By Laura Di Orio.

At the age of 18 months, when most kids are perfecting their walk, Reed Luplau was beginning to dance. His mom ran a dance studio, Jody Marshall Dance Company, in Perth, Australia, and there Luplau grew up in the studio learning jazz, musical theater and acrobatics. His dancing allowed him a successful, memorable career in Australia and has since landed him in the United States, where he is now a permanent resident and lives in New York City. But he’s much more than just a dancer now; he also has choreographing, teaching and, most recently, acting, under his belt. And his expectations are still sky high. With his plate of skills forever growing, it is no doubt that Luplau, already a star, is growing brighter and brighter every day. He is a man on a mission, and nothing seems to stop him.

“I pretty much didn’t know any other life than dancing,” said Luplau, who ironically says he didn’t discover ballet until 14 years old when he saw his first classical production, West Australian Ballet’s Coppélia. He said he thought, “What is this? What’s going on? You can be paid to dance?”

This first sprouted more trips to the ballet, where he was also exposed to the company’s more contemporary works by choreographers such as Hans van Manen and Nacho Duato. Luplau was hooked. He decided to seek out a ballet school to train part-time, and then, at the age of 15, was accepted into The Australian Ballet School and packed his bags, left his family behind and moved to Melbourne to train full-time.

Reed Luplau in performance with Lydia Johnson Dance in NYC. Photo by Kokyat.

From there, Luplau ventured to Sydney to dance with the Sydney Dance Company under the direction of Graeme Murphy and Janet Vernon. His dance career was beginning to blossom – he was the poster boy during his second year with the company for one of Murphy’s new works, he was nominated for numerous awards and he was often a chosen dancer for outside choreographers.

One of those choreographers was Aszure Barton, a New York-based choreographer who created a work on Luplau and two other company members.

“She really changed a lot of my view of dance in Australia,” Reed recalls. “She kind of pushed my buttons and was like, ‘Reed, do you need to move? What are you doing here? Grow up. You need to come follow me to the States.’”

So, when Luplau was offered another contract with Sydney Dance Company, he turned it down and, in February 2010, moved to New York for good. “Just a hunch,” he says of his decision to move.

Since arriving in New York City, Luplau has danced with Stephen Petronio Company, Aszure Barton and Artists, Lydia Johnson Dance and Compagnie Julie Bour, among others. In September 2011, Luplau joined Lar Lubovitch Dance Company, which, for him, has been extremely rewarding.

“[Lar] is such a legend and he’s a dancemaker. It’s been such an honor to be involved with him, create with him and dance his beautiful work,” Luplau says.

Also in New York City, Luplau works with his agent and books gigs, such as a promo for Teen Nick and a dancing stint for the Lucille Lortel Awards opening night. In this way, he finds life as a dancer in the Big Apple different from the life of a concert or contemporary ballet dancer in Australia.

“The opportunity to be able to do things that come up has been fantastic – the versatility that comes with it,” Luplau says. “It’s not so one-stream. In this city the way you survive is you’ve got to book that job and take whatever you can get.”

Still, as an Australian with an O-1 Visa, there were jobs that Luplau couldn’t go for because of his status. So, rather than renewing his Visa, he made the investment in his career and applied for permanent resident status. It became official in August of this year.

Reed Luplau. Photo courtesy of Energetiks. www.energetiks.com.au

“I didn’t want to reapply for another Visa because I was just going to be doing the same things, and, for me, I need to keep evolving and I need to keep pushing my boundaries,” Luplau says. “That’s why I moved here. I would not have moved out of my home and become the struggling artist, to be honest, if I didn’t believe in it and if I didn’t want to push it. It’s expensive, but it was something I had to do.”

Luplau is convinced it will be worth it. Already he has been to his first Broadway call and did The Last Goodbye workshop, where he met Sonya Tayeh and Alex Timbers, both of whom Luplau says he never thought he would have met in his life.

