By Kristy Johnson.

Already in its third year in London, this smash hit is heading down under to Sydney in October. Having won seven major awards including Best New Musical 2011 at the Olivier Awards, this all singing, all dancing, romantic comedy, doesn’t look like it’s going to slow down anytime soon.

Based on the Hollywood film Legally Blonde starring Reese Witherspoon, college sweetheart and homecoming queen Elle Woods heads for Harvard Law School to try to win back her ex-boyfriend, Warner, after he dumps her for someone more serious.

The all-star Australian cast includes Lucy Durack who plays the lead role of Elle Woods, Rob Mills in the role of Warner, David Harris, Erika Heynatz and Cameron Daddo.

Dance Informa caught up with Lucy and Rob, who starred together in the Australian cast of Wicked, after the launch party in Sydney.

Lucy Durack as 'Elle Woods' in Legally Blonde. Photo (c) Brian Geach.

Lucy Durack

You must be absolutely thrilled to play the lead role of Elle Woods. How excited are you?

Oh extremely excited! It’s a role that’s going to be so much fun to play. I auditioned for nearly a year so it’s one that I’ll be really grateful for and certainly not take for granted.

Can you describe what the auditions were like?

The auditions were in Sydney early last year, and then in November they flew me to London for my final lot of auditions.

The first auditions were like your regular auditions but once I got to London that was pretty nerve-wracking. I knew a lot of money had been put into sending me there and I just hoped I could come up with the goods. So I was very relieved when I did.

Had you always had a keen interest in becoming involved in this particular musical?

When I got cast in Wicked, we saw Legally Blonde overseas and I thought it was such a fun show. I had grown up watching the film, so I really love it. It was certainly one that I had my eye out for. I was hoping that it might come out to Australia and I could audition for it. So I’m very grateful that I got it.

There are great names such as Rob Mills, Erika Heynatz and Cameron Daddo playing roles alongside you. What has it been like so far, to work with them on this new project?

Well I’ve only met Erika once and that was at the launch but she was so nice, and I really think we are going to become great buddies. Rob and I have been friends for a long time so I’m absolutely thrilled. And on top of that we’ve got David Harris – he’s such a great guy. And then we have Cameron Daddo and I’ve never met him before but I’m really looking forward to working with him also.

Rob Mills

Congratulations on landing the role of Warner. Had you watched the film Legally Blonde, prior to auditions?

Yeah, I think in high school. My mum actually watched it a few weeks ago. She asked me if I was the nice boy at the end, or the boy who breaks up with her (laughs).

Can you describe the audition process for us? Had the producers from London come out to Sydney for this?

Yeah, the producers came out here for the auditions, kind of like how the team for Wicked came out here also. That was pretty cool. I got sent in for the role of Emmett, but as soon as I walked in to the auditions they said no. They said you’re not Emmett, you’re Warner. Come back on Friday for Warner. So I came back on Friday for Warner and I got Warner (laughs).

How excited are you to be playing the role of Warner?

I’m really looking forward to it. I’m just happy to get any part in the show!

The cast sounds amazing, and I know you have already worked with Lucy before. Were you excited to work with Lucy again, having worked alongside her in Wicked?

Absolutely. We talked about the shows that were coming up during Wicked. I knew she was very keen to play the role of Elle Woods and I have to give great props to her. She’s very inspirational and a tremendous role model. If you want something, then you have to work hard for it. She got two of the biggest roles in musical theatre in Australia in the last four years, which is pretty amazing. She comes from a good family, a good upbringing. I’m really looking forward to working with her again. She’s extremely professional. She works really hard at working on scenes, making sure that everything is always getting better. She’s never one to throw it in, so to speak. She leads by example and is a great inspiration for everyone.

With the show starting in October, when do rehearsals begin for you?

Around late July. I’m really looking forward to it.

The international award-winning hit LEGALLY BLONDE THE MUSICAL is premiering at Sydney Lyric Theatre, The Star on October 4, 2012. For more information, visit LegallyBlonde.com.au

Top photo: Rob Mills and Lucy Durack in Legally Blonde. Photo (c) Brian Geach

Published by Dance Informa dance magazine – everything dance in Australia – dance news, dance auditions & dance events.

The world-renowned English National Ballet will tour to Australia for an exclusive season in Sydney at the new, The Concourse, Chatswood, from Friday June 8 to Sunday June 17, 2012.

Tickets are already selling fast as dancers and lovers of dance gather to see the company which hasn’t toured to Australia since 2001.

