Now available for download and DVD purchase, Movement One is a new, exciting dance documentary that follows producer and composer Jon Arpino and Emmy-nominated choreographer Teddy Forance as they create an original dance production for film.

In just eight days, 20 dancers collaborated to choreograph and perform a 30-minute dance production set to an original score. The film takes viewers into the studio to witness the entire creative process—from choreography to music composition—concluding with a performance that pushes the boundaries of dance on film.

When Artistic Director Teddy Forance was faced with the challenge of choreographing this dance production within such a short timeframe, he opened up the creative process to be a fully collaborative effort. This film is a celebration of Forance’s ability to create diverse, visually compelling movement, and a testament to all of the dancers’ collaborative process.   

Movement One features well-known dancers such as Teddy Forance (All the Right Moves), Stephen “Twitch” Boss (Step Up), Jaimie Goodwin and Allison Holker (So You Think You Can Dance), Kathryn McCormick (Step Up Revolution) and Michael Keefe (Rasta Thomas’ Bad Boys of Dance). The dancers have performed with singers such as Taylor Swift and Chris Brown, and have toured internationally in Broadway shows and Cirque du Soleil productions. 

Composed by Jon Arpino, Movement One features 40 minutes of original music, all of which was created during the eight day project.

“Choreographing and composing in eight days pushed us as artists!” says Arpino.

Arpino worked closely with all of the dancers to create music that both developed the theme of the performance and was customized to the dancers movement. Additional music for the performance was provided by Jonny Forance.

“Jon and I were so inspired to create Movement One,” says Forance. “Having the opportunity to have all these incredible dancers in the same space was epic. Jon created the music on the spot which was unique and fun to shift the energy quickly in the rehearsal process.”

“Composing music for the film was really a dream come true for me,” adds Arpino.  “I took up composing and music production as a hobby when I was 16, but I never really had an outlet for my music. When Teddy and I decided to produce Movement One, we figured this would be a great opportunity to combine our strengths and create a unique collaboration of music and dance.”

“Producing the film posed a whole new set of challenges, which proved to be just as enjoyable as working on the music,” explains Arpino. “Raising money and pitching your concept to investors is an exciting process – and getting the green light on producing your film is a great feeling. From there, the process of working with producers, directors, editors and the film crew allowed Teddy and me to collaborate on every part of the creative process. Overall, producing the show spanned a total of about 12 months, in stark contrast with the eight days we had to choreograph and compose Movement One.”

Movement One was produced by CLI Films in association with Collaboration Factory. Founded to create innovative performances that capture dance, music and artistic collaboration on film, CLI’s mission is to showcase artistic talent in an honest way, paying homage to the dancers’ genius and telling real stories void of scripts and staging.  

“Teddy and I are extremely proud of Movement One,” says Arpino. “We set out to make a film that captures dance, music, and real artistic collaboration on film, and I think we achieved those goals. We didn’t have a script, we didn’t re-stage scenes for the cameras, and I think this honesty translated into a more relatable final product. Dancers, and artists in general, will appreciate what their seeing on film because it’s a very relatable creative process.” 

“Dancers should see this film because it will really open your mind to movement. It’s packed with so many powerful visual and emotional moments that I think many artists can connect with,” adds Forance.

Click here to watch the trailer, download the documentary or buy the DVD. The original soundtrack is also available for download.

Photo (top): Jon Arpino and Teddy Forrance

By Kristy Johnson.

As Madonna’s personal trainer and the creative director of the ‘Addicted to Sweat’ program at Hardy Candy gyms, Nicole Winhoffer knows what it takes to keep Hollywood’s elite in tip-top shape. Yet, from speaking with the fitness guru, it becomes clear that it’s her passion for dance that has led her down such a successful path. Securing her first Broadway show at only 17 gave her a taste of what the future could hold with hard work and dedication.

Here we chat with Nicole about her dance background, working on Broadway and what it’s like to choreograph alongside the Queen of Pop.

Can you tell us about your dance background?

I began dancing at 7 years old. At 12, I began to seriously train in the Balanchine method of ballet and all other forms of modern, jazz, musical theatre and hip-hop. I was exposed to the best teachers who not only offered the best training, but were also working in the industry. I would have my parents take me to Manhattan to take adult classes at Broadway Dance Center and Steps on Broadway. Training with adults and professionals pushed me to the next level.

At 17, I booked my first Broadway show! This was the first national tour of 42nd Street. I didn’t get to go to my senior prom, but it was worth it! The best school in life is pure life experience.

Nicole Winhoffer. Photo courtesy of Xthestudio.com.

How was the experience of working on Broadway?

I was a swing and assistant dance captain for Andrew Lloyd Webber’s Bombay Dreams on Broadway. I was also attending Fordham University simultaneously; living in the dorms, going to class full-time, and by night, doing eight shows a week. My schedule was jam-packed as we began the show in New York with lots of rehearsals. But the experience was amazing! I was 19 and matured quickly. I had a lot of responsibility by covering eight girls and understudying four.

What did you learn from this experience?  

Broadway is such a great gig. You live in New York, have a call time 30 minutes prior to the show, work with talented artists and perform on stage. Your theatre is your ‘home’. After the show is over New York is your oyster!

As a dancer, I learned the importance of warming up and taking care of your body. Once you become a working dancer, it’s up to you to continue your training, including warming up, and body conditioning. With eight shows a week, heavy costumes, heavy wigs, heels and choreography repetition, taking care of your body is essential.

Was becoming a personal trainer a natural progression for you?