Then one day, Luplau got a casting call for a feature film, 5 Dances, a predominately dance-focused film directed by Alan Brown. Luplau, who had never read lines before and had never had to portray someone else, went in for the call. A month later he was called back, and after a less-structured, improv-based callback, Brown told him, “I really like you. You can’t act, but we’re going to hire you.”

So Luplau, ever-evolving in his skill set, tried his best. The movie wrapped and is slated for an early 2013 release. By the end of the process, Luplau was so inspired that he sought out an acting school in order to serve his next quest: Broadway.

“It’s doable and I can do it,” Luplau says. “I want to do so much in the short time that we have on this earth, and Broadway is the next thing I want to do, so it’s time to figure out what to do and how to get there.”

With the help of the 5 Dances casting agent and Alan Brown, Luplau found an acting school that would fit in well with his dance schedule, where he has been studying since September.

“It’s a struggle,” Luplau admits, “but it’s something I believe in and it’s something I want to transition into. It’s challenging. I’ve been dancing for so long. Not that I don’t find dance that challenging anymore, but to be able to speak and portray someone else is difficult. I’m only two months in and I’m like, ‘Give me more.’”

It is this determination and thirst for more that makes Luplau’s goals seem just an arm stretch away. He understands that the world of Broadway is a competitive and challenging one, but he continues to strive.

“I feel that with all these extra tools that I’m picking up, it’s something that I want to do, and I’m very serious about it,” Luplau ensures. “That’s what I’m focusing on.”

That said, however, Luplau points out that New York City is one that is best lived moment to moment. “I remember I used to have such a clear vision,” Luplau says. “I mean, I have a vision of where I’d like to be, but five years from now I can’t tell you where I’ll be. Not that it sets you up for failure, but sometimes it sets you up for disappointment because it’s just life. Life just changes like that. This city and the way that everything is, you have to live day by day. Or check by check.”

But no matter where Luplau may be one year from now, one month from now or one week from now, it is sure that he will still be pushing his boundaries.

For more on Reed Luplau, head to his website at www.reedluplau.com/index.html.

Top photo of Reed features fashion by Energetiks dancewear. www.energetiks.com.au

Helen Hayes Theatre, New York, NYC
July 10 2012

By Belinda Adams.

Rock of Ages has enjoyed much hype recently thanks to the movie release, so to see the musical version on Broadway was a real experience.

The small theatre was decked out like an 80s’ rock party and made me feel like I was part of the show from the moment I walked down the aisle to my seat.  I could feel the audience’s excitement building even before the first chord was strummed and once the lights went up and the music started I felt like I was part of the LA music scene.  There were even drinks being served during the show to get the audience into the 80s’ party theme.

Each of the characters played their personalities well on stage and were believable as either the protesting hippie or the wannabe rock star.  Although the lead characters were fantastic, it was Genson Blimline as ‘Lonny’ who really captured my attention.  With his witty narration and quirkiness he was a real crowd pleaser.   Also a favorite for the eager audience was Cody Scott Lancaster who played ‘Franz’, the son of German industrial entrepreneur Hertz.  His happy, gay personality and innocent delivery of comical one liners had the audience in stitches of laughter.  Overall, the lead actors were well rehearsed and 100% into their characters.  Their voices were flawless whether they were hitting the highest note or forming a harmony.

There were only a couple of downsides to the performance.  The ensemble, which consisted mainly of four girls, had some trouble staying together in their choreography and patterning and seemed a little flat in their overall performance.  Also, the venue that they chose (Helen Hayes Theatre) was rather small for the production.  There were a number of times when they could have done with a bigger stage to really show off the staging.  All that being said, it was a great production with what space they had.

Rock of Ages is a very entertaining musical that will be pleasing crowds on Broadway for many years to come.  It is an adult musical that brings you back to all the 80s’ hits that we remember and even grew up with. I definitely left the theater singing “Don’t stop believing, hold on to that feeling!”

Photos by Paul Kolnik

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.

How much do you know about jazz dance icon Bob Fosse?

