rayner M.  Plant based diets and the environment: Modelling the health impact of environmentally sustainable dietary scenarios in the UK. Eur J Clin Nutr. 2012 Apr 11

Campbell T C, Campbell TM.  The China Study. Ben Bella Books, 2009.

ADA position statement on vegetarian diets: www.eatright.org/about/content.aspx?id=8357

Murphy MM, Barraj LM, Herman, D, Xiaoyu BI, Cheatham R, Randolph RK. Phytonutrient intake by adults in the United States in relation to fruit and vegetable consumption.  Journal of the American Dietetic Association. Feb, 2012.

Link A, Balaguer F, Goel A. Cancer chemoprevention by dietary polyphenols: promising role for epigenetics. Biochem Pharmacol. 2010 Dec 15;80(12):1771-92

Krishnan AV, Trump DL, Johnson CS, Feldman D.The role of vitamin d in cancer prevention and treatment. Rheum Dis Clin North Am. 2012 Feb;38(1):161-78.

Photo: © Braden Gunem | Dreamstime.com

By Tara Sheena.

You’ve seen his smooth moves gracing promo events for the high-school-hopefuls on Oxygen’s The Glee Project; you’ve caught his tightknit choreography on Extreme Makeover: Home Edition featuring beloved Broadway beauty, Kristen Chenoweth; you may have even witnessed the exciting chatter erupting after his class at Broadway Dance Center (BDC) on a Tuesday afternoon, but do you know the man behind this diverse spread of choreographic terrain? It is none other than Jim Cooney, Broadway vet and master teacher, who currently spreads his knowledge and know-how four days a week at Broadway Dance Center. Cooney not only teaches four high-energy classes weekly, but he advises the elite Professional Semester training program as well as the Summer Intern program.

Given all his roles within the BDC community, it is evident that Cooney is passionate about teaching students of all levels. In one week, he can encounter up to 200 different students at the busy NYC studios and says it is “seeing them succeed is the most rewarding and gratifying experience.” In particular, it is the students in the Professional Semester and Internship programs that fuel this joy. Cooney works intimately with them to acquire skills to sustain a career in dance. Those skills range from technical training to developing audition prowess, but the most important, according to Cooney, is developing performance skills.

“It’s the way the dancer interprets and executes the movement that matters most,” Cooney explains. “I often tell my dancers that your face is indeed part of your body and that their dancing doesn’t happen from the chin down.” One of his methods is to encourage his students to approach dancing like an actor would approach interpreting a script. This means asking questions like, ‘Who am I?’, ‘What do I want?’ and ‘How do I get what I want?’ Cooney feels it’s essential to know why you are doing each step before you do it; he encourages his dancers to think about their personal connection to the steps he gives them— “only then will it be organic and true,” he notes.

Being a former dancer himself (he’s been a dance captain for eight major productions!), Cooney understands what a vulnerable experience this approach can be for many aspiring professionals. For this reason, he strives to ensure the classroom environment is as safe and supportive as possible so the “students feel secure to let go.” Cooney also believes this environment enhances what it means to be a professional dancer.  “The more we work together, the more we can create,” he states, “Being cutthroat or negative does not in any way help you get a job. More importantly, it doesn’t feel good to have that animosity in your heart.”

Cooney’s classes are more than physical training or an amalgamation of repertoire. His views and approaches reflect important life lessons that any individual, dancer or non-dancer, can benefit from. One of the largest pillars of his approach is the lesson of gratitude. He knows pursuing a career in professional dance is a tough business that can be made more difficult with competitiveness in class, rejection, and the relentless toll that performance can take on the body and mind. To thwart this oftentimes-unpredictable lifestyle, he tells his students to think of ten things they are grateful for every night. “It puts you in the practice of knowing how many wonderful things you have in your life, and also let’s you fall asleep in peace,” he says.

Cooney conducts a rehearsal at Broadway Dance Center

Remembering gratitude, maintaining professionalism, and giving an authentic performance each and every time, sounds like the ideal performer to me. And, it works. Cooney’s students have gone on to win leading roles in Broadway and national tours, and professionals consistently pop into his weekly classes.

“We’re blessed to be able to do what we love for a living everyday,” Cooney states. And, for the students and professionals who have taken class with Cooney, I am sure they all agree.

Catch Jim Cooney’s classes weekly at Broadway Dance Center.