I come from an athletic family. With mum, dad and three soccer-playing younger brothers – fitness was in the blood! I would wake-up every morning before school to do my personal workouts: stretching, running, dancing and improving my craft. By dancing every afternoon after school, my curiosity toward the human body grew. I saw the amount of power and control that one had to change and improve their body.

This curiosity carried through up until now. During my work as a Broadway dancer, I developed my own body conditioning routine that allowed me to perform eight shows a week. I take class and have been a member at many different gyms. Being a student allows me to continue to learn. So, to answer your question – No I never thought I would be doing what I am doing today! It kind of just chose me!

Nicole Winhoffer. Photo courtesy of Xthestudio.com.

How did you become Madonna’s personal trainer?

I was on the European leg of her Sticky and Sweet Tour in 2009. I worked and assisted her and her dancers on their dance-conditioning regime. Watching her creative process inspired me. I watched her shows and danced with her and her dancers. I developed new solutions to fitness, combining performance, dance, anatomy, physiology and kinetic energy, and in the process, became her primary trainer.

How would you describe your working relationship with Madonna?

I love working with Madonna. We’ve seen each other six days a week for the past four years. It’s hard work, discipline, focus, perfection and high energy. Every day is a new day. We are machines, pushing our body to its potential. I have notebooks filled with all her programs and choreography. If she doesn’t like something, she will suggest a change to fix it. I like working like this. When we workout it’s a collaborative exchange and process. We stay creative even while working out!  

What’s next for you?  

I want to be the best in my industry – hone my craft, develop more innovative programming, collaborate with musicians and DJs, collaborate with fitness apparel brands, travel the world, shoot more DVDs, finish updating my website, collaborate with artists, take care of my clients and continue to stay grateful and in love with the world!

Photo (top): Nicole Winhoffer. Photo by Adam Rindy.

By Chelsea Thomas.

At 17 years old, Ohio native Dwight Rhoden was playing the clarinet, flute and drums in his high school’s band. He had never taken a dance class and didn’t even know what the word “choreography” meant. He admits that while he was “good at social dancing” he was clueless to any real technique.

Rhoden even remembers the first time a friend suggested he take a dance class. “One day in high school I entered a dance contest at a local club. I didn’t have any formal training but I would just make up these elaborate steps and routines. My friend, who was actually a dancer, looked at me and said, ‘You know, you’re pretty good. Why don’t you take some real ballet and modern classes? See what you think. You really seem to love to dance.’” And as Rhoden explains, the rest is history.

Now the Co-Founding Artistic Director and Resident Choreographer of Complexions Contemporary Ballet, a celebrated and internationally-touring company hitting its 20th anniversary next year, Rhoden has established a remarkable and wide-ranging career. After beginning dance training late at 18 years old, he went on to successfully perform with Dayton Contemporary Dance Company, Les Ballet Jazz De Montreal and as a principal dancer with Alvin Ailey American Dance Theater.

As an accomplished dancer, Rhoden even appeared in numerous television specials, documentaries and commercials throughout the United States, Canada and Europe and was a featured performer on many PBS “Great Performances” specials.

Complexions Contemporary Ballet performs Rhoden’s ‘Mercy’. Photo by Sharen Bradford

Yet, Rhoden admits that those first few years as a young dancer were hard as many people thought it was impossible to begin training so late and make it as a professional. He recalls, “There were a lot of naysayers… even my family thought I had no chance. They told me not to get my heart set on it.”

However, that time of persistence, grit and determination only sharpened Rhoden. He would “eat, drink and sleep dance” and push himself harder. He says, “I never really thought about what I couldn’t do, only what I could. And I didn’t sit around listening to people tell me what I couldn’t do. I just didn’t set limits for myself, and I still don’t… That is why I am where I am now. It was 100 percent dedication and not looking back. I immersed myself in the art form.”

With that kind of perseverance, Rhoden blazed his career path to where he is now. Named “one of the most sought out choreographers of the day” by The New York Times, Rhoden has created works for numerous companies, including The Joffrey Ballet, Miami City Ballet, New York City Ballet, North Carolina Dance Theatre, Arizona Ballet, Aspen Santa Fe Ballet Company, BalletMet, Dance Theater of Harlem, Pennsylvania Ballet, Philadanco, Marinsky Ballet (Kirov) and Washington Ballet, amongst many others. Rhoden has also directed and choreographed for TV, film, theater and live performances, including So You Think You Can Dance, E! Entertainment’s Tribute to Style and Cirque Du Soleil’s Zumanity. Plus, among many other famous entertainers, Rhoden has worked with high-profile artists such as Prince, Lenny Kravitz, Kelly Clarkson, Nina Simone, U2 and Patrick Swayze.

Yet even with the multitude of companies, dancers and performers he has worked with, Rhoden says his crowning joy is Complexions Contemporary Ballet.

Dancers of Complexions Contemporary Ballet. Photos by Jae Man Joo.

“When Complexions came on the dance scene in 1994, I really feel like we changed the landscape of what contemporary ballet is. We were one of the first companies in both New York and the United States that was really trying to integrate on all levels,” says Rhoden.

The company got started almost by accident, Rhoden recalls. After leaving Alvin Ailey American Dance Theater with fellow company member Desmond Richardson, the two created a choreographic variety show that brought together a lot of their dance friends who were performing in assorted companies.

“For the initial project, we just wanted the dancers to come from all different aspects of dance. So we decided to call the project Complexions and get a theater… During the tech rehearsal Desmond and I sat down and watched what was happening on the stage and we looked at each other and said, ‘We’ve got to do something with this. This has to go beyond these performances.’ So right then and there Desmond and I decided to start a company. That was the beginning of the idea,” he remembers.