By Rain Francis.

1. Which of the following characters would you NOT find in Chicago?

a) Mary Sunshine
b) Roxy Hart
c) Lilli Vanessi
d) Billy Flynn

2. In the 1972 film Cabaret, Sally Bowles is a performer at what club?

a) The Kitten Klub
b) The Kit Kat Klub
c) The Top Kat Klub
d) Top Hats ‘n’ Kats

3. The 1953 film Kiss Me Kate was inspired by which Shakespeare play?

a) Romeo and Juliet
b) The Taming of the Shrew
c) Much Ado About Nothing
d) Othello

4. The video for Beyonce’s Single Ladies was inspired by what Bob Fosse number?

a) All That Jazz
b) I Gotcha
c) Mexican Breakfast
d) Bye Bye Blackbird

5. Rich Man’s Frug is a number from which Fosse film and stage show?

a) Sweet Charity
b) Pippin
c) The Pajama Game
d) Damn Yankees

6. In the semi-autobiographical All That Jazz, who plays the elder “Joe Gideon”, the character based on Bob Fosse?

a) William Shatner
b) Michael York
c) David Hasselhoff
d) Roy Scheider

7. As a Choreographer and Director, Fosse won nine Tony Awards and one Academy Award. What film was the Oscar for?

a) Cabaret
b) The Little Prince
c) Lenny
d) Kiss Me Kate

8. In the 1969 film Sweet Charity, who played Charity Hope Valentine?

a) Gwen Verdon
b) Shirley MacLaine
c) Liza Minnelli
d) Ann Reinking

9. Which of the following is NOT a number in The Pajama Game?

a) Steam Heat
b) Hernando’s Hideaway
c) Shoeless Joe from Hannibal, Mo
d) Small Talk

10. What moniker is given to Amos Hart in Chicago?

a) Fred Casely
b) Mister Cellophane
c) Pal Joey
d) Mr. Applegate

Answers:
1 – c; 2 – b; 3 – b; 4 – c; 5 – a; 6 – d; 7 – a 8 – b; 9 – c; 10 – b

Top photo: The Female Ensemble in Australia’s Chicago. Photo by Jeff Busby, 2009.

Published by Dance Informa digital dance magazine – dance news, dance auditions & dance events for the professional dancer, dance teacher and dance students.

Lunt-Fontanne Theatre, New York City
April 2012 Previews

By Deborah Searle.

You may ask, how can the Patrick Swayze and Demi Moore 80s classic film Ghost be adapted into a singing and dancing stage show? I, too, was a skeptic, hoping that the show wasn’t going to be a corny rendition of the much loved story, as I took my seat in the gorgeous Lunt-Fontanne Theatre on 46^th Street, New York.

From skeptic to fan I was hooked from the very first seconds.  Ghost the Musical is a must see for any theater lover, or for anyone really. It is gripping, romantic, heart-wrenching, hilarious and thoroughly entertaining. At times I was holding back tears, clenching the arms of my seat, laughing out loud or tapping my toes. The story takes you on an emotional journey that feels real and relatable.

Caissie Levy and Richard Fleeshman as Molly and Sam

The cast is outstanding. Caissie Levy and Richard Fleeshman as lovers Molly and Sam were believable with undeniable chemistry. Both with impressive stage credits to date, the couple were the original main characters of the London West End production of Ghost.  As a preview showing, I expected to see actors still warming to their roles, but these two were obviously very comfortable with their characters and each other, and they shone.  They have impressive vocal and acting abilities.

However, if you go by the audience reaction, Da’Vine Joy Randolph playing Oda Mae Brown, was the star.  She was hilarious! Every time she came on stage the audience would erupt in laughter in no time. She is a true entertainer and seemed made for the role of the quirky, outspoken and brash Oda Mae. In her Broadway debut, with basically only a college theater degree to her name, Randolph is one to watch. It was exciting to see a new young star take her place on the stage.  She must be thrilled to be receiving standing ovations in her first Broadway role.

