By Grace Edwards.

Many local ballet students dream of becoming a nominee for the Telstra Ballet Dancer Award. For 22-year-old New Zealand-born corps de ballet member Karen Nanasca the dream has come true. “The announcement was made after our daily class one morning back in February. I was sitting on the floor at the back of the studio amongst my fellow dancers wondering who the last nominee was going to be. I couldn’t believe it when my name was called!”

Karen, who joined the Australian Ballet in 2009 upon graduating from the Australian Ballet School, will compete alongside colleagues Rudy Hawkes, Robyn Hendricks, Luke Marchant, Brett Chynoweth and Chengwu Guo for a cash prize of $20,000. The winner is to be chosen by an industry judging panel, who will assess the dancers on the quality of their dancing, personal development and potential for the future. Australian Ballet fans will also get their say, deciding by popular vote the winner of the equally coveted $5,000 People’s Choice Award.

TBDA nominees Luke Marchant, Robyn Hendricks, Rudy Hawkes, Brett Chynoweth, Karen Nanasca & Chengwu Guo. Photo: C. L'Estrange

In addition, Karen and the other contestants will also have to submit a written piece to convince the judges why they should win. The process culminates in September when she and the other contestants will be interviewed by the judging panel. The winner will be announced in December. Last year the contest ended in an unprecedented tie, with winners Ty King-Wall and Dana Stephensen receiving $20,000 each.

Having made the transition to company life quite recently compared to the other nominees, Karen is more than ready for the journey. “There were only seven girls in my final year at The Australian Ballet School, and there are 35 girls in The Australian Ballet,” she recalls. “It was quite a change to work with a much larger group of dancers and subsequently receive less individual attention from ballet staff than I was used to at the school. But I’ve learnt now to work more independently and how to navigate my way around in such a big ballet class.”

Already she has had to cope with one of the art form’s biggest downsides. “I had a stress fracture in my second metatarsal going into my first year at The Australian Ballet School, and I re-fractured the bone after my initial recovery a few months later into that year,” says Karen. “Any dancer who has had an injury knows how frustrating it can be when you can’t dance. It was tough for me for all the months I was off. But I came out of it a stronger and smarter dancer. I think it’s important to stay positive, have family and friends around to support you, and always have a goal to work towards. The injury really put into perspective how important our bodies are for dance, and how important it is to look after them properly!”

Karen Nanasca. Photo: James Braund

Whilst it might be easy to focus on such potential pitfalls, Karen insists that the joy of dancing is worth the pain. She is quite clear about her favourite aspect of dancing with the Australian Ballet: “getting to do what I love everyday – and getting paid for it! I love the feeling of being on stage, the adrenaline rush and the emotion of it all. It’s also rewarding to hear the positive response from the audience.” This is fortunate, as the company’s hectic schedule doesn’t leave much time or energy for other interests. “After a performance and once I’m home, I usually have something to eat and watch TV or read until I start to get sleepy. This doesn’t normally take very long…”

A few fun facts about Karen

When I am not dancing I am…sleeping!
I have a personal weakness for…Chanel nail polish.
One day I’d like to…win the Telstra Ballet Dancer Award!
My idol is..Tamara Rojo, principal, the Royal Ballet.
A memorable stage moment…Last year I danced in Principal Artist Daniel Gaudiello’s South of Eden, as part of the Bodytorque.a.la.mode season. In the piece there was one lift where John-Paul Idaszak, the tallest male dancer in the company, lifted and tossed me over his head, and I was caught on the other side by dancer Matthew Donnelly. It felt like I was flying!

Vote for Karen or any of the other talented dancers in the TBDA People’s Choice Award by visiting
www.beinvolved.com.au

Top photo: Karen Nanasca and Jacob Sofer by Jeff Busby

By Deborah Searle.

Tap Extraordinaire Jared Grimes is a performer with heart. I recently met Jared at a New York dance competition he founded called ‘Run The Night’ where he gave young dance hopefuls a chance to perform in front of their peers and industry judges for feedback, encouragement and a cash prize. His heart for the next generation of dancers is evident as he strives to give artists a chance to shine and develop their talents.