Nearly 20 years later, the company has become widely considered as “America’s Original Multicultural Dance Company” and is celebrated for its pioneering spirit. Rhoden says it feels a bit unbelievable to have come so far.

“I really feel nostalgic. I’m grateful that I’ve had the chance to have this opportunity with our company. It’s not an easy thing to start a company from scratch – it’s truly challenging. But I look back and there have been so many rewards along the way. I think I have learned so much.”

Dwight Rhoden working with Wendy Whelan and Desmond Richardson. Photo by Jae Man Joo.

And there truly is much to be proud of. In addition to helping to build a universal brand that continues to challenge traditional ideas, Rhoden has choreographed more than 80 original works for the company that have been presented on five continents and in over 20 countries – including the US, Canada, South America, Mexico, Europe, Asia, Poland, Australia, New Zealand, Russia, The Baltic Region, Egypt, Israel and the Middle East.

As a choreographer, one of Rhoden biggest inspirations and passions is engaging and challenging dancers. He takes pride in being called “a dancer’s choreographer.”

“I am one of those choreographers who is 100 percent inspired by the dancers in front of me. I love taking the talents they already have and the talents they are discovering and building something for them to shine with,” he says.

Desmond Richardson says, “Dwight has trained so many amazing dancers and that’s his gift. In the industry many of the formidable dancers call him the ‘dancer’s choreographer’ because of the way he challenges your aesthetic, and because of his range. He can do anything from street dance to the classical. I don’t think there are many choreographers like him with his range. To work with Dwight is to let your passion flow, to be on edge, and to be educated in the unknown.” 

Rhoden is so passionate about working with dancers that he says: “If I was never able to choreograph another ballet, I would still want to work in the studios with the dancers.”

Complexions Contemporary Ballet presents Rhoden’s ‘The Curve’. Photo by Bill Hebert.

Still, Rhoden is looking to the future with new, big dreams. Even while taking the time to celebrate his career and recent 50th birthday, he is not slowing down. With many projects in the works he keeps plunging forward. One of his upcoming projects is creating his own full-length Rite of Spring.

“I’ve always wanted to tackle the Rite of Spring so for next season I will be working on a two-piano version for Complexions. It will be premiered in Seoul, South Korea as part of a festival with seven other companies from around the world, which are all doing different versions of Rite of Spring. I will really start working on it in late July and early August.”

Also for his company, Rhoden is going to premiere a new Stevie Wonder ballet next season, saying, “Everyone can connect with some Stevie Wonder song from sometime along his career.” Furthermore, he will continue to choreograph for SYTYCD and the North Carolina Dance Theatre (where he is resident choreographer), and be directing Richardson’s solo show, which will feature Richardson dancing with a few guest stars. “I think that will be very exciting. We are hoping that will kickoff by the top of 2014, at the latest,” he says.

Somewhat secretively, Rhoden also revealed that he is currently working on a “very exciting Broadway project.” It comes out of one of his previously choreographed ballets and is in the works to go to Broadway next year.

One goal Rhoden and Richardson have for this year is to find Complexions a permanent home. Rhoden said they are scouting locations in New York City and elsewhere. Ironically, the company has had offices but not an actual studio space to call their own.

“Our education programs are very strong components of what we do – with Summer Intensives in three cities now – NYC, Detroit and Dallas. The programs are extremely competitive to get into and we simply can’t do all that we want to because of the lack of our own space,” Rhoden explains.

Complexions dancers. Photo by James Houston

“We have our feelers out in various parts of the country and have made some inroads in a few places. We have been nomads for nearly 20 years without a space of our own [and] Desmond and I are hot and heavy on the pursuit to have a permanent space.”

He says that there seems to be desire for Complexions to offer dancers training in the style of the company year-round. For that reason he is excited about finding a home where the company and school can continue to evolve. Moreover, Rhoden mentioned that Richardson and he have developed their own contemporary ballet technique through Complexions that is actually in the process of being trademarked.

“It’s basically taken classical ballet and added the torso. It encourages the movement of the upper body and is a very physical and athletic way of training. It will prepare dancers for anything off center,” he says.

Overall, when dually reflecting back on his momentous career and his formidable future, Rhoden sees one trend – hard work and diligence. He says that while many dreams are outstanding – like perhaps working with American Ballet Theatre’s Misty Copeland, producing some film shorts, being an “on-camera host to talk about art, dance and the creative process,” amongst other possibilities – he knows that success  only comes if you refuse to give up.

“When I look back, I see that there was no guarantee that I could ever have a career as a dancer starting so late and having absolutely no training. There was certainly no guarantee that I would reach the level of some of the companies I danced with. I look at that and think of what a huge testament it is to hard work and diligence,” he says.

“It goes back to something I really believe – that if you have the passion for something that you really love and you stay true and focused to it, there is no way you will not be able to accomplish the things in your heart. That kind of belief and energy is powerful. “

For more information on Rhoden and his upcoming projects, visit www.dwightrhoden.com. For more information on Complexions Contemporary Ballet and its 2013-2014 season, visit www.complexionsdance.org.

Photo (top): Dwight Rhoden © Jae Man Joo Photography

By Laura Di Orio.

Becoming a professional dancer is like building a house from the ground up. You can’t start by adding the roof and interior decorations; rather, you must start by creating a solid foundation to support the structure and make it last. Similarly, a dancer must establish that foundation in technique before adding all the “tricks” and performance quality. And that foundation, according to many dance teachers and professionals in the field, is ballet.