The musical is full of special effects using projections on large screens. The subway train scene is powerful and exciting. The scenes where Sam, as a ghost, moves through doors or objects are clever. There are many effects used to portray the ghosts and to show spirits taken to heaven or hell. These are chilling! With so many special effects the show could easily feel overdone, but it isn’t. Every effect is well incorporated, has a purpose and adds to the story.

Da’Vine Joy Randolph as Oda Mae Brown with the dancers

The musical is full of dancing and singing, as you’d expect from a musical, but not so much from the story of Ghost. Every song and dance number fits well into the story and is well written or choreographed to fit with the theme and build the story. My favorite song and dance scene was performed by Randolph as Oda Mae Brown when she thinks that Sam has just given her 10 million dollars. She sings and dances up a storm on top of suitcases with the dancers showing their prowess around her in sparkling suit jackets and sunglasses. It’s highly entertaining and was performed with energy and cheek.

I hope that Ghost the Musical has a long Broadway run, and even tours the country with Broadway Across America. It is an honest and captivating musical.

Published by Dance Informa digital dance magazine – dance news, dance auditions & dance events for the professional dancer, dance teacher and dance students.

From “Baby Ballerina” with Dance Theatre of Harlem, and Broadway and musical theatre star, to master teacher and choreographer, Theara Ward is an industry powerhouse across many fields. In February 1982 People Magazine reported: “Theara Ward, 17, has a leg up—way up—on becoming the ballet world’s next Judith Jamison. At 120 pounds and 5’9″ (over six feet en pointe), the Dance Theatre of Harlem’s fastest-rising star is dazzling audiences from the White House to Covent Garden with her sensitive interpretations and remarkable flexibility.” And since then Theara has not stopped inspiring audiences and dance students, even creating her own one woman show “From The Heart Of A Sistah” which is a journey through life in poetry with music.

Over coffee in a New York café, Dance Informa’s Deborah Searle found herself inspired by Theara’s dedication to her art form and her beliefs.

Theara Ward with dancers Cubie Burke, Tyrone Brooks & Donald Williams in “Fancy Free" by Jerome Robbins for Dance Theatre of Harlem. Photo by Linda Rich, Dance Theatre of Harlem Archives

What inspires you to dance?

I think about what God’s done in my life, where I’ve been, what I’ve been through and what I’m going through. I have to express my thanks and that’s one of the ways that I express it, through dance and sometimes I sing. He gave me these different forms of expressions to use and the best thing for me to do is express them.

What inspires you to teach others to dance?

Well, I’ve been on such a journey with dance. I started dance because I loved it. I started taking lessons when I was eight and doing the ballet thing – I wanted to be a ballerina. To dream about being a ballerina as an African American in the 70’s was almost unheard of. And I wanted to dance at the Bolshoi and I wanted to study in Europe. And I did get to dance at the Kremlin and the Kirov which made history. And then I also had the opportunity to dance in Europe and study ballet there. I started my musical theater career there. Then I came back to the States and started using dance to tell stories in musical theatre. So what inspires me to teach others to dance? I take from those different seasons of my life and how they have formed my life, and formed my language of communication through dance. I see others and I want to give it to them. I want them to know that you can express yourself in this way. For some people to dance is a way of healing, for some it’s not. I’m learning that dance can even heal relationships, so I look at it also as a tool to help people.

Theara Ward performs an excerpt from One Woman Show, "Color, My Blackness" at YTI Benefit, Yonkers, NY. Photo by Donna Davis

Tell us about your story.

Well that’s why you need to come see my one woman show, From The Heart Of A Sistah!