Producing his own shows and performing across the US, Grimes is making his mark in the tap and hip hop dance scene with an infectious charisma on stage and off. He has danced alongside legends such as Wynton Marsalis, Gregory Hines, Ben Vereen and Jerry Lewis, has toured with  Mariah Carey and danced for Common, Salt-n-Pepa, Envogue, Busta Rhymes and the Roots. Jared’s theater credits include Cirque Du Soleil’s, Banana Shpeel, Twist, Scottsboro Boys, Pure Country, Babes in Arms, Sammy, Vaudeville and Broadway Underground, a show he directs himself. Grimes has also appeared in commercials for Coca-Cola, Subway and MTV, along with several television shows and films.

Jared performs at Run the Night by Broadway Underground

So who is Jared Grimes? What are his passions?
I am a performer.  My passion is tap.  I feel my greatest strength is the ability to connect with people.

What are you proud of?
I’m proud to be a person who has lived by all the morals and principals instilled in me by my parents. They gave me the everlasting gift of never giving up on people.

Tell us about your dance background
I moved to NYC in 2001 for college and had no money after tuition.  My feet conjured up food and rent for about four years.  The subway is where I built my performing stamina, drive, and execution in tap.  If I couldn’t connect with a crowd they didn’t stay and watch.  Relating to different cultures, races, genders, and ages is what I had to do to last a day in the subway.
I started dancing when I was 3.  My mother was my first teacher.

What is your favorite dance style? Tap or hip hop?
Tap is my favorite style of dance.  Hip hop is second.

What is your career highlight?
My career highlight is regularly performing with Wynton Marsalis, whom I call my professor. He has a wealth of knowledge and his perspectives on music send me to the stars and back with every performance and every conversation.

Tell us about your show ‘Broadway Underground’.
Broadway Underground is a culture in the making of performers who have the ability to do it all. We are a culture of triple threat performers much like Fred Astair, Sammy Davis Jr., Gene Kelly, the Nicholas Brothers and Gregory Hines. We are like them, but for our time.  Broadway Underground is how we put a twist on old ideals of performing. Broadway Underground will soon be a television show fusing dance and comedy!

How do you keep inspired to perform, teach and create?
I stay motivated! I don’t know why or how I keep pushing forward, but there is something inside me that is never satisfied with the moment.  I’m always seeking perfection outside the box and it is an obsession that I have learned to live with. It never stops. When I was little I can remember challenging my image in the mirror [laughs]. In life I never want people to figure me out.  My brain is always trying to stay ahead of itself and I am just trying to keep up with it by feeding it my heart and soul.  It’s a crazy thing. Teaching is an outlet for what is constantly going on in my head.

What is your advice for young street dancers?
My advice to all dancers is to know your history. There’s nothing worse than a dancer that does not know who paved the way for them.

What are your current projects?
I’m currently doing the musical TWIST at the Pasadena Playhouse directed by my friend Debbie Allen.  We will be doing shows from June- July 25.

What are your dreams?
I want to take over the world in a way that hasn’t been done since Sammy Davis Jr!

Video: Courtesy of youTube.
Dance Informa/Dance News International takes no responsibility for the content of any videos viewed through youTube.

What it Takes to Be a Dance Company’s Artistic Director

By Laura Di Orio.

When an audience sees a performance, it notices the dancers, costumes, lighting, sets and music. But the driving force behind it all, is the artistic director. In a dance company, the artistic director’s role is to fuse all the business and artistic elements of the company and its productions to ensure they coalesce to portray the group’s vision. Dance Informa speaks with artistic directors from three established companies to find out what’s involved in being at the helm.

What qualities does it takes to be an artistic director of a dance company?

David McAllister, Artistic Director, Australian Ballet
I think that an artistic director needs to be a good communicator but an equally good listener. I believe that your motivation should be to facilitate the company to be the best it can be, rather than trying to big-note yourself. I love the fact that the company is the star and I am there to keep that flame burning as brightly as possible. You have to care about the people you work with and have a big ambition for the company you run. Both competing forces somehow need to be balanced.

Peter Boal, Artistic Director, Pacific Northwest Ballet, Seattle
Patience and perseverance. Clear vision helps, too.

Nan Giordano, Artistic Director, Giordano Jazz Dance Chicago
Your skills need to be very extensive and cover anything from finding the choreographers or being in rehearsal to working with the board – you have to wear a lot of hats. You have to be efficient and organized. You need to be an inspirational leader. That’s part of what I do – inspire. How I live is how I operate our company – good energy, high energy.