Under the leadership of Artistic Director, Wayne Eagling, this highly respected European company will bring its top soloists and principal artists, presenting a programme suited to young and old in the intimate 500 seat theatre at The Concourse.

The English National Ballet was established in the 1950s and has since emerged as one of the foremost touring companies in Europe. This internationally acclaimed classical ballet company tours both nationally and worldwide. Founded by two British ballet greats Alicia Markova and Anton Dolin, the English National Ballet grew out of a series of gala performances. Today, with 67 dancers from 20 different countries, they provide a group of dancers who enrich each repertoire they perform. The original 1950s aspiration for the Company, to take popular ballet to the widest geographical audience at a price they can afford, remains as valid today as when first expressed by the Company’s founders.

English National Ballet's Anais Chalendard and Vadim Muntagirov in Suite en Blanc

Recently the subject of the popular BBC reality series The Agony and the Ecstasy the English National Ballet is enjoying an international recognition unheard of in classical dance circles. And it is not only the public who are supporters of the English National Ballet. The prestigious company has enjoyed the patronage of Diana, Princess of Wales and currently HRH Prince Andrew, The Duke of York.

The Australian programme, accompanied by a live orchestra, will open with George Balanchine’s neo-classical masterpiece Apollo and close with Serge Lifar’s spectacular bravura piece, Suite en blanc. These two great classics will frame a selection of favourite pas de deux from Manon, Don Quixote or Black Swan, and Trois Gnossiennes, featuring the company’s stars. Set to an Erik Satie solo piano piece, contemporary choreographer Hans Van Manen’s Trois Gnossiennes, will showcase the great finesse, control and superb classical technique of the English National Ballet dancers.

Suite en blanc was described by its choreographer, Serge Lifar, as “a real parade of stars”. A plotless display of classical technique, with strict emphasis on the perfection of line, the ballet was created in 1943 to showcase the virtuosity and elegance of the Paris Opera Ballet. With its white costumes against an inky black setting, the ballet remains a stunning showcase of dance, as glittering and exhilarating as its first performance nearly seven decades ago.

Don’t miss this unique opportunity to see the English National Ballet. Tickets are now on sale at www.theconcourse.com.au/enb

Top photo: Dancer Anais Chalendard of English National Ballet in Apollo. Photo by Laurent Liotardo.

Published by Dance Informa dance magazine – everything dance in Australia – dance auditions, dance news, dance events and resources for dance teachers.

By Jo McDonald.

Emerging South Australian dance theatre and education company, One Point 618 will present a world premiere production, Involuntary, at Adelaide’s Space Theatre from May 1^st to 5^th. Directed and choreographed by renowned dance artist Katrina Lazaroff, Involuntary looks at how society is preoccupied by the pressures of life, consumerism and regulation. In the lead up to opening night, Dance Informa spoke with Lazaroff about her new work and her plans for the future.

What was the inspiration or motivation for Involuntary?

Well, just as with my last work, Pomona Road, I began with a stimulus that in the end didn’t continue through the work. I was watching my mother-in-law watch football.  Her body was reacting unconsciously to her experience and she was throwing herself around the room.  I thought it was hilarious and I could really make a work about this.  Also, when my daughter Zoe was very young she made lots of involuntary movements that were sporadic, crazy movements.  It was these two things that inspired me to make a work called Involuntary.

I’ve had three development stages for Involuntary:

The first was a workshop scenario, when I set aside an hour after teaching class at Ausdance each week and invited people to work with me and test out ideas.

The second development was a showing in Ausdance’s Choreolab.  By then I released I needed extra substance for the work if I wanted to attract grant funding.  I needed to make a societal connection.  The bureaucracy involved in applying for grants was so frustrating.  That’s when I started thinking about how much we have to do in society to be a part of society – things we don’t really believe in, the rigmarole, the red tape.  We do this involuntarily so we can operate in society.  We go along with the rapid pace of technological advancements, which may not always be our choice.

In the third development I looked at the influence of media and subliminal advertising.  I didn’t want the piece to be just about technology.  I wanted it to be about the actions, often unconscious, that we do each day to survive in society.  After the third development, I realised I wanted to look at a lot of things we were unconscious about. The things we just do, rather than the things we choose.  I wanted to look at how we react to having to talk to computers and phone prompts, when all we want is to talk to a real person.

Involuntary by Katrina Lazaroff

My original idea was abstract and humorous.  And though I’ve thought more seriously about societal issues, I don’t mean to be dark about it.  It’s a satire.  I want to get people to think.

What is it that drives you to create work with a social connection?