I’m going to work backwards from where I started my career for the Dance Theatre of Harlem as a “Baby Ballerina” when I was thirteen years old. My father was not very happy with that decision but if I had stayed in Maryland where I grew up I would have either been pregnant or a drug dealer, because I had that kind of mind that was just very creative and mischievous. Then I got bored with that and decided I was going to be a model, and went to Europe and did the whole modeling thing there. I then heard about Cats in Paris and I happened to be in Paris. So I got to use my voice lessons and audition for Cats in Paris, and I got it. What I didn’t know was that the producers for Cats in Paris were also the producers for Black and Blue on Broadway. They said “if you can learn how to tap in the nine months that you’re going to be away, maybe you’ll have a job on Broadway”. So I worked my little touche off.

Had you done tap before?

Not really, so I was in intense training. Even when I did the show I still really didn’t know how to do the kind of tap that was required for it. So I took tap three or four times a week, whenever I could get to a tap class. From there I ended up in Black and Blue and eventually ended up being featured in Black and Blue, which was a big deal. I started doing musical theater and did so many different shows. Then I started focusing on straight theater because I really enjoyed story telling. When I got Ragtime in Los Angeles God started to deal with me about coming away from the entertainment industry, so I stepped away for a season. A couple of years later I heard “you have to go back”, and I was like “go back for what?” Recently in the last two to three years I’ve started realising that God wanted me back in the industry to help people. And while I was making the transition I learned how to teach and I realized that that too is a gift that I have.

Theara presents "That Name", choreographed by Freddie Moore at New Psalmist Baptist Church, Baltimore, MD. Photo by Brian L. Hunter

What would your career highlights be?

Do I have to say one because I’ve had different seasons? Being on Broadway was a dream come true. That was pretty major. I didn’t realize how special the timing of it was because there were a lot of old timers still alive that were innovators of jazz and tap. I used to watch video clips with Dianne Walker – “Lady Di”. She taught me the history and everybody that was a part of that show was linked to a person who was significant in the development of jazz and tap in America. I was coached by Linda Hopkins on singing the Blues. Grady Tate coached me, the great drummer. I didn’t realise just how blessed I was. Clark Terry came to one of the shows and said “Who’s that?” and he was asking about me. So that was definitely a phenomenal thing. My season with Dance Theatre of Harlem was very significant because I got to see the world. By the time I got to Black and Blue I had been to five of the seven continents. I was with Dance Theatre of Harlem for eleven years.

What advice would you give to the next generation of dancers?

I’m going to go back to a Q & A session that I heard with Judith Jamison. She was just about to step down as the artistic director for the Alvin Ailey. Miss Jamison kept saying the young people are so talented and have so much technique but they have no imagination. Miss Jamison was just saying that it’s important to take time to be creative. Take fifteen minutes of your day and get used to being silent, no iPod, no music, just silent. I’ve taken that advice and I feel that it revitalises me and builds my creativity. I would say the most important thing is to be true to who you are. It’s really easy to get sucked into mass culture. When you find really who you are, it’s very powerful. When you do things that line up with the design for your life, that’s powerful. Then you figure out what is it that you want to say with the body of work that you have – it’s your identifiable persona.

Catch Theara Ward at Project Dance New York, this April 20 -22. For more information visit www.projectdance.com

Top photo: Theara J Ward by Tony Smith, Chicago IL

Published by Dance Informa digital dance magazine – dance news, dance auditions & dance events for the professional dancer, dance teacher and dance students.

By Laura Di Orio.

Dance and Broadway fans have a lot to look forward to this year with the new NBC musical drama, Smash. With an all-star cast, exciting choreography and Steven Spielberg behind it all, this newest show to hit the dance television craze is sure to be a … well, smash.

Smash, which premieres on February 6 and will air every Monday at 10 p.m. ET on NBC, tells the story of producing a Broadway musical – the ups and downs, the casting issues and real-life drama that threatens to hinder its progress. Debra Messing and Christian Borle play Julia and Tom, a successful songwriting duo, who hope to freshen up the Broadway scene and create a new musical based on Marilyn Monroe. Angelica Huston plays the musical’s producer, and other big stars like Uma Thurman and Bernadette Peters will make appearances throughout the series.