“Because ballet has been constantly evolving for over 400 years, it has arrived at a very solid method of developing human movement potential for the stage,” says Stephen Pier, director of the Dance Division at The Hartt School of the University of Hartford, located in Connecticut.

“It’s still the most relevant technical training all around and can serve as a very effective way of organizing and developing the facility of the dancer. Most other techniques or styles have not been around that long. They are too limited to be the sole basis of training, and they haven’t worked out the science and art of dancing to the depth that ballet has.”

All of Pier’s students are required to take daily ballet class during their four years at Hartt. Ballet has proven to inform their dancing, and students have gone on to work in a vast range of professional companies – from Paul Taylor and Joffrey Ballet, to downtown contemporary and Las Vegas.

Like Pier, Dawn Hillen, master ballet teacher who currently teaches in NYC at Steps on Broadway, Broadway Dance Center and Ballet Arts, stresses the importance of ballet as a foundation of training. She says even her non-ballet-focused students have benefited. Some of her students who first started in hip-hop and found ballet later, for instance, said they felt definite improvement in their ability to change weight quickly, hit clean lines faster, focus and stay in the moment, and they became physically and mentally stronger.

Dawn Hillen leads a ballet class at Broadway Dance Center. Photo by Fiamma Piacentini Huff.

“You can use ballet to refine yourself,” Hillen says. “It creates a dancer or performer who is centered, balanced, lengthened and physically graceful. Just standing up is an art form, and it is a big part of your first impression. There have been a number of pre-professionals who were not getting work, and once they added ballet training to their daily or weekly routines, they began getting callbacks and jobs.”

Ballet contributes more to a dancer than just refined technique, too. Pier says ballet also imparts skills like “attention to detail, mastery, form, harmony, precision, discipline, social grace and awareness of the group – all skills that help young people succeed in the adult world.”

In addition, Yuka Kawazu, who has been teaching ballet in NYC for 15 years at various studios, including Ballet Arts and Broadway Dance Center, says, “We learn so many things, like patience, discipline, a different language, how to breathe, and we share joyful moments with other dancers.”

For these reasons, it is probably best to introduce ballet early on in a dancer’s training, to establish these skills in his/her dance and life. “If you really have the dancer’s best interest at heart, you must offer a proper ‘diet’ of training, and ballet is a big part of that good ‘diet,’” says Pier. “Not everyone is going to like broccoli if they’re used to eating candy all the time, but you might find some great recipes for serving it more tastefully.”

Still, some students may complain that ballet is “boring” or that learning the basics of technique is “slow.” In actuality, however, ballet is rigorous and demanding and a practice that requires great physical and mental control. To change a dancer’s approach from ballet as “boring” to ballet as “interesting” or “enjoyable,” Pier suggests taking a look at that dancer’s passion. Perhaps he/she is more focused on jazz. Then how can ballet support that passion, and what does ballet have in common with that passion?

Yuka Kawazu corrects a young dancer in her ballet class. Photo courtesy of Yuka Kawazu.

“Sometimes it’s good to show them how many successful artists in that field have studied ballet,” Pier says. “I like to point out in ballet class how different steps or phrases or movements relate to other dance techniques that I know a student is really turned on by.”

Similarly, as a teacher, Hillen says that when students come to her with the “ballet is boring” attitude, she tries to discover what they want, what they value and what drives them, and then she connects ballet to that. 

“The dancer can use this same approach on themselves to link up what they love with what they may need to do that, at first, seems ‘boring’,” Hillen adds. “Ask yourself what you want and what you like and how ballet is actually a means to creating those things.”

Many of Kawazu’s students are young Broadway professionals, and she says they have all come to realize the importance of ballet training to their career. Her teenage students have performed on Broadway in Finian’s Rainbow, Mary Poppins, Billy Elliot, Beauty and the Beast, Evita, Once, The Little Mermaid and more. 

Kawazu says she has had students who didn’t want to take ballet but should of in order to better their performing career. “I tell them that it’s okay to make a lot of mistakes and then they’ll learn,” she continues. “I mix between trying to make ballet fun and teaching more seriously. I would like them to feel that they can get better when they repeat the same exercises a few times. And when they hold their balance or can do the step, I see their face glow. I love that moment!”

In today’s dance world, where dancers are expected to be versatile, it probably doesn’t hurt every dancer, regardless of his/her concentration, to explore other dance forms. But it is the old tradition of ballet that seems to make the difference between dancer and professional. 

“Ballet is the ‘grandmother’ of them all in the Western world,” Pier says. “This system has evolved over centuries and has survived and absorbed every fad imaginable. It has great wisdom and logic imbedded in it, which every dancer should learn about. It’s not important whether or not you think you will become a ballet dancer. It is very important, however, that you become educated about your art and respect all of its various practices and practitioners.”

The Fox Theatre, Atlanta
April 23, 2013

By Chelsea Thomas.

Following seasons in London and on Broadway, Sister Act: The Musical has embarked on a national tour, which recently visited Atlanta for a weeklong engagement. On opening night on Tuesday, April 23, The Fox Theatre had a decent-sized crowd and lots of energy. However, even with the cheerful and responsive air, Sister Act fell short and exposed a myriad of both thematic and technical flaws. 

Based on the 1992 film starring Whoopi Goldberg (who is notably a producer of the current musical), this stage rendition strays from its source, transporting the story from early-90′s California to late-70′s Philadelphia and adding characters and occasional vulgarity where they wasn’t any before.

The story revolves around struggling disco singer Deloris Van Cartier who is forced to seek sanctuary in a convent after seeing her criminal boyfriend commit murder. Van Cartier, played by performer Ta’Rea Campbell, has to act like a nun and in the process begins to respect and care for her Catholic sisters. During her stay, Van Cartier also begins to revive the convent’s chorus, which in turn helps keep the dying church from being bought by a couple of bachelor antique dealers.