I need to make work that says something, that speaks to people, that is more than just my own personal aesthetic or artistic concept.  I want to make work that a broad range of people connect to.  I want to bring people to the arts, to show that performing arts is a broad medium to share thoughts and feelings.

Involuntary is very socially relevant.  Everyone can relate to it and their own involvement in society.  People laugh when I mention I’m making a satire about that.  My last work, Pomona Road, was a story about a family.  Involuntary comes from a very different place.  It has a cold, contemporary side to it, but it’s about what we go through as people.  I want to create work about what everyone experiences.

What has been the most satisfying part of making Involuntary?

The dancers I’m working with are just amazing.  It’s been quite a process to cast the work properly.  I feel I have the right group and artistic team around me.  They are so wonderful and open to my ideas.  It is just so exciting.  I really want to go to work and share everything with the team.

I feel like I have something important to say and I feel happy about that.  I’m glad I’m making social comment.

What has been the most challenging part?

Trying to work out the right team.  Initially I saw it as a really technical dance work, but it has become a more theatrical work where I need people interested in theatrical aspects, rather than technicians.

I didn’t attract the funding I’d applied for, which meant the dancers I worked with through the three development phases kept changing.  I worked with young graduates, and then really technical dancers.  In the end, I realised what I needed was dancers who were open to speaking and using their voices, as well as with technical skills.

I’ve learnt I need to work with people that I’ve have worked with for some time, like Tim Rodgers and Veronica Shum.  It’s like coming home.  They understand me and I don’t have to start from ground zero again.  A lot of young dancers across the country wonder why choreographers use the same dancers all the time.  But it is about trust in making work that means something to you, and knowing the dancers get where you’re coming from.

How have you grown as a choreographer with Involuntary?

I think I’m getting better at refining ideas, including movement, thematic and conceptual ideas.  I can sift through things and decide quickly if an idea will work or not.  I’m better at trusting my instincts.  I’m trusting in my movement making ability again.  I was a performer for so long, then had a child, and along the way lost some of my trust in my instincts.  Self doubt is going away, and so I can hone into the process and practice.

What’s next for Katrina Lazaroff?

I plan to tour the three works – Involuntary, Pomona Road, and Skip, and create a new work.

The working title of my next work is Prison.  It will be a dance theatre piece that invites different mediums.  I started looking at people in confined spaces.  I’ve always been fascinated with small spaces and people’s rituals in small spaces. I’ll look at people’s behaviour in prison – it’s incredible how people survive in confined spaces.  The work won’t mimic prison as such, but will look at the prison of our own minds, and the way we imprison ourselves through the way our minds operate, and how we don’t allow ourselves to be free much of the time.

Essentially, I want to focus on getting my work out nationally and regionally.  I want to share it.

Published by Dance Informa dance magazine – everything dance in Australia – dance auditions, dance events and dance news.

After ten years with Bangarra Dance Theatre, Patrick Thaiday is moving on from the company. Patrick’s performance of Stephen Page’s Warumuk-in the dark night at the Sydney Opera House as part of the Australian Ballet’s Infinity Program on April 25 was his last with Bangarra.

A much loved and recognised dancer, Patrick’s retirement comes as he celebrates a long and successful decade with Bangarra. Since joining Bangarra in 2002, Patrick’s face has become synonymous with the company and critics and audiences alike have lauded him for his extraordinary featured performances across Bangarra’s repertoire.

Of his time with the company Patrick told Dance Informa, “over the years Bangarra has given me the honour of representing my culture, people and art through dance. I’ve just taken a ride on a time machine and experienced the most amazing Dreamtime journey.”

Bangarra’s Artistic Director Stephen Page said “Patrick has been a core member of the company for the past ten years and his work deserves to be celebrated. His passion for and commitment to Indigenous dance has been a driving force within the company and he is a point of inspiration for the younger dancers. I hope that after a well deserved break Patrick will return to Bangarra in a different role.”

Patrick Thaiday in 'Belong' by Bangarra Dance Theatre. Photo by Jeff Busby.

Patrick was born in Biloela, Queensland and grew up in Mackay. His parents come from Iama and Erub in the Torres Strait Islands. He believes that his in-built desire to dance is derived from his parents’ ancestors who originated from Lifu, South Sea Islands and Jamaica. With a strong cultural background, he learnt traditional dances from an early age.

Patrick’s family and friends encouraged him to pursue a career in dance and in 1999 he moved to Sydney to study at NAISDA (National Aboriginal and Islander Skills and Development Association), performing both traditional and contemporary dance. Whilst studying, Patrick performed with Bangarra and Christine Anu at the Closing Ceremony of the 2000 Sydney Olympic Games.