Much of Smash revolves around the decision of who to cast as the voluptuous, talented Monroe. Will it be Ivy Lynn, already a seasoned Broadway performer, or will it be Karen Cartwright (played by Katharine McPhee of American Idol fame), a small town girl with big dreams? Throughout the season, decisions will waver and scandals will ensue to ensure the right girl gets the part.

As if the theater drama wasn’t enough for the characters, issues in life outside – an adoption and a potential divorce, just to name a few – make things even more difficult. But, like in life, the show must go on, and Smash’s Monroe musical must fight its way through opening night, when it’s up to the audience to determine its success.

Cast of Smash in rehearsal. Photo by Will Hart/NBC

The team behind Smash is a strong one – many with a Broadway past – and everyone is attached to the idea of making the show as realistic as possible. Spielberg will team with Craig Zadan and Neil Meron, both adept in Broadway shows and musical-inspired movies (they produced Chicago and Hairspray), as Smash’s executive producers. Marc Shaiman and Scott Wittman, songwriters from Hairspray, will write Smash’s catchy tunes.

Josh Bergasse, a NYC-based choreographer and faculty member at Broadway Dance Center, is the show’s lead choreographer for season one. Bergasse himself has danced on Broadway in Hairspray and The Life, and also on tour in Movin’ Out and West Side Story. With Bergasse in reign of the moves, Smash’s numbers will be exciting and athletic.

Already there is a strong online community for Smash’s fans, who have begun to proclaim themselves as ‘Team Ivy’ or ‘Team Karen’. NBC’s website has tons of photos and behind-the-scenes interviews with the cast, and the show has its own facebook and twitter page with more special features and episode information. Many of Smash’s songs will also be available for sale on iTunes each week.

When the show starts airing in a few day’s time, tell us what you think by posting your comments below.

Top photo: Megan Hilty as ‘Ivy Lynn’ in Smash. Photo by Will Hart/NBC

Union Square Theatre
New York
July Previews

By Deborah Searle

Traces, by Montreal-based troupe 7 Fingers, is astonishing! If there’s one show that will make you gasp this season, it’s Traces. Nail-biting, awe-inspiring, freaky and fun, the artists of 7 Fingers are an eclectic mix of talent and tenacity. From varied countries, backgrounds and artistic pursuits, all seven acrobats can seemingly defy gravity.

Traces is a delightfully entertaining show, where we get a glimpse into the lives of the seven artists and even see a few baby photographs, adding to the personal feel of the program. The artists perform daring moves upon rollerblades, skateboards, chairs, poles and even a teeter-totter. Many times they come flying at the audience, stopping just short of landing in our laps. These acrobats seem to have no limits! At times I wanted to close my eyes, worried that with just one slip the performers would sustain severe injuries or land on top of me. How these artists perform without safety strings or nets amazes me.

A contemporary dance pas de deux by Mason Ames and Valérie Benoît-Charbonneau is beautiful and daring, as they not only dance together and perform lifts, but include acrobatic tumbles and tricks upon each other’s bodies. They are so precise and seemingly fearless as they perform the most elaborate of tricks.

A dance number beginning in a row of chairs across the stage was a highlight, and showed that the artists aren’t only acrobats, but consummate contemporary dancers also. A thrilling number by Bradley Henderson with a large ring is astounding, a chair piece by Florian Zumkehr shows his remarkable strength and balance and a Chinese yoyo dance by Xia Zhengqi is lighthearted, displaying mind-boggling accuracy and concentration.

Every scene brings a little humor, dare and delight. Traces is an explosive display of physicality, with the magic of circus and the grit of the street.

Traces will also be touring to Philadelphia and Hartford, CT. Make sure you get your tickets!
Tracesusa.com

Photo: Michael Meseke

By Deborah Searle

After launching a successful Broadway career at the young age of sixteen in the first revival of On The Town, multi-award winning Director/Choreographer/Writer/Teacher and Mentor Chet Walker has garnered acclaim onstage across the globe, in television, film, music video and all commercial media. His Broadway credits include Lorelei, The Ambassadors, and four Bob Fosse musicals: The Pajama Game, Pippin, Dancin’ and Sweet Charity.