While holding onto the same skeleton of the film – the subjects of family, acceptance, redemption and transformation – the stage show still takes liberal leaps and bounds away from the original story by adding multitudes of witty zingers, abounding sexual innuendoes and somewhat excessive exaggerations. Not being Catholic, I had to wonder whether Catholics, and specifically nuns, would find the musical just plain offensive.

Patina Miller and the company perform in ‘Sister Act’. Photo by Joan Marcus.

Some examples of how the plot points became murky, and honestly, a little too satirical, are best exemplified in the moments shared between Van Cartier and the uptight Philadelphia Mother Superior, played by Hollis Resnik. Numerous times Van Cartier exhibits plain and unapologetic blasphemy, saying things like “Jesus Frickin’ Christ”, and promotes disrespectful, cheeky whips against the church, ending the show by saying something to the effect of, “Maybe one day you’ll realize humans are responsible for the good in the world, not God.” Mother Superior is not much better, playing the stereotypical uptight nun with the “log” in her own eye. She is constantly belittling Van Cartier and casting passive aggressive insults her way.

Yet, even with all these botched narratives, the musical did have many satisfying moments thanks to top-notch singers (namely Campbell as Van Cartier and Lael Van Keuren as Sister Mary Robert), Anthony Van Laast’s delightful and fun choreography, and Klara Zieglerova’s beautiful set paired with Natasha Katz’s dazzling lighting.

The music was light and catchy, with the Abba-like Sunday Morning Fever and the ear tickling Take Me to Heaven standing out. The balled of Sister Mary Robert, The Life I Never Led, felt forced and somewhat misplaced while the charming and wonderfully executed I Could Be That Guy, sung by character “Sweaty” Eddie Souther (performed by E. Clayton Cornelious), felt entirely authentic, natural and smooth. My personal favorite was the electrifying Raise Your Voice near the end of Act I.

Overall, Director Jerry Zaks did deliver a superb group of vocalists, actors and dancers, if only the script they performed had been more thoughtfully written. At about 2 1/2 hours total, Sister Act is one musical that could use some “divine intervention” along with some common sense and respect. As one reviewer commented, in one tune’s time the musical can shift from “sacred to profane and back again many times over.” Still, I can’t dismiss the clearly successful points either – the set, the singing, the costumes and the cutesy choreography – for that would just be “sinful”. 

Photo (top): Patina Miller and the Company in Sister Act: The Musical. Photo by Joan Marcus.

By Deborah Searle.

Roger O. Hirson and Stephen Schwartz’s PIPPIN is back on Broadway for the first time since it first thrilled audiences 40 years ago! Previews began on March 23, with opening night scheduled for April 25 at the Music Box Theatre on West 45^th Street in New York City. Produced by Barry and Fran Weissler and Howard and Janet Kagan, and directed by Diane Paulus, PIPPIN is sure to enchant audiences.

A beloved coming of age musical, PIPPIN is noted for many Broadway standards including “Corner of the Sky,” “Magic To Do,” “Glory,” “No Time at All,” “Morning Glow,” and “Love Song.” In the story, royal heir Pippin is spurred on by a mysterious group of performers to embark on a death-defying journey to find his “corner of the sky.” Will he choose a happy but simple life? Or will he risk everything for a singular flash of glory?

The original production of PIPPIN, directed by none other than Bob Fosse, premiered on Broadway in 1972. It won five Tony Awards and five Drama Desk Awards, and ran for close to 2,000 performances before closing in 1977. This production of PIPPIN made its debut at American Repertory Theater (A.R.T.) in Cambridge, MA, where Diane Paulus served as Artistic Director from December 5, 2012 to January 20 of this year.

The show will include circus creations by Gypsy Snider of the jaw-dropping Montreal-based circus company Les 7 doigts de la main (also known as “7 Fingers”) and choreography by the talented Chet Walker.

“The choreography is based in the Fosse Style,” explains Chet Walker, who was in PIPPIN’s original Broadway company. “I have used my years of working with Mr. Fosse to choreograph this new production.”

The cast, all of whom appeared in the premiere of Diane Paulus’s production of PIPPIN at American Repertory Theater, features Matthew James Thomas as Pippin, Tony and Olivier Award-nominee Patina Miller as Leading Player, Tony Award-nominee Terrence Mann as Charles, Tony Award-nominee Charlotte d’Amboise as Fastrada, Rachel Bay Jones as Catherine and Tony Award-winner Andrea Martin as Berthe.

Other members of the company include Erik Altemus as Lewis, as well as Gregory Arsenal, Andrew Cekala, Lolita Costet, Colin Cunliffe, Andrew Fitch, Orion Griffiths, Viktoria Grimmy, Olga Karmansky, Bethany Moore, Brad Musgrove, Stephanie Pope, Philip Rosenberg, Yannick Thomas, Molly Tynes and Anthony Wayne.

The design team includes Tony Award-winner Scott Pask (Scenic Design), Dominique Lemieux (Costume Design), Tony Award-winner Kenneth Posner (Lighting Design) and Tony Award-winner Clive Goodwin (Sound Design). The orchestrations are by Tony Award-winner Larry Hochman with music supervision by Nadia Di Giallonardo, and music direction by Charlie Alterman.

So what can audiences expect from this production of the classic? “We have combined an element of circus to this production,” says Walker excitedly. “The show has not been seen in Broadway for over 35 years. I think a new generation will have the chance to see PIPPIN as a new show!”