In 2002 Patrick was accepted into Bangarra Dance Theatre. His solo in that year’s production Walkabout earned him recognition for his talents. Since then this critically acclaimed dancer has received prestigious awards for his performances in Clan (2004), Boomerang (2005), Gathering (2006) and True Stories (2007). In 2008 Patrick performed a central role in Stephen Page’s Mathinna.

In 2009 Patrick travelled to Europe with Bangarra to perform True Stories and later helped Bangarra celebrate its 20th Anniversary with Fire – A Retrospective. In 2010 he performed in Bangarra’s of earth & sky to outstanding acclaim. Patrick’s recent highlights include performing at the 2011 Indigenous All Stars NRL game and the Spirit tour of Germany and Italy. He also performed to much acclaim in the 2011 Belong national tour and Bangarra’s regional tour of Mathinna. 2012 has seen Patrick perform in Stephen Page’s Warumuk – in the dark night as a part of the Australian Ballet’s 50th anniversary celebrations.

Patrick is one of the nation’s finest Indigenous performers and will be long remembered by Bangarra audiences for his distinctive performance presence.

Dance Informa wishes Patrick all the best with his future endeavours.

Top photo: Patrick Thaiday. Photo courtesy of Bangarra Dance Theatre.

Published by Dance Informa dance magazine – everything dance in Australia – dance news, dance auditions & dance events.

Dance Informa magazine is giving away cash to a lucky dancer and his or her studio. Imagine what you could do with $1000 cash. Imagine blessing your dance studio with $3000. Make dance dreams come true and enter today!
Just click on the image below.

Dance Studio Owners: Tell your teachers and students about this contest. The more entries for your studio, the greater your chances to win. How would you like $3000 towards renovations, new flooring, costumes, camps, audio equipment or whatever you need?

Stephen Agisilaou is no ordinary dancer. His idiosyncratic journey from ‘loungeroom’ dancer to company director is one of Australia’s most refreshing and inspiring.

By Paul Ransom.

The rules do not apply to everyone. Take Stephen Agisilaou. He started dancing at eighteen and now, barely a decade later, has danced professionally here and overseas and fronts his own company.

When Vertical Shadows’ two latest works, the pas de deux Crimson and the larger scale On The Rocks take to the boards in May, Artistic Director Agisilaou will once again be living his maverick dream of narrative driven, theatrically inspired contemporary dance. Although he may not be the first to try this particular sleight of choreographic hand his self-taught insights into the marriage of strong theatre storylines and the beautiful abstractions of dance will doubtless be sitting at the heart of both works.

“It wasn’t so much choreography that I enjoyed but directing,” he says, recalling the original idea behind Vertical Shadows. “I enjoyed coming up with concepts.”

As a template for getting dance productions up to speed it sounds upside down. “The chorey kinda comes last,” he cheerfully declares. “I really blueprint the story and the staging first before we ever get into the studio to choreograph. The direction is at the forefront; but because I put so much into the process of the story telling, the chorey sorta comes easily.”

Stephen Agisilaou and Jayden Hicks. Photo by Eddie Hobson

However, Agisilaou is adamant that it is still dance. “It’s not theatrical in the sense that the dancers are playing human beings with personalities,” he explains. “It’s a contemporary piece, so it is abstract. But we do give the dancers direction about character and motivation sometimes.”

For company dancer Jayden Hicks, who appears in On The Rocks, the extra character background is clearly useful. “It’s always better to have a thought behind the movement, either from yourself or given by the director. You need an inner story. Whether or not the audience can tell what you’re doing they can tell from your face that you’ve got intention, that you’re dancing for something and not just for dance.”

It’s an important distinction and something that Agisilaou keeps in focus as he tries to stay on the right side of the dance/mime line. ‘Character’ motivation and narrative intention are restrained by the desire to create non-literal and more emotional forms of theatre.

For a piece like On The Rocks the challenge is to find a way of letting the audience see and feel the heroine’s situation without telegraphing it. Jayden Hicks is confident that the back story will be evident. “With the high divorce rate now and marriage just so disposable, I’m pretty sure that the audience will get the idea of this woman contemplating a separation,” he begins. “Everyone can understand what she’s going through. Y’know, she’s wondering whether she’ll be alone, or whether there are other fish in the sea – all that stuff.”