Perhaps best known as Creator and Co-Choreographer of the Tony and multi-international-award-winning FOSSE, Chet has directed and choreographed original new musicals, as well as having mounted extraordinary recreations of classic musical productions in close collaboration with shows’ original creators. His original works range from Cirque du Soleil, to dance works created for Compania Internacional De Teatro Musical, the international Jazz/Musical Theater Dance Company which he co-artistic directs in Buenos Aires, and Jacob’s Pillow where he serves as Director of the Jazz Program.

What makes you proud to be Chet Walker?
That I still am alive with new projects and energy to create and inspire others to live life to the fullest.

What are your passions?
My passions are travel, meeting and teaching students in jazz, American jazz – Jack Cole jazz, and musical theater techniques for dance, acting and singing. It is my desire to help make jazz and musical theater recognized as art forms. I do that in every country I travel to, with my work at Jacob’s Pillow and with the classes that I teach at Steps, NYC. Check out their website (stepsnyc.com) for information on the Jack Cole Jazz Classes and also (jacobspillow.org) for my work there.

What is your career highlight?
I hope it hasn’t come yet. I really mean that. On my last day on this earth I guess I can answer that one.

You have directed and choreographed so many famous musicals. Do you have a favorite?
I know this sounds crazy, but it is the work that I am working on at that moment. I love what I do. I can’t imagine doing anything else

What are your current projects?
My current project is THE JACK COLE PROJECT, that I’m teaching at Steps with my friends. We had a residency at Jacob’s Pillow this year regarding the work and technique of Mr. Cole. We receive an NEA Grant to do that. I’m also working on a new show for Las Vegas with the working title Jazz on Jazz. 

I am working with Queens Theater and my company WALKERDANCE on some projects relating to the greats in the jazz music world. I am going to London to work on a new show. I directed and choreographed Cabaret in Belgrade, Serbia and that is still playing currently. I direct the Jazz/Musical Theatre Dance Program at Jacob’s Pillow each summer and for the past five years I’ve directed The Jazz Happening where I bring people from Broadway to come and perform with the students.

What makes a great musical theater performer? What do you look for in an artist?
What makes a great musical theater performer is a person who is a triple threat and who knows and studies his/her craft. What I look for is personality, intelligence and someone who has a hunger for work and the process. 

What is the future of musical theater?
I think the future of the Musical Theater is bright. New people, new ideas and new exploration of the human condition, and the joy that the theater has always given people, will continue.

How can we as dancers help Musical Theater thrive and keep audiences strong?
I think dancers need to hone their craft. Know the history of the art forms and read, read, read about the people who have come before. Know our history because knowledge is power. 

By Laura Di Orio

Being on Broadway takes more than just solid dance technique. Performers are expected to be well-versed in their dancing, singing and acting abilities. Booking a Broadway show is a great way to break into the scene and offers a good paycheck, a steady gig, tons of performance experience and room for networking. But how does one get so lucky?

Dance Informa spoke with two legendary Broadway veterans, Diane Laurenson and Elizabeth Parkinson, who have both graced the stage in major shows. Laurenson has appeared in six Broadway productions (including Sweet Charity, Gypsy, and The Little Prince), and Parkinson was featured in Fosse and nominated for Best Actress in a Musical for her role as Brenda in Movin’ Out.  Here they both pass on their showbiz wisdom to students and future Broadway go-getters and talk about what it takes to be on Broadway.

For you, what was the appeal of Broadway? 

Diane Laurenson, Master Theatre Dance Teacher, on faculty at Broadway Dance Center and Steps on Broadway
The variety, the diversity of opportunities and the sheer entertainment and magic of the American musical. You’re like a little kid in a big candy store with an unlimited allowance! And there are folks from age three to 83, give or take some years, on that stage. [That’s] a bit different from the ballet and modern retirement norm.