“I think the story, the character and the amazing songs, wrapped with a circus filled with magic, dance and acrobatic elements, makes it an amazing production.”

Tickets for PIPPIN are available through www.telecharge.com/pippin, by calling 212-239-6200, and in-person at the Music Box Theatre Box Office, located at 239 West 45^th Street. Tickets range in price from $59 to $142. For more information, visit www.PippinTheMusical.com.

Photo (top): From left, Anthony Wayne, Patina Miller and Andrew Fitch performing in PIPPIN at American Repertory Theater (A.R.T.) in Cambridge, MA. Photo by Michael J. Lutch.

By Tara Sheena in collaboration with Jennifer Jancuska.

In just two years, BC Beat has created a family of 32 choreographers, with two shows per year, and an undeniable buzz in the Broadway community. Each choreographer has a unique tie to Broadway and a dedication to developing theatrical work. Past choreographers have included Stephen Hoggett (choreographer of Tony Award-winning Once), Camille A. Brown (Camille A. Brown & Dancers, Alvin Ailey American Dance Theater), Al Blackstone (Capezio ACE Award Winner), Cherice Barton (Associate Choreographer of Spiderman) and Richard Hinds (Associate Director of Newsies).

What originally motivated Jennifer Jancuska to create BC Beat? “Passion, instinct and vision to create a space and opportunity for the Broadway community to explore ideas, share work, and connect in a supportive environment,” she informs me in a café close to her home in Park Slope, Brooklyn last month.

‘Dry Your Eyes’ being performed at BC Beat. Choreography by Jennifer Jancuska.

There is no question she has followed through with those ideas. It is clear why the audience and interest has grown through the years. As a catalyst for professional development between choreographers, directors, producers and creative team members, BC Beat provides a platform for curious and innovative theatrical choreographers to share original, story-driven work in an environment of heightened energy and, most importantly, support.

“I felt there was a space in the Broadway community to grow more support and creativity,” Jancuska said. She wants to forge “a positive experience for people who are in shows” and feels BC Beat is a welcome answer to the all-too-common problem of Broadway burnout.

However, despite BC Beat’s immediate interest amongst her peers, Jancuska never anticipated the event would become such a mainstay among her fellow Broadway and off-Broadway performers. Still, she had this feeling inside of her that she describes as nothing more than something she “just had to do.”

Jennifer Jancuska

The environment at a BC Beat event is a little different than the traditional, highly-staged performances found on the Great White Way. The performers are up-close and personal with their audience, who is situated on all sides of the stage, something that is important to Jancuska, as she notes that it holds the audience accountable to what they are watching. She views a seated audience as giving them “permission to judge,” whereas the in-the-round style is a chance for the audience to be actively participating. “You’re less likely to judge someone who’s right in front of you versus if they are not there,” Jancuska notes.

For the fifth installment of BC Beat next month at Cielo in NYC, attendees can expect the same high-energy, fun and intimate environments they have seen before. The mutual, simultaneous use of the space generates a collective energy of active participation by everyone inside, even Cielo’s bartenders who have been known to climb atop the bar to view each dance. The exciting line-up includes John Selya (Movin’ Out, Resident Director of Come Fly Away), Ryan Kasprzak (Associate Resident Choreographer of Billy Elliot, Assistant Choreographer SMASH), Cindy Salgado (Assistant Choreographer to Mia Michaels and Andy Blankenbuehler, performer with Crystal Pite’s Kidd Pivot) and, of course, Ms. Jancuska. With these top-notch talents, the next BC Beat sounds like it will easily live up to its hype.

Don’t believe me? Come see for yourself on May 6 at Cielo, located at 18 Little West 12th St., New York, NY.

BC Beat is created by Jennifer Jancuska, produced by The BringAbout Productions, sponsored by LaDuca Shoes and Broadway Connection with Murphy Made (photography), Dirty Sugar (videography) and Kendallen Design. Tickets are available via Brown Paper Tickets.

For more information, visit www.BCBeat.net, www.BroadwayConnection.net or www.brownpapertickets.com/event/360148.

All photos are courtesy of Jennifer Jancuska and BC Beat.

Julia Richman Theatre, New York City
March 22 2013

By Laura Di Orio.

The Italian International Dance Festival, which for the first time found its way to NYC this spring, proved to be a fun evening of dance and celebration, a time to honor some Italian “greats” and a way to bridge the gap between Italian and American dance cultures.

The one-night-only performance took place in the Julia Richman Theatre, a spacious venue to hold the packed house, with audience members including Luigi, the “master of jazz”; Ben Vereen, the legendary Broadway actor, dancer and singer; and many of the evening’s participating choreographers. Antonio Pio Fini, a dancer and choreographer originally from Calabria, Italy, was impressive in his artistic directorship of the entire festival, which also included an awards reception the night before. Fini also danced in two of the evening’s pieces and served as one of the emcees. 

After a bit of a delay (maybe next time assigned seating should be considered; although a nice idea, general admission seating sometimes leads to a search for seats together), the evening of dance and awards was underway. High school students from Talent Unlimited performed the opening number, a vibrant, cheerful tarantella. It was a wonderful way to begin the celebration of Italian dance and dancemakers.