Vertical Shadows dancer Jayden Hicks. Photo by Chris Parker

If that sounds like a crisis of middle age, Stephen Agisilauo’s “18-25” cast may well be fortunate enough never to have crossed such bridges. As their director though, he is less concerned with life experience and more about presence and potential. “Mostly I need the cast to understand who they are in any space, at any stage, at any time,” he elaborates. “The show is not the kind of show where they need to be military in the way that things are put together, or exactly the same at exactly the same time, but because they are a young cast the progression and development rate should be quite high.”

Meanwhile, Jayden Hicks offers the following insight. “He’s a great director in that he lets you feel that you helped him to create the show. I mean, it’s his way or the highway but he’s not obnoxious about it,” he concludes with a grin.

It’s been a remarkable ten years since his father casually asked him if he wanted to take dancing lessons. Agisilaou has gone from self-taught ‘loungeroom’ dancer to company director, via a stint with Move The Company in Canada and choreographic guest spots on SYTYCD. Sometimes it’s hard work and graft that pays off, other times its inspiration that wins out.

Laughing at his ‘boss’ Jayden Hicks simply says, “I actually started dancing before Stephen.” Now that really tells you something.

Win a Double Pass to On The Rocks!
Just email info@danceinforma.com and tell us “Why and When You Started Dancing”.
Please include your full name, date of birth and postcode. Good luck!
Competition ends May 4.

Vertical Shadows presents ON THE ROCKS
Date: 9-12 May 2012
Venue: The Chapel Chapel Off Chapel 12 Little Chapel Street Prahran VIC
Tickets: http://chapeloffchapel.com.au/melbourne-comedy-theatre-art/melbourne-events/melbourne-live-music/on-the-rocks-9-12-may/

Top photo: The dancers of Vertical Shadows. Photo by Chris Parker.

Published by Dance Informa dance magazine – everything dance in Australia – dance news, dance auditions & dance events

By Deborah Searle.

As dancers across the country are enjoying season two of ABC3’s hit dance drama, Dance Academy, Dance Informa spoke with two more of the shows young stars – Alicia Banit who plays ‘Kat Karamakov’ and Tom Green who plays ‘Sammy Lieberman’. Tom spoke with Dance Informa directly from Los Angeles as he is keeping busy filming a pilot season for another show in the States.

If you didn’t see our interviews with co-stars Jordan Rodrigues and Dena Kaplan, click here.

What do you enjoy most about Dance Academy?

Alicia
Dancing and acting have always been my favorite things and with this show I can do both! It’s my dream job.

Tom
Being part of something so original and well received, and having people contact you and tell you it has positively influenced their life in one way or another.

Did you enjoy filming season two?

Alicia
Season two was an absolute blast to film. It was great to be back with the cast and crew from season one and the new cast mates just heightened the love. It’s awesome to have a group of people with the same passion and that get along so well. It makes the whole experience so enjoyable.

Tom
Season two was a lot more fun than season one. Purely because we all knew each other much better than the previous season, we had better storylines, better routines and we were all much more familiar with our characters and their journey.

Characters Ben (Thomas Lacey), Kat (Alicia Banit) and Sammy (Tom Green) perform in an episode of Dance Academy, season 2. Photo: Mark Rodgers

Do you relate to your character?

Alicia
I absolutely relate to my character. Personality wise Kat and I are very similar with us both being the life of the party and quite quirky, but Kat deals with some family situations that aren’t ideal for her and I’ve always had a very close and loving family around me. Kat is more of a rebel than I am so it’s fun to be able to bring that side of me out through Kat.

Tom
Sammy and I both have a similar sense of humour, so I can relate to that, as well as his determination.

Tell us about your dance background.

Alicia
I’ve been dancing since I was four at T-Jam Dance School doing tap, jazz, ballet and hip hop. At the age of 12 I got a scholarship into The Victorian College of The Arts Secondary School (VCASS) and learnt new dance styles like contemporary, character and acrobatics. I’m now 21 and I still haven’t stopped dancing!

Tom
I started dancing when I was about 11 or 12 just because my sisters did it. Plus, at the time I was singing a little so I needed to know how to move on stage. I trained at the Joanne Grace School of Dance in Wollongong, NSW for about eight years in ballet, contemporary, jazz and modern. Once I turned 16 I would catch a train up to Sydney every Saturday for a hip hop class at Urban Dance Centre.

What’s your favourite dance style?

Alicia
I love hip hop and during the second season of Dance Academy I rediscovered my love for tap! They are both such free dance styles and allow you to bring your personality into them.

Tom
Contemporary or hip hop.

Tell us about your acting background.