David McAllister and Karen Nanasca, The Australian Ballet. Photo by Jeff Busby

What do you look for in dancers for your company? Is it more than just dance ability? Is character a part of your decision?

Peter Boal
There are a few common denominators I look for in dancers, but what inspires me is the individuality of each dancer. Versatility and an ability to connect with the audience are also key.

Nan Giordano
Of course they have to be a wonderful dancer, but we look for a very specific type of person and the energy they exude during the audition process. We look at the whole picture.

How do you choose your season repertoire?

Nan Giordano
We want to be the trendsetters, to be ahead of the pulse. I like working with new cutting edge choreographers who are just being discovered. We try to do three new works a year. Then I look back at the rep we have and see how it’s all going to tie together. For the dancers, it’s important to keep them challenged and interested, and it’s important to me that they like the rep they’re doing. The more they like it, the more successful the piece will be.

Peter Boal
I look for a balance of respecting the traditions that PNB was built on and adding to the repertory by building collections of works by relevant choreographers – both world premieres and/or new works to PNB.

David McAllister
In an organisation where around 70 percent of our budget comes from box office, the audience needs to be front of mind, but I believe that context is always the way to take an audience on a journey. If you only mount works that are proven to be popular, then the audience never has an opportunity to be surprised and sometimes enlightened by something they may not have seen otherwise.

How do you keep inspired?

David McAllister
By surrounding yourself with wonderful people who challenge and motivate you to be better. The best piece of advice I got from someone when I became Artistic Director was to always employ people who are cleverer than you and could do your job. It is a great way in which to work as you can workshop solutions to problems that on your own seem insurmountable.

Peter Boal
I travel as often as possible to see new choreography and to see other ballet companies. Included in these travels is always a trip to the art museum of whatever city I’m in. It helps keep me inspired.

How do you keep your dancers motivated?

Giordano Jazz Dance Chicago. Photo by Cheryl Mann

David McAllister
That is the million-dollar question! I would say to try to provide a respectful, creative and supportive environment in which to work and a repertoire that inspires and is artistically diverse. It is integral to keep the flow of communication as open and transparent as possible and to be honest and timely with your feedback to the dancers individually and as a group.

Nan Giordano
We have a lot of fun together. They’re more than just employees. It’s a supportive environment. I feed them energy, they feed me energy.

Peter Boal
I think the repertory is a great motivator for the dancers. I also make a concerted effort to bring in coaches, stagers and choreographers who I know the dancers will benefit from working with.

What else should people know about being an artistic director?

Nan Giordano
You want to create a good arena so that you can create something great together. Our world really needs beauty, whether it’s on stage or in the classroom, so you need to focus on the positive.

David McAllister
Being an artistic director is the best job in the world. Each day is filled with unseen challenges and joys. To sit in an auditorium and see a dancer outperform their own expectations or to witness the premiere of a work that started with a conversation with the artists involved is a pleasure that has no price.

Top photo: Pacific Northwest Ballet Artistic Director Peter Boal with principal dancer Carla Körbes in a rehearsal for Boal’s new staging of Giselle. Photo by Angela Sterling

Ausdance in association with QPAC presents the AUSTRALIAN DANCE AWARDS 

Spend the evening with Australia’s best dance artists!

Dance lovers take note and mark your diaries now!
For the first time Queensland is to host the annual Australian Dance Awards recognising and honouring outstanding contributions to dance on Sunday 24 July at the Queensland Performing Arts Centre (QPAC).

Celebrate the amazing achievements in Australian dance in 2010/2011 with the presentation of 12 awards, handed out by well-known personalities. The awards are presented alongside a performance program featuring some of the country’s leading dance artists and companies.

Executive Director of Ausdance Queensland, the state’s peak body for dance, Ann McLean, said she is delighted that the Awards will be held in Queensland for the first time and encourages dance lovers to join the celebrations at QPAC.

“The Australian Dance Awards is the one night of the year when dance creators, performers, educators and enthusiasts gather to acknowledge and honour their peers. It is also a not-to-be-missed opportunity for dance lovers to sample some of the best works of the past twelve months. The Awards are a wonderful opportunity to showcase the diversity and richness of dance in Australia today,” said McLean.

The Awards cover nine categories including “Outstanding Service to Dance” and ”Outstanding Achievement by a Company” as well as “Lifetime Achievement” and “Hall of Fame” awards.  