A very done-up Italian woman came onstage to introduce the next work. Although an emcee was not entirely necessary when the audience had programs, her presence was friendly and casual. Michael Mao’s Kyrie, a piece dedicated to Zena Rommett, the Italian creator of Floor-Barre, was danced beautifully by Kristin Draucker and Fini. The work was set to music by Giuseppe Verdi, the Italian composer who is being celebrated this year for his 200th anniversary. Fini and Draucker were matched well together – he has a striking, crisp line, and her dancing was filled with a fluid lyricism, though internally strong. The pas de deux began with moments of high lifts and partnering until Draucker left Fini to dance alone. Then, just as the music and Fini’s dancing escalated to its fullest, she reappeared and there was some calm, a sense of release. Now, it seemed as though she was supporting him, holding his hands as he continued along a diagonal of envelopés with a collapsed upper body. The support system had been reversed, and it is she who dragged off her partner into the wings. 

Students from Talent Unlimited perform a tarantella by Nicola Lervasi to open the Italian International Dance Festival. Photo by Nan Melville.

Omiya Daisuke, a 24-year-old Alto Jonio Dance Emerging Choreographer winner, performed a stunning solo. Daisuke is a luscious mover, so captivating in his body’s manipulation and control. He combined a mixture of locking-type movements, hand gestures and absolute liquid-like connectivity from one limb to the next. He seemed to glide across the stage so silently, playing with his body in space. It was the type of movement that probably looks best on the person who created it, and it looked great on Daisuke.

Luigi’s Solitude, danced by Jessica Black, was a prime example of Luigi’s genius. His movement style is simplicity, but each moment and step is so smooth and so meaningful. The footwork and arms, beautifully executed by Black, were clean and musical. A recurring back soutenu with a lingering moment of the dancer’s back to the audience before she swiveled around was breathtaking. Black danced by herself, but she didn’t seem lonely; there seemed to be some remembrance, some acknowledgement of someone else.

Next, Luigi himself was honored with A Heart for Art Lifetime Achievement Award, presented to him by Vereen, who credited Luigi for keeping himself and other dancers dancing and feeling well, with Luigi’s motto of “never stop moving”. “Before there was the ‘j’ in ‘jazz’, there was Luigi,” Vereen said.

The dancing continued with other captivating performances, including the Italian company, Alex Atzewi Dance Company, who performed La Pelle Sotto L’Abito, a piece with daring lifts and floor work that showed off the dancers’ strength and flexibility. Although perhaps a bit too long for the type of mixed-bill performance (but certainly not to be missed given an opportunity to see them), the choreography and dancers were impressive and well-rehearsed.

Ben Vereen presents Master of Jazz Luigi with his Heart for Art Lifetime Achievement Award. Photo by Nan Melville.

Impressive, too, was Dancing with Noa, with music by Claudio Monteverdi. Noa Guy, who suffered a major brain injury and is half-paralyzed from a car accident years ago, was “dancing” with Fini, standing against him or behind him, lifted in the air or brought to the floor. The piece was spiritual and inspiring, and Guy appeared mystical with her long, gray hair flowing. The piece was received honorably with a near standing ovation.

Staten Island Ballet performed a beautiful piece, Moment to Moment, choreographed by Ellen Tharp, the company’s director. The evening’s only classical ballet work, with music of Anna Moffo singing Sergei Rachmaninoff, was in homage to the Italian Vespers. The ballerinas appeared in long, flowing dresses, bourréeing backward onto the stage, making breeze-like circles and appearing almost ghostly as they glided across. Sometimes they were scooped up by the company men, who continued to spin them off in the recurring spiral theme. There was a pas de deux for a beautiful central couple, with a corps of expressive dancers continuing to circle through the space. Three high, slow-turning lifts of women in different shapes ended the piece as the lights faded. The choreography was well-suited to the hymn-like music. 

The evening ended with another Luigi solo, New York, New York, danced by Erika Black. Again, Luigi proved himself to indeed be the “master of jazz”, and Black used her clean lines and strong musicality to accentuate his choreography. The piece was a perfect way to end the Italian International Dance Festival in NYC.

There is strong potential in Fini’s festival, and it is clear that the Italians have made and do make wonderful contributions to the dance and arts community. It will be interesting to see what he has in store for next year. 

Photo (top): Antonio Fini, artistic director of the Italian International Dance Festival, performs in Michael Mao’s Kyrie. Photo by Nan Melville.

By Tara Sheena.

Spring is in the air and with that comes many things: warmer weather, spring cleaning, flowers blooming, a budding love interest (or, maybe I’ve just been watching too many romantic comedies). However, the spring season always means an unusually busy New York City performance calendar. From uptown to downtown, the dance geek in me is reeling with a certain type of joy this time of year brings – dance shows galore! Whether you’re a Broadway lover, a renegade ballerina or even a budding neurologist, the next couple of months have a little something for every dance lover out there.

Below is a list of the top five events I am most looking forward to, in no particular order of course (who could choose?!). Catch them while you can…the light breeze of the spring air has the summertime heat hot on its heels and these performances will be gone with the wind before you know it!

Matilda The Musical at the Shubert Theatre, previews began March 4

Roald Dahl’s famed children’s book finds a life beyond the page this month on Broadway. After a wildly successful run across the pond at the Cambridge Theater in London, the sprightly bookworm finally makes her way to The Big Apple. This electrifying interpretation of Dahl’s signature story, with music written by Dennis Kelly and original songs by Tim Minchin, is already an early favorite for this year’s Tony Awards. Better yet, the inimitable Peter Darling (Billy Elliot, anyone?) brings his signature rhythm and flair to the choreography, having won last year’s Laurence Olivier Award for Best Theatre Choreographer. Plus, I hear there are some pretty outrageous costumes involved. Sounds like a very new spin on an old favorite and I cannot wait to see it! More information can be found at http://us.matildathemusical.com.