Diane Laurenson, photo M. Hamburg

What are the best Broadway shows for dance lovers to see?

Elizabeth Parkinson, director and owner of Connecticut’s Fineline Theatre Arts and director of the Vineyard Arts Project Musical Theatre Lab
Although it is closed now, I think West Side Story was probably the best thing to see in the past year for dance on Broadway. Jerome Robbins was a genius choreographer and director. Otherwise, I don’t think dance has the same importance that it used to in musicals. Everything goes through phases and I am just waiting for the next great director-choreographer to come into the scene. I think Andy Blankenbeuler’s work in In the Heights was really good.

Diane Laurenson
I think all shows with movement are inspiring to the dancer – from In The Heights to Mary Poppins or Lion King!

What are your suggestions for dancers who want to make in on Broadway?

Diane Laurenson
If you want to enter the Broadway arena, it is your responsibility to do your homework, past and present. Watch old movies with Fred Astaire and Eleanor Powell, Oklahoma! and West Side Story. There are hundreds! Go to as many Broadway musicals as you can. Go to TKTS or take advantage of the student rush discounts. Dive into the history of the American musical, and as you do, dive into the present as well.

What classes are good for dancers to take to prepare themselves for Broadway?

Elizabeth Parkinson in Fosse, photo M. Swope

Elizabeth Parkinson
Most really good Broadway dancers I know still take ballet as a base for training and supplement it with yoga and Pilates. If there is a teacher in the city who is starting to work as a choreographer on Broadway, then it is always a good idea to take their class. They get to know you and you get to know them.

Diane Laurenson
There is no such thing as “just a dancer” on Broadway anymore.  The ensemble are fierce triple-threat performers these days, and competition is high. You must immerse yourself in all styles, starting with ballet for a strong base, then continuing on in jazz, theater, tap, modern, hip-hop, ethnic and ballroom. They all round out your dance experience. 

How should a dancer tackle a Broadway audition?  

Elizabeth Parkinson
Dancers should present themselves professionally. Wear the appropriate attire and find out what a particular choreographer would like to see. If you’re constantly working on your craft auditions should be fun. However, there is nothing worse than the feeling of not being ready. Know your type! Don’t go to an audition that says they are looking for showgirl-types if you’re 5’2”.

A lot of shows require dancers to also sing. How should dancers prepare for this? Should they still audition if they have no singing experience?

Diane Laurenson
Singing and singing well is a must! You must study, polish your audition techniques, have a finished book of a selection of songs and be prepared with everything from a Broadway up-tempo song to country, a ballad and more.  You must practice auditioning, just as you practice voice, dance and acting.  It’s a study just like the others.

Elizabeth Parkinson
Do not go to an audition for singers if you don’t sing. The casting agent will be upset that you have wasted their time. However, if they say “dancers who carry a tune”, then that might be appropriate for a less-experienced singer. Take voice lessons and learn. There are also group lessons if you don’t have the money for private ones. You must be able to sing with confidence and character! The better singer will always be hired over the better dancer unless it is for a specialty dance role. 

If they do make it onto Broadway, how should dancers prepare for an intense schedule of rehearsals and several shows a week?

Elizabeth Parkinson
Like any other athlete, you should be in good shape before you get a show. You must be motivated to train in class and at the gym to stay in top form. If you eat well and don’t party too much a Broadway show is a fantastic experience!

Diane Laurenson
It is your responsibility, your job, to come to work eight shows a week and perform to the fullest. As in any other exceptional performance situation, you are among an elite few who are expected to give it all every night. Eat well, get plenty of rest, continue studying and growing and make every move important. And last but not least, a step is a step is a step is a boring step. Dance the emotion, dance the idea, dance the story and character, dance the music! People who practice this perform on a higher level – a Broadway-caliber level. One mustn’t want to perform, one must need to perform.

Top photo: Elizabeth Parkinson teaching at the Vineyard Arts Project. Photo by Ashley Melone