Alicia
I started acting at the age of 6 when I got a small role in a film called Dead Letter Office. After that I did lots of comedy skits on shows called I.M.T (In Melbourne Tonight) and Rove. I stopped acting for a little while when I really focused on my dancing and then at the age of 16 I started up again getting roles in Summer Heights High, Neighbours, As The Bell Rings, Rush and Tangle. Then finally I got my dream job on Dance Academy!

Sammy (Tom Green) dancing in a scene from Dance Academy

Tom
I had always been involved in plays and shows at school and at the local theatres as a kid. When I was 12 I was accepted into a drama group called Kids Casting Agency where I would learn drama exercises and theatre sports every Saturday for a year. At the end of the year I left the group and went back to school but I was still getting called in for auditions. I booked my first job when I was 16 on a telemovie called Emerald Falls which unfortunately never got picked up. After that I went back to school and ended up auditioning for a short film called The Ground Beneath and was lucky enough to score the lead role. That film opened a lot of doors for me and my career; I signed with an agent, won several awards around the world and got to work with some industry professionals on other jobs.  Since then I’ve been lucky enough to have worked around the country on a couple of feature films, short films, corporate films, TV shows and commercials.

If you weren’t cast in Dance Academy, what would you like to be doing?

Alicia
I’d love to still be acting and dancing. I’d probably be in America auditioning for films and shows over there.

Tom
If I wasn’t cast in Dance Academy I would have probably gone back to school and finished year 12. If I wasn’t acting I have no idea what I’d be doing. It would have to be something in the arts.

What advice would you give to young dance/acting hopefuls?

Alicia
The advice I always give is to never give up. The performing industry is tough and cut throat and there are a lot of rejections. You have to not take that rejection to heart and concentrate on your goal. Do as many classes, auditions and performances as you possibly can to get your confidence up and always believe in yourself.

Tom
You have to work extremely hard in both fields if you want to pursue them as a career. If you want to dance, don’t just stick to the same styles, go out and learn new things from different teachers at seminars or workshops. If you want to act, watch a lot of classic films, become familiar with techniques, actors, directors and photographers. Experience as much as possible.

Top photo by Steve Brack.

Published by Dance Informa dance magazine – everything dance in Australia – dance news, dance auditions & dance events.

By Deborah Searle.

The much anticipated Season 2 of ABC3’s Dance Academy starts Monday March 12. Dance Informa spoke with Dance Academy stars Jordan Rodrigues who plays ‘Christian’ and Dena Kaplan who plays ‘Abigail’ in the lead up to the new season.

Tell us about your dance background and training.

Jordan Rodrigues
I started when I was about 13 and trained in all main styles of dance from ballet to hip-hop and haven’t stopped since.

Dena Kaplan
I started dancing at age 3! I have mainly trained in ballet at the Australian Ballet School and with Jane Moore. I also trained overseas in contemporary dance at Alvin Ailey and did jazz and hip hop at Broadway Dance Centre. Dancing has been a huge part of my life from a very young age. I was always eager to try as many classes and teachers as possible.

Did you take formal acting classes before auditioning for Dance Academy?

Jordan
I did drama at school, but that’s about it. After season 1 of Dance Academy I went back to the basics of acting so I could get the formal training behind me and it was an incredible help.

Christian and Abigail in class. Photo: Mark Rodgers

Dena
No- never :)
Only a few private lessons with an acting coach.

Do you relate to your character?

Jordan
Christian does remind me of my rebellious days as an angst-y teen, but I’m not really like that anymore. We both share the same style of dance which is a contemporary/ hip-hop style and we also wear sort of the same clothes.

Dena
Yes, we are both very passionate about dance and extremely driven career wise. I also try to be a hard worker like Abigail. I relate to many of her experiences and obstacles that occur in the dance world and her sensitivity towards her family.

What do you like most about your character?

Jordan
He knows how to get the ladies and I actually take pointers off him too!

Dena
Her sense of humour and dry wit, she is also very honest.

Christian dancing hip hop. Photo Mark Rodgers

What do you dislike about your character?

Jordan
He is a bit closed when it comes to his emotions but that just makes him Christian doesn’t it.

Dena
Her competitive nature, it’s detrimental to herself. She also has a hard time letting people in and embracing new friendships. Plus, she’s very critical of herself.

What has been your most embarrassing or memorable moment on set?

Jordan
I had an amazing experience with the cast shooting some pretty emotional scenes on one of the last days of shooting season 2 and I learnt a lot about myself as an actor that day.

Dena
The amount of times I have fallen over or hurt myself during a dance scene is laughable! I also tend to ruin all my costumes as I am a little clumsy with tea and coffee. There have been many memorable moments. In season 2 I had the pleasure of working one on one with the incredible Rafael Bonachela from Sydney Dance Company.