From its humble beginnings in 1986 as a Dancer’s Picnic organised by Keith Bain, the Australian Dance Awards is now celebrating its 14 ^th year and has grown to become the major event on the national dance calendar, bringing prestige to nominees and winners alike.

Don’t miss this fabulous event showcasing and celebrating the best in the nation’s dance in QPAC’s Playhouse on Sunday 24 July from 7.00pm.
To book your tickets and for more information go to www.qpac.com.au or call 136 246.
Visit australiandanceawards.net.au for more info.

The Nominees for the 2011 Australian Dance Awards will be announced soon so look out for the news in an upcoming edition of Dance Informa.
Dance Informa is a proud sponsor of the event.

The 2011 Australian Dance Awards are supported by Arts Queensland and QPAC.

“What a night of nights! This year’s Awards was a celebration of all things dance by a growing and excited Australian dance industry.”
Dance Informa

“We have won other awards before but these are very prestigious, it’s great for the company.”
Stephen Page, Artistic Director Bangarra Dance Theatre

Image: Photographer/Dancer, Marisa Cuzzolaro

Melbourne audiences are in for a treat! The Arts Centre has scored an exclusive Australian season of contemporary dance featuring the legendary Nederlands Dans Theater I. After a 14 year absence, the doyennes of contemporary dance will showcase their distinctive style at the Arts Centre’s State Theatre with five performances from 13 – 17 July 2011.

Since its inception half a century ago, Nederlands Dans Theater has gone on to define dance and attract admiration the world over, and is now recognised as arguably the most innovative dance company in existence. The company has created a rich repertoire with works from master choreographers Jiří Kilián and Hans van Manen, as well as from resident choreographers Sol León & Paul Lightfoot and associate choreographers Crystal Pite and Johan Inger.

“It’s a real coup for us to be able to attract this great international company and dance lovers from around Australia will be eager to come to Melbourne for this exciting season”, said Judith Isherwood, Chief Executive of the Arts Centre. “The company has inspired many first-time visits to the theatre for a great display of modern dance and I have no doubt this 2011 season will provide a similar opportunity.”

“It’s an honour to be back in Australia. We look forward to sharing with the Melbourne audiences a programme which reflects the essence of who we are: fortunate to have a rich and creative dance history which provides us with brilliant signature works like Double You by choreographer Jiri Kylián, while at the same time presenting recent creations by an emerging generation of contemporary dance makers such as Sol León and Paul Lighfoot, and Crystal Pite”, said Nederlands Dans Theater Artistic Director Jim Vincent.

“These three uniquely dynamic productions, created by four diverse choreographic voices and performed by our ensemble of extraordinary dancers will make this programme a truly unforgettable experience” he added.

The Melbourne performances by Nederlands Dans Theater I will feature three works. Created by Jirí Kylián, Double You is an intimate solo which offers a window into a man’s soul as he grapples with life’s experiences.

In The Second Person, Canadian choreographer Crystal Pite creates a powerful atmosphere which draws the audience into a different world. Featuring 24 dancers on stage, they represent the exchange between the collective and the individual, searching for their own identities.

Inspired by the art of silent movies, Paul Lightfoot and Sol León explore the beauty of expression without words in Silent Screen. The highly acclaimed performance will feature large screens projecting luscious and fluid scenery for dancers to move through and beyond.

About Nederlands Dans Theater
Nederlands Dans Theater originated in 1959 when 22 people broke free from the Nederlands Ballet. These rebels were impassioned by dance and the desire to give it a style all their own. Under the direction of Carel Birnie and Benjamin Harkarvy, they steadily built a different repertoire to dance companies of modern dance. Fifty years later, Nederlands Dans Theater has become one of the leading dance companies in the world.

A rich repertoire has been built up with works from master choreographers Jiří Kilián and Hans van Manen, as well as from resident choreographers Sol León and Paul Lightfoot, associate choreographers Crystal Pite and Johan Inter and many other guest choreographers such as Ohad Naharin, Nacho Duato and William Forsythe.

Through the years, but particularly in its heyday under former artistic director Jiří Kilián, Nederland Dans Theater has created pioneering works in contemporary dance. Ballets originally made for Nederlands Dans Theater are still performed all over the world. Numerous dancers and choreographers that once started with the company have set up their own dance companies world-wide, spreading Nederlands Dans Theater’s influence far and wide. A number of Australian dancers have worked with Nederlands Dans Theater, including Graeme Murphy, Gideon Obarzanek and Kirsty Martin (The Australian Ballet).