Harkness Dance Festival at 92Y, February 22-March 24

In a month-long stretch of back-to-back dance performances, the 92Y brings in contemporary dance’s gentle giant, Doug Varone, to curate a selection of today’s most innovative and thrilling artists. This festival is wonderful. Not only does it take place in the vast expanse that is Buttenweiser Hall, but it seems like a reunion of sorts in the way Varone is bringing his peers together for such an exciting performance series. Let the dance community rejoice! Varone’s company of physically luscious movers kicked off the festival on February 22 and upcoming highlights include the zany theatricality of Faye Driscoll (March 1-3) as well as the purely constructed work of Liz Gerring (March 8-10). All information, including a full calendar of events, can be found at www.92y.org/HARKNESSFESTIVAL.

Live Ideas at New York Live Arts, April 17-21

In its inaugural year, Live Ideas will host a five-day festival exploring the mind-body connection through the work of acclaimed neurologist and author, Oliver Sacks. Through a series of panel discussions, film screenings and live performances, ideas surrounding the physical and environmental pressures against the human body will be the focal point. Sacks’ work illuminates his range of interest, from weightlifting to stereoscopy, and for the first time, the myriad concepts behind his neurological practice will be displayed in this public forum. With discussion topics ranging from “The Natural World: Ferns, Cycads, and Cephalopods” to “Minding the Dancing Body”, this intriguing convergence of art and science is not to be missed. The best part? Many events are under $20 and some are even free! More information can be found at www.newyorklivearts.org/liveideas.

Dancing the Gods: Nrityagram’s Surupa Sen and Bijayini Satpathy at the Skirball Center for the Performing Arts, April 6-7, 2013

Surupa Sen and Bijayini Satpathy make a rare New York appearance with this magical and transformative performance of Odissi, the oldest classical dance form in India. Co-presented with the World Music Institute, the women will display this statuesque and emotionally-driven dance form in a series of solos and duets. Both principal members with India’s famed Nrityagram dance troupe, the women bring years of experience to this awe-inspiring style of dance, one that is rarely seen on the American stage. Tickets are bit pricier than my other choices but I think now you understand why. More information on this all-too-short performance run can be found at http://nyuskirball.org/calendar/dancingthegods.

Ballet v6.0 at The Joyce Theater, August 6-17
(Ok, so this is in summer, but it had to be mentioned)

The end of summer seems like a far cry from the brisk winter we have been experiencing in New York City lately, but The Joyce Theater is offering something different for the ballet lovers out there, and rightly so, since most ballet companies take the summer months off. Highlighting ballet companies that are working outside of a traditional large company hierarchical structure, the six companies of Ballet v6.0 represent a range of styles from across the United States. Troupes to look out for include the edgy and experimental BalletX from Philadelphia (August 6-7) and the contemporary athleticism of Company C from Northern California (August 9-10). For more information and the full line up visit www.joyce.org.

The Fox Theatre, Atlanta
February 5, 2013

By Deborah Searle.

After a not so successful season in London in 2010, Flashdance the musical has been reworked and now has a second chance to wow audiences in a US tour before hitting Broadway later in the year.

A stage version of the 80s cult classic movie, Flashdance tells the story of “Alex”, a steel worker by day and club dancer by night who dreams of being a trained, professional dancer. With a story all about dance, it’s no wonder there are many dance scenes, which was great for this dance lover.

The slogan for the musical is “One girl, one dream, one chance”, but the musical is really about a group of characters and their dreams and aspirations, and it took a huge team to create and successfully get this musical back to the stage. A colorful 80s explosion, Flashdance effectively took us back to the era of leg warmers, MTV music videos, and musical hits like “Maniac” with fitting choreography, sets and costumes.

With everything from ballet, jazz and hip-hop, to even break dance and pole, Flashdance features a wonderfully talented ensemble of versatile dancers.  The strength of the dance component was the large ensemble numbers where the dancers were all very neat and committed to every step, oozing 80s pizazz. Sometimes the 80s feel seemed a little forced, but the dancers gave a lot of energy and life to the steps. Many of the dancers probably don’t even remember the 80s! The ballet scenes were also a strong point of the production.

Emily Padgett as ‘Alex’ with the dancers of ‘Flashdance The Musical’. Photo by Kyle Froman

Some of the solo jazz dance numbers by the lead cast left me a little disappointed, however, with bent legs in an aerial cartwheel, a lack of turnout and extension when needed, and hops in pirouette.  That said, the lead performers, led by Emily Padgett as ‘Alex’, were all very talented actors and singers. Emily Padgett has a stunning voice and was a joy to listen to. She was very believable as the young, sassy ‘Alex’.

A few scenes were dissatisfying. The iconic, sexy scene where Alex sits on a chair and pulls a chain to shower herself with water, felt rushed and like it was just squashed into the program right before intermission. I was disappointed that this very memorable scene didn’t have more build up or resonance. Sadly, the pivotal final audition scene where Alex dances a jazz number for a panel of judges was poorly staged. The judges were on the side of the stage and Alex danced facing them, instead of facing us in the audience. This made it harder for us to feel engaged by her performance and left the dance number feeling a little flat.

The music is infectious and a feast of 80s classics like “Maniac”, “Manhunt”, “I Like Rock and Roll” and the movie title song “Flashdance- What a Feeling”, and the show is really quite fun and entertaining. Unfortunately though, I wasn’t blown away. I heard mixed reviews from the audience, but I was happy to hear people saying “I want to go dancing now”, as they left the theater. If Flashdance can inspire people to dance, then it’s definitely achieved something that we dancers can’t complain about.

Photo: Emily Padgett as Alex in Flashdance The Musical. Photo by Kyle Froman.