What is life like behind the scenes?

Jordan
Really good, everyone gets along really well and we have become a family that goes through ups and downs together on and off set.

Dena
Early starts, lots of rehearsals, sore bodies and lots of fun! Constant green room antics and pranks, and music playing.

What do you enjoy doing in your spare time?

Jordan
I love playing cover songs on the guitar, dancing and going to the beach for a surf.

Dena
Travelling! I love being active and fit in my spare time but I also enjoy being at home with my sisters and puppy and watching TV. I fill my spare months off being involved in the other side of the industry by doing styling and makeup. I enjoy being behind the scenes too. Currently I am working on a new project that is keeping me very busy writing and creating!

Abigail performs en pointe. Photo: Mark Rodgers

How has your life changed since Dance Academy?

Jordan
I don’t think I would be as good a dancer if I didn’t have the show to push me to be my best and I also now have people tweeting me in different languages which is pretty cool. However, I don’t know what they’re saying sometimes.

Dena
I have been fortunate enough to continue working in the Film/TV industry which I am so grateful for. I have been living in Sydney too permanently, which is a new change.

What can we expect from your character in Season 2?

Jordan
Christian is going to be a lot more open with himself, friends and his dancing so you will get to see a another side to him and not the mysterious Christian that you met in season 1.

Dena
A huge change! She goes through a very big journey in season 2, lots more dancing and maybe even some singing. Expect to see a few different sides from Abigail this series.

What did you enjoy most about filming Season 2?

Jordan
There was a lot more dancing and more intense story lines that were able to push me as a dancer and actor.

Dena
I absolutely love my cast, they are the most wonderful and talented group of people. I really enjoyed working with our new cast members too – Issi Durant (Grace) and Thomas Lacey (Ben). I also think we pushed our minds and bodies to the limit this series and I am very proud of what we created.

Why will we enjoy watching Season 2?

Jordan
Well apart from seeing the growth of the characters and the awesome dance scenes, we have two new amazing characters that will definitely spice things up.

Dena
The whole series has stepped up a level, the dancing is extraordinary, we have more choreographers involved and the acting is very moving this season. I think the audiences will be hooked!

Catch Jordan and Dena in Dance Academy on ABC3 at 6:30pm every Monday through Thursday, starting March 12.

Top photo by Steve Brack.

Published by Dance Informa dance magazine – everything dance in Australia – dance news, dance auditions & dance events.

Dance Teachers – need a little inspiration this competition and eisteddfod season?

These costumes could be just what your dance troupe needs to get the attention of the judges. They can also double as gorgeous concert costumes.

The companies included in Dance Informa’s Inspiring Costume Guide are some of Australia’s best costume suppliers. Make sure to visit their websites and check out the range of designs and accessories.

By Laura Di Orio.

When Karina Teran, a freelance dancer in New York City, was offered the opportunity to travel the world, save money that would normally go towards her NYC rent and receive a consistent salary to perform large-scale Broadway-style production numbers, she thought she shouldn’t pass it up. When her dear friend got the exact same offer, her decision was made. For the next seven months, Teran would embark on her adventure – dancing on a luxury cruise line.

For many dancers, a gig on a cruise ship is a welcome one. Some choose the job because they want to save money to pay back debt or for the future. For others, it is their first professional dancing gig and offers invaluable, nonstop performance experience. And for some, dancing on a cruise ship allows them to travel the world while they’re still young.

Christine Wunderlich in performance with Royal Caribbean Productions. Photo by Bobby Black

“For a NYC freelance dancer, a cruise ship job can be a blessing,” says Teran, who has had two contracts with Carnival Cruise Lines. “It’s an opportunity to have a permanent dance job with a good salary.”

Memnon Adams, who has been dancing on cruise ships for the past year-and-a-half, agrees. “The advantages are saving most of your salary, visiting many different islands and continents, being exposed to so many different cultures and languages, seeing ancient ruins, but most of all, not having to pay rent,” he says.

Dancers can make $2,000-4,000 per month, depending on the cruise line and factors like seniority and special abilities (dance captains make more). Most cruise ship dance jobs cover room, food, transportation and primary health services while the dancer is working on the ship. As crew members, dancers also receive discounts on shore excursions and tours, and can take advantage of services aboard the ship: free gyms and pools, discounts at ship stores, coffee shops, bars, spas and hair salons, as well as a number of activities and parties for the staff.