Nederlands Dans Theater has two companies, with two generations of dancers – Nederlands Dans Theater I and Nederlands Dans Theater II. Nederlands Dans Theater I is the first company, founded in 1959 and consists of thirty dancers. They vary in age from 23 to 42 and each one of them excels in their solo qualities. Nederlands Dans Theater II was founded in 1978 for young, upcoming talent with astonishing technique and endless energy. NDT II currently consists of sixteen dancers up to the age of 23. The second company is a revolutionary breeding ground for talented dancers and established choreographers who together create new work.

Get your tickets here!

By Jessica Innes

It is said “If you do what you love, you’ll never work a day in your life” and with tenacity and the right approach, the dream of dancing for a living can become a reality. We all dream of being a Broadway musical star or dancing in a Justin Timberlake video clip, however the sifting process in the performing arts allows only tiny portions of talent to make it through the brutal mill of the industry. So after hours of gruelling training and perfecting of your craft, what options do you have to utilize your hard work? It’s all about making yourself a versatile performer and finding your own niche to flourish in.

TEACHING: This is reliable and fulfilling work that will allow you to develop valuable choreography skills. Approach local dance schools and share your passion with the next generation of dancers. If you have no teaching qualifications look into taking the The Ausdance Skill Set for Teaching Dance as a start. It is a short course that provides experienced dancers and existing dance teachers with the skills and teaching strategies needed to successfully teach dance in community, recreational and social settings (including schools). A University Degree in Dance Education will open even more doors and allow you to teach HSC Dance.

INTERNATIONAL CONTRACTS: Many countries draw from Australia’s talent pool to fill positions on cruise ships, in theme parks, for Bollywood and casinos all over the world. You need to ensure you have a valid passport and are willing to commit to a contract of at least 6 months. Experience other cultures as you dance all over the world!

MUSICAL THEATRE: Triple Threat’s have a huge advantage in this area so develop your singing and acting techniques to increase your versatility. You often need an agent to be put forward for auditions so finding representation is a good first step.

MODELING AND COMMERCIAL: Dancers have the advantage of maintaining a good level of fitness due to regular training and have an increased awareness of their bodies. Many dancers will find they are suitable for modeling and extra work for film or television. Photographers are always looking for amateur models so start putting together a portfolio. Online casting sites such as AT2, Showcast and even StarNow have some great opportunities. Dance Informa also lists opportunities in our AUDITIONS section.

STAGEHAND WORK: Surround yourself with inspiring performances by working backstage or as an usher at a theatre. You’ll save money on buying tickets and you’ll gain valuable contacts that can guide you to the spotlight. TAFE Australia offers many different courses in Lighting, Set Design and Audio Engineering and any additional qualification is an asset to your future.

CREATE YOUR OWN OPPORTUNITIES: You are the master of your own destiny, so if you want to dance and don’t have an outlet, do something about it! Form a crew, collaborate with other artists and put on a community show or make a dance film. Every experience is going to add to your credibility and wealth of knowledge as a performer, so be proactive and put your best foot forward.

We wish you the best of luck with your future endeavours and a successful and fulfilling dance career!

23 August – 4 September 2011

2011 will mark the third year of Sydney Opera House’s Spring Dance – Australia’s only international, contemporary dance festival. Curated by Wendy Martin, highlights of the festival will include a world premiere from Lloyd Newson’s UK-based company DV8, the first ever Sydney performance by Alain Platel’s acclaimed les ballets C de la B from Belgium and Spain’s avant-garde flamenco artist Israel Galvan who will perform in Australia for the first time.

This year Spring Dance will be dedicated to the legacy of Pina Bausch, one of the most influential and innovative choreographers of the twentieth century. Martin said, ‘By showcasing the work of choreographers Lloyd Newson and Alain Platel, we will bring together two artists who cite the enormous influence Bausch has had on their work. This seems like the perfect springboard to explore the influence this iconic dance maker has had on the landscape of contemporary Australian dance.’ A series of films and discussions will look at the singular vision of Pina Bausch and her Tanztheater Wuppertal.