Photos: All photos courtesy of Jim Cooney.

By Stephanie Wolf.

Thoughts of ‘making it’ as a dancer can conjure up images of scenes from the 1970s Broadway hit A Chorus Line, with leotard-clad dancers singing, “I hope I get it!” Jump to more than 40 years later and, while the sentiments have not changed, the audition scene is a very different game. As part of its intimate Artists Talk Series, Steps Beyond, the performance and special event division of Steps on Broadway, addresses the concerns of finding employment in the dance field. Panel discussion “Getting the Job”, featured guest panelists Joshua Bergasse (Choreographer for NBC’s Smash), Ruthlyn Salomons (Resident Dance Supervisor for The Lion King), Lucille DiCampli (Director at MSA Talent Agency), and Tiffany Little Canfield (CSA, Telsey & Co).

Auditioning is a necessary evil in the dance profession and it’s crucial for dancers to be prepared and open for opportunities at all times. The good news; according to MSA’s Lucille DiCampli who has worked in every avenue of dance, is that there has never been more dance work available. Dance is in high demand across multiple entertainment mediums and, as it mainstreams, there is more employment and compensation to be had. However, this dance explosion also means fiercer competition. Directors and choreographers’ expectations are higher than ever and company dancers are now jumping on the bandwagon, wanting to be a part of dance’s integration into pop culture.

Steps’ panel of dance experts all had an opinion on the ever-evolving dance profession and how to hit the audition scene running. “One of the things you have to think about as an artist in general is staying current, connecting to what is happening right now,” DiCampli says. Now, dancers need different tools and the panel was unanimous in pointing out that dancers need to be Jacks or Janes-of-all-trades. “There isn’t anything they don’t expect you to do,” says DiCampli. From all styles of dance, to singing, to acrobatics, partnering, and improvising, dancers need to show up to auditions with their full bag of tricks in tow; the modern day dancer is a multi-faceted artist.

With all of this in mind, how does one prepare for an audition? From years of experience in casting, Tiffany Little Canfield insists that having a resume, photographs/head shot, and a well edited reel—all of which are accurate and “show how special you are”—are important in getting a job.  DiCampli adds, “Do your research. Walk into an audition and book it because you understand what they are looking for.”

Both Salomons and Bergasse chime in, explaining that personality is just as important, if not more, than technique. “[The dance studio is] a very sacred place,” says Bergasse. The choreographer likes to “fill the studio” with positivity and strong work ethic, allowing the freedom to create. “[Choreographers] hate being in the studio with jerks,” he laughs. But all joking aside, a dancer needs to show that he or she is a good fit for a position on all levels. In a long-running Broadway show like The Lion King, a new dancer needs to mesh well with an already established “family” of dancers, actors, and singers. When considering new hires, Salomons and the rest of the show’s creative team evaluates whether or not a dancer can put an optimistic spin on the audition process, learn quickly under pressure, and execute the steps well despite nervous energy.

Additionally, physical fitness should always be at the forefront of a dancer’s mind. Salomons comments on the rigors of performing eight shows a week, stating that cross-training and taking class is essential to surviving the strenuous costumes, props, and repetitive movement. Little Canfield agrees, “It is insanely physical on Broadway right now.” She stresses that dance is not merely a paycheck, it’s a lifestyle. To have a successful dance career, a dancer must eat well, get enough sleep, and stay in shape. A dancer must invest in his or her body.

Ultimately, the thing to remember is that the creative team is actually on the dancer’s side. Every audition is a chance to network and be seen by someone important in the industry. It’s impossible to plan out a career, but sometimes the stars align and the right person sees a dancer in the right setting. “You don’t even realize the people you are standing next to,” DiCampli says with an upbeat tone. Additionally, patience will take an individual a long way in this profession because no one actually becomes a star overnight. “Life is not a reality show,” says Bergasse. “You got to put your time in…and build your career.” Look good, feel good, and give off good vibes. There’s no exact recipe to getting a job, but it takes much more than walking into the audition room and saying, “Here I am!”

Be sure to check out Steps on Broadway’s upcoming panels.

Step’s Artists Talk Series facilitates a safe environment for both student and professional dancers to engage in conversation, network, and expand their knowledge about the vast dance community around them. For more information on Steps’ Artists Talk Series or to learn about other Steps Beyond programs, visit them at www.StepsNYC.com.