Even more than these extra perks, cruise ship dancers gain intensive performance experience. In a typical six-month contract, consisting of a number of four to five day cruises, dancers can perform three different shows about 180 times, Teran says.

These shows tend to be very theatrical and energetic and can include dance styles that range from Latin jazz to tap to square dancing.

“The productions are of a high level that you can compare with Broadway or Vegas shows,” says Teran. “You work with the ultimate technology for lighting, visual effects, revolving stages, sets and an orchestra.”

For cruise ship dancers, the performance style is extremely varied, so versatility is a must. “It is important to have very solid technique, as well as be strong in jazz, contemporary and theater styles,” says Christine Wunderlich, a freelance dancer from Vancouver, Canada, who is in her eighth contract with Royal Caribbean Productions. “Having partnering experience and knowledge of ballroom styles is also a plus. The more versatile you are the better because many shows have different styles in one show – jazz opening to ballet or contemporary and into partnering.”

A cruise ship dressing room full of costumes, wigs and props. Photo courtesy of Karina Teran

Adams agrees and says it’s also most important to enjoy dance. “It’s tons of fun because I’m learning new skills like harness and trapeze,” he adds.

Most shows incorporate full stage makeup, wigs, props, accessories and quite a few quick costume changes. “Since you are responsible for all your costumes, you learn how to take good care of them and be extremely organized,” Teran says. “These are good habits that will help you in your career as a dancer wherever else you work.”

For cruise dancers, days on which they perform are known as “sea days”, and other days, “port days” – when dancers and crew can roam the land, although often with a curfew.

In Teran’s experience, a typical sea day for a cruise dancer goes as follows:

12-2 p.m.: Rehearsal
2-4 p.m. (or before rehearsal): Duties
Aside from performances, a part of a dancer’s contract often includes additional duties, such as teaching dance classes, assisting in bingo or ping-pong tournaments for the guests or working in the library. Some of these responsibilities offer additional pay.
4-7 p.m.: Break, light dinner and dress for shows
During this time, dancers can rest and prepare their body for the evening of shows ahead. Most cruise lines do not offer a warm-up class, so the dancers must take it upon themselves to warm-up and stretch. Teran says she would do a ballet barre on her own and then stretch in the steam room.
7:15-8 p.m.: Dancers called to dressing room to organize and pre-set all costumes, props and wigs
8-8:50 p.m.: Showtime
8:50-9:45 p.m.: Break, stretch, prep for second show
Should someone get injured, this time would also allow a re-block of the entire show. Dancers must also reset their own costumes, wigs and props. “You have the quickest costume changes imaginable,” Teran says, “and if something is not in the right place it can ruin your timing, putting you out of a number.”
9:45-10:35 p.m.: Show #2
10:35-11:15 p.m.: Organize and put away all costumes, accessories and props
11:15: Done
“After two full workout shows you finish very hungry, so you can take a good meal at the 24-hour dining service before you go to bed or head to the disco with the rest of the cast,” Teran says.

Since so much time is spent onboard and with the other dancers and crew, it is likely that a cruise dance job is a great way to make friends. It is also a great way to learn how to work well with others.

“You work with people of all different backgrounds, and you’re almost forced to live with them and share the same space,” says Teran. “If you weren’t a tolerant or patient person before, you will become one by the end of the contract. In this aspect, you become a better professional.”

While there are many advantages to dancing on a cruise ship, the job may not be for everyone, or just may take some getting used to. “If you are a city person you might feel sometimes that you live in a cage,” Teran says. “You will breathe some freedom only on port days and only for a few hours. It’s different from the dance life on tour when you have a full day off.”

Another concern is the potential for injury, especially since dancers are usually expected to warm up on their own. Some ships, like Royal Caribbean, do offer a weekly company class.

“Personally, some days I would love to have more company classes,” says Wunderlich. “However, I also like to do my own warm-ups, and it prevents doing classes with people who may be less enthusiastic than yourself.”

Adams, too, tries to give himself a dance class when he can. “I try to stay motivated just for my health and of course for future employment,” he says.

For dancers who may be interested in cruise ship work, Teran recommends speaking to those who have worked on ships. If it seems like something of interest, auditions are frequently posted online (check out Dance Informa’s listings or the individual cruise line’s website).

“Working on a cruise ship as a dancer is a wonderful experience, positive in many ways and one that makes you grow as a professional and as a person,” Teran says. “You come back to land with unforgettable memories that will make you smile every time you look at the sea.”

Top photo: Karina Teran, photo courtesy of Karina Teran.
Published by Dance Informa dance magazine – everything dance in Australia – dance news, dance auditions & dance events.