Artwork - Ros Warby, Monumental, photo: L. Tomasetti; les ballets C de la B, Out of Context – for Pina, photo: C. Van Der Burght

In 2011 Spring Dance will take over the Western Foyers with performances in the Drama Theatre, Studio and Playhouse and a series of talks, masterclasses and exhibitions in the Western Foyer and precinct.

Sydney Opera House will host the world premiere of DV8’s, Can we talk about this? choreographed and devised by Artistic Director Lloyd Newson. Like his recent productions that have combined dance with verbatim theatre to tackle social and political issues head-on, Can we talk about this? will explore ideas around freedom of speech.

Alain Platel’s company, les ballets C de la B, will present the award-winning production Out of Context: For Pina. For its first Sydney season, it will include a ‘Pina Intervention’ by acclaimed Australian choreographer Meryl Tankard who was a star of Pina Bausch’s company in the late 70’s and early 80’s.

Israel Galvan, the daringly innovative Flamenco artist from Seville will come to Sydney Opera House with the Australian premiere of his award-winning production Le Edad de Oro which uses the techniques and artistry of Flamenco while building on tradition to create a new, pared-back aesthetic for the genre.

Chunky Move returns to Spring Dance with I Like This – a witty and irreverent take on the making of a dance piece, created by two of Australia’s finest contemporary dancers and emerging choreographers, Byron Perry and Antony Hamilton.

The work of Melbourne-based dancer and choreographer Ros Warby has been acclaimed by critics around the world. She will return to Sydney to perform the award-winning Monumental at Spring Dance, in which she explores ideas around two iconic symbols of classical ballet: the swan and the soldier.

And for younger audiences, Sydney Opera House will present The Forest by the UK-based performance company Fevered Sleep. The Forest will reflect their interest in creating design-focused productions that develop theatrical environments to envelop their audience and draw them into a world of fantasy, intrigue, movement and storytelling.

This year’s Spring Dance festival will offer the rare opportunity to be taught by some of the world’s great dancers and choreographers with 6 master classes on offer. There will be a series of panel discussions, hosted by Caroline Baum, with prominent dancers and choreographers looking at Pina Bausch and her legacy. They will be accompanied by a program of film screenings.

Top photo:  Ros Warby – Monumental, Photo: Lisa Tommasetti

By Regina Green

Paul Malek must be one of Australia’s busiest dance professionals.  Just a week after presenting Stratagem, his latest work for his company, Collaboration – The Project, the tabs opened on iOverload, the latest work for his youth company, Project Y.

In 2009, Malek organised Immersed, a Dance Industry night held at Melbourne’s Forum Theatre, and plans are afoot for a second showcase, tentatively booked for this September. He also has his own dance school, Metropolitan Academy of Performing Arts, based in Seddon.

Between all this, he somehow finds the time to teach at Melbourne’s top studios, including The Edge Performer’s School, Jason Coleman’s Ministry of Dance and The Space. I told you he was busy!

What’s the most challenging part of what you do?
We, as a team, get together and create these performances on low budgets, so we wear a lot of hats. Instead of having the avenues to outsource assistance for things like graphic design, marketing and promotion etc, we have to do it ourselves. So there are many long hours and tired eyes getting through what we do, but when we get our desired result, it makes it all worthwhile.    

What gives you the greatest satisfaction?
The applause our performers receive after that first show, and then every consecutive show until we close – whether it’s 30 people or 500 people. The appreciation level from the audience, the relief and joy from our performers when they have succeeded in not only creating a dance work, but creating something that reaches out and makes the audience think about what they are witnessing. That is great satisfaction. 

How was Stratagem received?
It has been received wonderfully. It definitely makes the audience as a collective discuss quite in depth life, and the means to the end. This topic doesn’t always sit well with some people, so when that is the case, they instead focus on the performers. They watch in complete admiration of what the performers do with their bodies. The effort, commitment and true fearless attack to their work are something to be in awe of; I think that sums up most people’s reactions.  

What do you think has made Collaboration’s shows so strong?
I think the collective is very important – the group’s commitment to the show and the project. Everyone who comes in and works with us and creates with us feels that we are striving to make a difference, make something special and in turn continue to develop dance and the scene here in Melbourne. It is never about just one person, it is about the end result and what we then give the audiences to enjoy. 

A lot of your work features death as an idea or theme. What is the attraction to this theme?
I think death was always the unspoken aspect of my life. I couldn’t deal with the thought of it, and it has been frustrating- that endless question of ‘what is next’?

In saying that, it has never been a conscious decision to create works with a focus on death, except for Stratagem.  The focus is more on the experience of life, and because life ends in death, it as an element that features in our shows.

When you set out to create a work, what are you hoping to achieve?
A work that connects with the audience. Each individual is affected in different ways, and I want each audience member, whether they understand or not, to be activated mentally, and leave with not just the answers but also a few questions as well. 

In your opinion, what makes a great show, as opposed to a good show?
A show should take those watching it on a journey – whether literal or not – heightened with highs and lows, climaxes and resolutions. All avenues of the performance should also highlight each other: lighting, sound, choreography, and also the direction of the choreography and staging is very important. 

Which choreographers do you admire most?
Those choreographers who push the boundaries, who don’t necessarily follow trends, but create their own. Those who are true to themselves and their work. 

What are your goals with Project Y?
To give young artists the opportunity to expand their craft, whether that is with performances in Melbourne or interstate, with workshops or with rehearsal processes. To give as many people – who may or may not have future careers in dance – this chance to share in the production process, to go forward in their lives instilled with a love and passion for dance and performance. 

Are Project Y and Collaboration mutually beneficial? How do they work together?
They are. Collaboration is about giving Australian artists the opportunity to work together to produce works and perform on Australian shores. With Project Y already giving the opportunity to over 100 dancers since its inception, they are well on their way to achieving this. A lot of Project Y members also help out with Collaboration productions, giving them technical experience in the theatre as well. 

What is next on the horizon?
We have a couple of projects on the go including the full length production, Collection of Forgotten Treasures, which will be held over three weeks in November. 

Could you impart some advice to budding choreographers?
Just do it. Remember, dance may have expectations of what it should be, but that does not mean it is the way it has to be. Dance is movement, arranged in different formats, with differing dynamics, emotions and energies. The greatest choreographers of our time are those who, against critique, stuck true to their work, no matter how long it took for them to gain respect. Believe in yourself, and when someone tells you ‘no’, don’t dwell, take the comments and move forward. There is enough room in this world for everyone to create dance, so create, create, create. 

www.collaboration-project.com

A New Baby for Broadway

Broadhurst Theatre, New York City
April 2011

By Deborah Searle.

Still in previews, Baby It’s You is a new show for Broadway with a similar script to the stage and screen hit Dreamgirls. The strength of the show is its infectious sound track of popular 50s and 60s music that has the audience dancing in their seats. With a score of famous tracks like “He’s So Fine,” “I Say A Little Prayer,” “It’s My Party,” “Shout,” and “Rockin’ Robin”, this show is set to be a huge success!

Inspired by the life of Florence Greenberg, the woman who in the late 1950′s took the male-dominated music industry by storm, Baby It’s You tells the story of a woman trying to change her life and the music industry. Along the way she pushes social boundaries, falls out of and in love and changes the lives of four young African American singing hopefuls. On a trailblazing journey from New Jersey housewife to record mogul, Greenberg launched the careers of some of the biggest recording stars of the 50s including one of the greatest girl groups of all time; ‘The Shirelles’, and Baby It’s You is a tribute to her success.

The show starts with a bang, immediately engaging us with an energetic song and dance number and we know straight away that we’re in for an entertaining night. This energy doesn’t falter and after the interval the show starts off again in fine form with an explosive song that draws us straight back into the story.

Tony Award winner Beth Leavel plays Florence Greenberg and is perfect for the role. She is believable, passionate and a consummate performer.  Leavel is backed by a brilliant cast that brings the story to life with impressive acting and piercing vocals. There isn’t much dancing in the show, but Kyra Da Costa as one of the Shirelles, is the strongest dancer of the cast, outshining the other performers with her obvious training and technique, and is a joy to watch.

Although the second act was a little drawn out, overall Baby It’s You is thoroughly entertaining and empowering. It’s the popular music that will drive the audience in, but it’s the convincing acting, interesting storyline and even the backdrop (complete with ever changing imagery across large screens) that will keep audiences strong.

Baby It’s You had me entertained, educated about the 50s/60s music scene, and literally dancing in my seat. Although I didn’t grow up in the story’s era, I enjoyed the show immensely proving that Baby It’s You is a great show for both young adults and Baby Boomers.